#various textiles

[norwaytrend]

Curtains & various textiles

The right curtains can help tie together the common thread in the room, or be a nice contrast. But curtains have a natural ability to attract dust and absorb odors over time. Because curtains hang in front of doors and windows, they also easily come into contact with insects and moisture that can lead to mould. This gives the curtains a grayer and duller appearance, while at the same time they can become a health hazard if the mold is not detected.

When you leave the responsibility to us, we carefully inspect the test styles to decide which method to use to give your curtains a 'like new' look again. Regular washing helps to increase the lifespan of the curtains.

#deadskincells #mattresstopper #carpetwashing #mophire #furniturecleaner #skincells #hiremats #deadskin #mattresstoppers #professionalcarpet

[mamawasatesttube]

my opinion on superhero costumes is that to a pretty far extent i don't Care about practicality. like sure for people who aren't invulnerable, cover up exposed skin. but do it in a way that has flair and pizzazz!!!! i don't give a shit about military grade tactical armor or whatever, i don't wanna see that garbage. just say this is some fantasy Xtreme Kevlar or whatever and we'll go with it because it looks fucking awesome!!! suspension of disbelief works so hard in your favor here. who cares if it looks like "realistic" body armor. that's fucking boring i don't care about "recolored military/cop"-looking nobodies. it's about the PANACHE. put on a kickass cape and some thigh high boots and OWN IT!!!!!!!

[wombywoo]

What brushes do you use for coloring because I'm always in awe

these are the bad boys I've been using lately~ I usually use only one main brush while painting tbh, but I do have a few other ones for miscellaneous purposes. never underestimate the airbrush, but don't give him too many privileges ✌️

[saeriibon]

how do the tbf character designers do it...

[gaytobymeres]

Whyyyyyyyyy do companies insist on making bedsheets that are cotton mixed with a plastic like polyester!!!! When I ask for cotton bedsheets I mean I want 100% cotton bedsheets not 52% polyester 48% cotton!! Like I get that cotton is not that environmentally friendly in terms of water use but at least once the bedsheets reach the end of their life they can be recycled easily or composted because it’s an organic material. Also I have cotton bedsheets that are genuinely decades old and they’re still going strong and they’ve been used and washed a lot! So I know that good quality bedsheets will last a very long time and they feel much nicer

[discountalien-pancake]

I bit the bullet and am making two big upgrades to my sewing/crafting setup:

I asked my brothers for a dress form

and I’ve ordered a ring-light desk lamp with a phone mount

So uhh maybe I’ll start dipping my toes into costube? Very very casually though, I have no interest in making a career out of it.

[shevitsa]

Handwoven Bulgarian kilim rugs with floral, zoomorphic and geometric motifs. Mid to late 19th century. | Ръчно тъкани килими със зооморфна, растителна и геометрична орнаментика. Средата – края на 19-ти век. I – Пиротски; II – Котленски; III – килимено чердже.

(source: Bulgarian National History Museum)

[strathshepard]

Joey Veltkamp

[eahostudiogallery]

Clothes Lines

Lucille Leger - Vulnerability Sinks into the Closed Doors

::

Martina Cox

::

Reto Pulfer

::

Helga Stentzel - Smoothie

::

Pia Camil

::

Hanne Friis - The Juice from The Trees

::

Liesl Raff - Retreat

::

Leanne McPhee - Hung Over

::

Edith Dekyndt - Mud 007

::

Bernhard Walter - Rug Rat, 2018

::

unattributed

::

construction site art

::

Robert Gober - Waterfall

::

Annette Messager - Mes Voeux sous filet; 1997

::

Helen Pynor - Inhale, 2006. Knitted human hair.

::

we can iron things out

::

Crochet sunshades in Alhaurín de la Torre, Málaga, Spain

::

[avonengineering]

Non-IBR Steam Boiler Gas Fired

Non-IBR Steam Boiler Gas Fired

Introducing our cutting-edge Gas-Fired Non-IBR Steam Boiler – an embodiment of innovation in industrial heating solutions. This advanced boiler redefines steam generation, offering a seamless blend of speed, compliance, efficiency, and durability for diverse industrial applications.

Key Features:

Experience the efficiency of quick and uniform steam generation with Avon Engineering Gas Fired Non-IBR Steam Boiler. Swift Steam Generation ensures a rapid and reliable supply for various operational needs. Additionally, it adeptly converts gas into steam, providing a seamless and efficient energy solution.

