Working in Stone : Samarkand

Last year we began collaborating with master mason, sculptor, and artist Berthold Haas to develop a pattern—which he dubbed the Samarkand—for his line of hearths. The following is a look at both the hearth itself, as well as the rigorous study we put into our first work in stone.

Collaboration is the best part of design.

Berthold Haas, born in Germany in 1947, has been crafting fireplaces, architectural stone, and grottoes in Austin since 1989. Berthold employs a combination of hand tooling, computer aided design, burnishing, hand staining, mosaic inlay, etching, sandblasting, and other methods to construct his elegant designs. It was a great privilege to be approached to develop a pattern for one of his lines of high end hearths. Featured in Luxe, Berthold sums his goal:

“These fireplaces are totally my aesthetic choice. I’m not trying to accommodate an ambience, but to make a piece of art. It’s a huge difference.”

For our contribution to Berthold’s art, we delved into arabesque patterns derived from the Islamic traditions of painting and stone carving (like the works at the Alhambra).  This study was a continuation of our recurring interest in complex patterns and how they might be introduced into other mediums. Where we departed from our past efforts was by investigating quasi-generative forms (based on symbol patterns established from a dynamic library). The rigorously crafted patterns that resulted were then taken apart ‘by hand’; an intuitive, manual, reckless deletion of pieces. [A dichotomy of precisely designing a system only to then deconstruct it has been an ongoing obsession for the studio.]

The investigations yielded the hearth that Berthold has dubbed the Samarkand, and he made the deliberate move to tint it blue as an homage to that historic city’s domes. It’s a nice nod, as the first paper mill in the Islamic world was in Samarkand, and we typically work in that medium. The pattern is hand tooled, and the tinted limestone is a patented hand process that Berthold puts down himself in his bodega.

The Samarkand Prototype in Berthold Haas’ shop.

Detail of the deconstructed pattern. The non-symettrical pattern always diverges just before it can be rationalized, a trademark of stars and rosette patterns, as well as kite and dart pattern combinations or others using keyed match points.

Close up. Note Mr. Haas’ accuracy.

One of the original rosettes from our studio from which the pattern was generated. This is one of over 47 patterns, many with sub-variations.

One of the unused quasi-generative patterns. Complexity led to fractal or near generative form that was unbuildable, but compelling to study.

Detail. Smooth ground finish compared to rough inset finished by hand.

The master himself, Mr. Berthold Haas.

Limestone stacked at the bodega.

Detail of Berlin from the hearth line, with 24k Italian gold mosaic inlaid by hand.

Details from Berthold’s working color palette studies.

This collaboration can be developed in a number of scales and potential mediums, and both Mr. Haas and FÖDA Studio would love the opportunity to work entire walls. We are accepting large scale commissions, but you can buy a hearth directly from Mr. Haas.

Client: Berthold Haas
Creative Director: Jett Butler
Pattern Design and Deconstruction: Caspar Lam and Jett Butler
Production Design: Sissy Emmons and Melissa Martin
Photography: Jett Butler
Inspiration for mathematical solutions: Craig S. Kaplan, Associate Professor, The David R. Cheriton School of Computer Science, University of Waterloo