Moreover, our boiler Conforms to Non-IBR Regulations, showcasing our commitment to quality and safety. Adhering to Non-IBR (Indian Boiler Regulations) standards guarantees optimal performance and compliance with regulatory guidelines, ensuring peace of mind for users.

Furthermore, Powered by Efficient Gas Source, our boiler harnesses the efficiency of gas as an energy source. It taps into this reliable fuel, offering a continuous and dependable source of steam for a wide range of applications, meeting diverse industrial needs.

Lastly, our boiler boasts Durable Construction for Lasting Use. Designed with longevity in mind, its robust construction can withstand the demands of industrial environments. Its sturdy build ensures consistent performance and reliability over time, providing uninterrupted operation for users.

Experience Cutting-Edge Steam Generation: Our product introduces a new dimension of industrial heating. Whether for manufacturing, food processing, or other sectors, this advanced boiler delivers reliable, efficient, and compliant steam generation, optimizing your processes. It merges technology, compliance, efficiency, and durability, offering a forward-focused solution that aligns with your energy and operational goals. Elevate your steam generation processes and invest in a product that ensures exceptional performance. Embrace a new era of steam generation with our state-of-the-art Gas Fired Non-IBR Steam Boiler.

@avonengineering

[handweavers]

something that comes up for me over and over is a deep frustration with academics who write about and study craft but have little hands-on experience with working with that craft, because it leads to them making mistakes in their analysis and even labelling of objects and techniques incorrectly. i see this from something as simple as textiles on display in museums being labelled with techniques that are very obviously wrong (claiming something is knit when it's clearly crochet, woven when that technique could only be done as embroidery applied to cloth off-loom) to articles and books written about the history of various aspects of textiles making considerable errors when trying to describe basic aspects of textile craft-knowledge (ex. a book i read recently that tried to say that dyeing cotton is far easier than dyeing wool because cotton takes colour more easily than wool, and used that as part of an argument as to why cotton became so prominent in the industrial revolution, which is so blatantly incorrect to any dyer that it seriously harms the argument being made even if the overall point is ultimately correct)

the thing is that craft is a language, an embodied knowledge that crosses the boundaries of spoken communication into a physical understanding. craft has theory, but it is not theoretical: there is a necessary physicality to our work, to our knowledge, that cannot be substituted. two artisans who share a craft share a language, even if that language is not verbal. when you understand how a material functions and behaves without deliberate thought, when the material knowledge becomes instinct, when your hands know these things just as well if not better than your conscious mind does, new avenues of communication are opened. an embodied knowledge of a craft is its own language that is able to be communicated across time, and one easily misunderstood by those without that fluency. an academic whose knowledge is entirely theoretical may look at a piece of metalwork from the 3rd century and struggle to understand the function or intent of it, but if you were to show the same piece to a living blacksmith they would likely be able to tell you with startling accuracy what their ancient colleague was trying to do.

a more elaborate example: when i was in residence at a dye studio on bali, the dyer who mentored me showed me a bowl of shimmering grey mud, and explained in bahasa that they harvest the mud several feet under the roots of certain species of mangroves. once the mud is cleaned and strained, it's mixed with bran water and left to ferment for weeks to months.  he noted that the mud cannot be used until the fermentation process has left a glittering sheen to its surface. when layered over a fermented dye containing the flowers from a tree, the cloth turns grey, and repeated dippings in the flower-liquid and mud vats deepen this colour until it's a warm black. 

he didn't explain why this works, and he did not have to. his methods are different from mine, but the same chemical processes are occurring. tannins always turn grey when they interact with iron and they don't react to other additives the same way, so tannins (polyphenols) and iron must be fundamental parts of this process. many types of earthen clay contain a type of bacteria that creates biogenic iron as a byproduct, and mixing bran water with this mud would give the bacteria sugars to feast upon, multiplying, and producing more of this biogenic iron. when the iron content is high enough that the mud shimmers, applying this fermented mixture to cloth soaked in tannins would cause the iron to react with the tannin and finally, miraculously: a deep, living grey-black cloth.

in my dye studio i have dissolved iron sulphide ii in boiling water and submerged cloth soaked in tannin extract in this iron water, and watched it emerge, chemically altered, now deep and living grey-black just like the cloth my mentor on bali dyed. when i watched him dip cloth in this brown bath of fermented flower-water, and then into the shimmering mud and witness the cloth emerge this same shade of grey, i understand exactly what he was doing and why. embodied craft knowledge is its own language, and if you're going to dedicate your life to writing about a craft it would be of great benefit to actually "speak" that language, or you're likely to make serious errors.

the arrogance is not that different from a historian or anthropologist who tries to study a culture or people without understanding their written or spoken tongue, and then makes mistakes in their analysis because they are fundamentally disconnected from the way the people they are talking about communicate. the voyeuristic academic desire to observe and analyse the world at a distance, without participating in it. how often academics will write about social movements, political theory and philosophy and never actually get involved in any of these movements while they're happening. my issue with the way they interact with craft is less serious than the others i mentioned, but one that constantly bothers me when coming into contact with the divide between "those who make a living writing about a subject" and "those who make a living doing that subject"

[splashesdarling]

Louis and Armand's Dubai Penthouse - blending the traditional and modern, mixing materials and textures, an array of cultures and art across time, with accenting pops of colour

'So, I was like, "Okay, if I was a vampire that had lived through a century and I was well-traveled and was searching for mankind's humanity, what are the things that I would pull to the surface?" So, I wanted to capture different international styles, whether it was Moorish architecture or Japanese minimalism, but these different things that had a lot to do with contemplation, reflection, but also security.' [...] 'What else did we have? We had a few artists from New Orleans, some contemporary. I wanted there to be his connection to New Orleans, to home, his connection to his race, his connection to international travel, to psychology. There's also a textile piece that's hanging that's a kimono by a Korean artist. I think that knowing Louis's character, there's different paintings in the background that relate to women — whether that's an allusion to Claudia or his sister or his mother — but these devastating relationships, so there's imagery of women that we wanted to capture.'- Production Designer Mara LePere-Schloop. [X]

A few additional details about Louis and Armand's Dubai penthouse that should be of note:

Throughout the penthouse we see numerous and varied pieces of art, furniture, sculptures, and many other types of decór - all rich in colour and tone, lending a general warmth and personality to the otherwise bland, grey building.

Of all the rooms we see in the show, their bedroom is by far the most colourful and warm toned. Meaning that the room in which they are (presumably) the most private, unguarded, and comfortable is where we see the most personality and warmth in the décor.

In their bedroom, we can also observe several other clues as to their current dynamic. If you look closely at their bedframe, you can see it's made of a rich, carved wood, designed to have various shapes and sizes, with holes present across the width of the frame. These shapes and holes could be used to anchor restraints, like rope for bdsm play. This suggestion that their bdsm dynamic is still going strong in Dubai is further supported by the presence of several floggers and paddles on Armand's side of the room.

Another detail of note is that Louis' side of the bed features several books, undermining the suggestion his reading is restricted or controlled by Armand. Further proof of this is given when we see Louis has kept the floating book shelves after kicking Armand out of the penthouse (given that they were damaged, with some glass breaking, during their break-up - Louis would have needed to choose to keep them by repairing the damage/replacing them with like-for-like). Suggesting that it was purely an aesthetic choice made by both of them, not an attempt by Armand to control what Louis was reading (an argument first made because Armand can fly whereas Louis cannot).

A clue which demonstrates and supports the idea that Louis and Armand are both involved in decorating the penthouse is two key art pieces - The Kiss of Judas by Jakob Smits (1908) on Louis' side of the bedroom, and a painting in their dining room by Marius de Romanus, Armand's groomer and maker. Given that The Kiss of Judas references a grave betrayal, just as Armand betrayed Louis, it's highly unlikely that if Armand was in control of every design choice within the penthouse that Louis would be allowed to hang such a painting, especially within their bedroom. Likewise, it's highly unlikely, given what Marius did to Armand (which he told Louis about in detail), that Louis would allow Armand to hang such an art piece if he was the one choosing how to decorate the space. Meaning it's very likely they are both making choices together about how to adorn the penthouse.

The idea that they're deciding together how to decorate the penthouse is reinforced during episode six of season two, when the pair are discussing what to hang on their newly empty living room wall. They discuss changing their living room couches to fit with a proposed art piece, with Armand's "I assumed we would" and Louis' answering response that they'll end up replacing everything else in the room to match too, suggesting this is not the first time they've done somthing like this. Likewise, that Armand suggests a wallpaper by Ai WeiWei (an intensely political artist, who's art often draws attention to power dynamics, corruption, and personal freedom, and who is known for using bold patterns and saturated colours) should lead us to assume he is not actively attempting to make the penthouse devoid of colour or unprovoking in style to avoid Louis acting up. And when Armand asks Louis what they should do with the empty space, it is obviously coming from a place of being frustrated that Louis is shooting down all of his suggestions while offering none of his own, rather than the idea that he is irritated that Louis isn't just going along with what he wants, because again - They are both obviously decorating their home together.

The final sign that the penthouse's style is ultimately a compromise between Louis and Armand's style and tastes, and that Louis is an equal decider in all decorating choices, is the presence of his meditation rock garden. Using stones eerily similar to the ones he was buried alive in, Louis is effectively using the stones to represent Claudia's mantra of "We leave the damage so we never forget the damage". This is reinforced by Louis' choice to retain the stones after forcing Armand out of the penthouse, meaning that they were placed there by Louis, just as he keeps the rocks embedded in his skin. This is noteworthy, given that many have suggested that Armand created the rock garden to keep Louis in a state of fear, which would then enable Armand to better control him. This assumption was made largely due to the presence of Armand's magnolia tree and the season one, episode five quote: "Well, the interior designer hired was a sentimentalist. Some notion of hers, he was missing the natural world".

However, given that the rock garden was clearly Louis' choice (as they are still there, whereas Armand's tree is not), therefore the quote should be taken as a sign that the rock garden was entirely Louis choice - he was in a self-imposed isolation from the natural, outside world. The rocks therefore are likely meant as a physical manifestation of sorts for Louis' internalised guilt and shame over his perceived failures in life and how they have hurt the ones he loved - hence his inclusion of Paul's portrait and Claudia's dress in the space once he's began to truly deal with and take accountability over his emtions, memory, and choices - again, "We leave the damage so we never forget the damage".

TLDR: The penthouse was Louis and Armand's home, they jointly created it's look and feel equally, and pretending like it was all-Armand not only ignores what the show presented us with, but it also robs Louis of his agency and unfairly reduces him to a passive non-factor in his own story.

[headspace-hotel]

i'm discovering the sublime joys of natural plant fibers. literally don't know how to knit or crochet or anything and barely know how to sew but extracting and spinning fibers is apparently like the golden ratio of physical and mental activities for me. It's so much fun I will lose hours at a time just HONED in on my yarn and stuff.

Milkweed is so awesome as a plant oh my god. It produces ultra-soft seed fluffs that apparently can be spun if you're careful, the fibers are so smooth they can easily pull apart but making three strands and spinning them into a three-ply yarn seems promising, seems like it would be strong enough to work with. The seed fluffs were historically used widely as stuffing for jackets and pillows and the like, which they are amazing for. Milkweed fluff is way warmer than wool apparently? And on top of it, it has this gorgeous silky sheen. It's SO pretty and it's SO soft.

But the milkweed stems also have bast fiber which is very strong and is obtained by taking the dead stems and beating the crap out of them until the woody stuff is all broken and the fibers separate. This stuff is strong and soft and also has a nice sheen to it and I'm excited to see what could be made from it

Altogether it's a shit ton of usable material per plant, all of which is harvested after the plant dies back for the winter, not affecting its ability to regrow the next spring. With common milkweed, the stems can be greater than 6ft tall and the seed pods are big and each containing a lot of fluff. I filled a whole plastic grocery bag with seed pods, easy, just by walking through a field with lots of milkweed.

Apparently an old common name for milkweed is "wild cotton" which strongly suggests that the seed fluffs have been used for textile purposes

I've also learned from browsing foraging sites, the Myaamia ethnobotanical database and various books that Milkweed has an insane amount of culinary uses. It must be cooked because of the poisons in it that discourage munching by predators, but you can eat the leaves, the flowers, the underdeveloped seed pods (apparently they are compared to cheese?! And the flowers color drinks pink??)

like whoa! so much benefit from one single plant!

I'm working with Dogbane (Apocynonum cannabinum) bast fibers right now and they're sooooo great. Not only is beating the fibers a ton of fun, the fibers are a really beautiful shiny chestnut-blonde sort of color and very strong and fine and soft.

Dogbane fibers also have this lovely fragrance that is like a blend of cedar and forest soil and old books. Milkweed has its own distinct fragrance, very subtle, that I struggle to describe and don't like as much, but it's cool to notice that it has a smell.

[milkweedman]

fiber arts really is such an insane category of Things in how it can draw you in. like, 6 or 7 years ago i learnt to crochet and made a few terrible hats and scarves. then i learnt to knit because i wanted to knit a scarf for my friend (now fiance :D). then i realized it should be a woven scarf so i picked up weaving instead, but i still really liked knitting so now i was doing 3 crafts. somewhere along the way i started dyeing yarn as part of my kitchen experiments, and then i was like fuck it i wanna make my own yarn ! and that is where the problems happened. in the span of like 5 years ive acquired like $2000 of various tools (spinning wheel, combs, cards, blending board, several looms, etc), bought dozens of fleeces, and now my bedroom is basically a craft room with a bed, i have wool covering every flat surface in there as well as a huge dresser full of wool and several large drawers full of wool, i meticulously scrape every last bit of avocado out of the peel so i can use it to dye fleece, and i don’t go anywhere (including in my own house) without at least 2 knitting projects and a spindle.

im not complaining or anything, but the rapid shift from ‘guy who does stuff, idk’ to ‘guy who is worryingly obsessed with wool and will infodump at length about medieval sheep husbandry and the history of nettle as a textile if you give him half a chance’ is like. extremely funny to me.

[olliemnjones]

Hey there! Your actually one of my inspiration for art! I really like how realistically shaded the backgrounds are and everything! Do you have any tips for shading in digital art?

Hey, I appreciate it, thank you! There are lots of things that go in to making a good background but this is the main idea that made backgrounds click for me:

Hopefully you'll agree that of these two shapes, the one on the right feels more 'real', despite the fact neither of these shapes are meant to represent anything. The shape on the right just has a noise filter and a faint light-to-dark gradient from top to bottom. Those two things create movement on a small scale (the noise) and on a large scale (the gradient). The presence of that sort of movement is what gets your brain to register something as real.

Here I've taken the shape and given it a new environment, a colour and then a gradient. The shape with the movement feels a little more natural in its environment, I think.

Then directly on top of that, I can start creating small scale movement, like the noise, through brush strokes. At first (on the left) the brushstrokes look quite out of place and unnatural. But as you work in to the surface more, creating more and more overlapping brushstrokes of various sizes and directions - all while trying to maintain the sense of that gradient - the strokes will start to more naturally integrate in to each other, creating a bed on to which other elements will lay naturally.

Here I give this abstract shape some context by painting some cracks and decay on it. These new elements create movement by giving our eyes more shapes to latch on to and jump between. I then added a pattern to it. This pattern adds more movement and reinforces the light effect by adhering to the gradient (getting darker at the same rate the wall does).

You can see I use this idea all through this picture. I make sure in any section there is always some kind of movement of light, whether its left-to-right, or top-to-bottom, corner-to-corner etc. Patterns like the woodgrain on the drawer or the textile of the curtain create additional movement and reinforce the dimensions of their respective forms by adhering to them. Bit rambly but I hope there's something useful in there!

[hmmarble]

HMMARBLEDESİGN - DRAGON+ (4)

Transforming your bathroom into a luxurious retreat doesn't have to be daunting, especially with the timeless elegance of black marble. The deep, rich tones of black marble not only exude sophistication but also create a striking contrast that can elevate any space. In this blog post, we will explore the allure of a black marble bathroom, highlighting how this dramatic feature can infuse modern elegance into your home.

Black Marble Bathroom

The black marble bathroom is a stunning choice for those looking to create a sophisticated and luxurious space. This bold design element can transform an ordinary bathroom into an exquisite sanctuary. The rich tones and unique veining of black marble bring an air of elegance and style that is both timeless and contemporary.

When incorporating black marble into your bathroom, consider options such as black marble countertops, vanity tops, and even accent walls. The contrast against lighter colors can create a striking and dramatic effect, making your space feel more expansive and well-defined.

One of the key benefits of a black marble bathroom is its versatility. It pairs beautifully with a variety of materials, such as brushed gold or chrome fixtures, and complements different color palettes, from soft whites to vibrant jewel tones. This adaptability allows homeowners to personalize their space while maintaining a cohesive look.

There are various finishes available for black marble, each offering a unique aesthetic. A polished finish provides a sleek, glossy surface that reflects light beautifully, while a honed finish delivers a more understated, matte look that can soften the overall appearance of the bathroom.

Lighting plays a crucial role in showcasing the beauty of a black marble bathroom. Consider installing ambient lighting to highlight the natural veins and texture of the black marble. Additionally, task lighting around mirrors can enhance visibility and add warmth to the space.

To add depth and interest, incorporate other design elements that create contrast and texture. For example, pairing black marble with wooden accents can create a warm and inviting atmosphere. Textiles such as plush towels and bath mats in lighter shades can also soften the overall look.

With its rich aesthetic and timeless appeal, a black marble bathroom is more than just a design choice; it’s an opportunity to create a luxurious retreat in your home. Whether you’re planning a complete renovation or simply looking to refresh your existing space, integrating black marble can elevate your bathroom to new heights.

Modern Marble Bathroom

When it comes to designing a modern marble bathroom, the emphasis is on clean lines, minimalistic features, and the striking appeal of marble. This luxurious stone, often associated with opulence, can elevate your bathroom space into a sanctuary of relaxation.

One of the defining characteristics of a modern marble bathroom is the color palette. While many opt for classic whites and creams, darker shades like black or gray marble create a bold statement. Black marble, with its rich depth and unique veining, can transform traditional notions of bathroom design, making it a chic and contemporary choice.

A key feature in a modern marble bathroom is the seamless integration of marble into various elements, from countertops to flooring. Large format tiles have become increasingly popular, creating a sense of space and continuity. Pairing these tiles with elegant fixtures and understated accessories enhances the overall aesthetic without detracting from the beauty of the marble.

Vanities in a modern marble bathroom often showcase the stone’s natural patterns, turning functional furniture into a visual centerpiece. Choosing sleek hardware and soft-close drawers can maintain a streamlined look, while integrated lighting adds warmth and sophistication.

For those seeking to add a touch of personality, consider incorporating wood elements or contrasting materials like glass. These choices balance the heaviness of marble with lightness, making the bathroom feel both inviting and serene.

Incorporating plants or greenery can breathe life into the cool, polished surfaces of a modern marble bathroom. Strategic placement of greenery not only adds color but also promotes a calming environment.

Lastly, don’t forget about the practicality of maintaining your modern marble bathroom. While marble is undeniably glamorous, it requires regular sealing and care to keep it in pristine condition. Choosing the right products for cleaning and maintenance will ensure your marble retains its beauty for years to come.

Bathroom Marble Design

When it comes to creating a luxurious and sophisticated space, bathroom marble design stands out as an exceptional choice. Marble is known for its timeless beauty, variety, and ability to elevate the overall aesthetic of any bathroom. In this section, we will explore some key elements and ideas related to bathroom marble design.

Choosing the Right Marble

One of the first steps in bathroom marble design is selecting the right type of marble. From classic white Carrara to striking black marquina, the options are abundant. Each type of marble comes with its unique veining and color variations, allowing you to match the marble to your personal style. Consider how different marbles will interact with your bathroom's lighting and the overall color scheme to create the desired atmosphere.

Incorporating Patterns

Another exciting aspect of bathroom marble design is the ability to incorporate patterns. Marble can be cut and laid out in various patterns like herringbone, checkerboard, or even geometric shapes. These designs can add depth and interest to your bathroom, making it feel more dynamic and stylish.

Combining with Other Materials

To enhance your bathroom marble design, consider combining marble with other materials. Pairing marble with warm woods, sleek metals, or even vibrant tiles can create an intriguing contrast and elevate the space further. This combination can help to soften the look of marble, making it feel more inviting and less formal.

Accent Features

Incorporating marble accent features like vanity tops, shower surrounds, or even marble sinks can transform a standard bathroom into a luxurious retreat. These elements become focal points in the design, drawing attention and admiration. For a truly unique touch, consider custom marble pieces that reflect your style.

Maintenance and Care

While the beauty of marble is undeniable, it's important to consider its maintenance. Proper care, including regular sealing and careful cleaning, will keep your bathroom marble design looking pristine. Avoid harsh chemicals that can damage the stone, and always use coasters or mats to prevent stains and scratches.

In summary, bathroom marble design offers a wealth of possibilities to create a stunning and elegant space. With the right choices and careful planning, you can achieve a bathroom that embodies luxury and style.