A MARBLER’S GUIDE TO THE VIOLA

If we consider the universe a sacred book, every created being is undoubtedly like a verse of that book. Even if we question the reasons for their existence from time to time alone, there will be a story they will all tell in the unique harmony of that whole. Natural stones are almost silent poems engraved on the world as if the breccia stones are the rhymes of those poems. The art that connects each verse to another…

If the oldest poems in the world that have not lost their splendor are white stones, they are also bresh stones that still stand and combine those beauties … They are the healing treatment of the wounds that White received from natural disasters, winters, summers, time wars. The magnificence that emerge as we fight, are injured, and heal are unique examples of clinging to life, the struggle to survive no matter what. And perhaps that is why, while the world is confused again, while the world is making an effort to start a new verse, they have made an increase in our lives, in design, in terms of reflecting the human resistance power of today’s chaotic wounded environment, in terms of being able to make an effort to move on to the next verse.

As much as golden yellow represents the reign, Red and viola tones also indicate war and perseverance in struggle. It’s like two dynasties vying for a throne. That may be why the bresh stones bearing these two colors are the most popular. The closest candidate to the throne in recent times is VIOLA.

From the Ancient City of Aizonai to the Celcius Library in Ephesus, it is possible to see Viola in many old buildings, especially on the columns; Afyon Menekse is her name in Turkey.

If you say how you would describe the viola, for me: classic burgundy with its thick flowing and eye-catching veins, a refined gray that plays small roles occasionally, I would say a stylish and chaotic blend of white. A good Viola design can be measured by the size of the eyes in the pattern, the apparent thickness of the patterns, medium-dark burgundy/violet tints, and the white ground colour. We will only find some things we want in natural materials. White eyes may turn cream-yellow from place to place, but the closer it is to white, the more preferable it is. The eyes get smaller from time to time. It is acceptable that the elders can also find a place for themselves in the pattern. Rather than trying to get maximum block efficiency from classical quarrying in production, it is essential to try to highlight the acceptable character of this stone.

Such stones need to be designed to produce blocks with the logic of how I can get a block that reflects a more beautiful pattern than disassembly. Of course, nothing is four-by-four. Sometimes the grays can become more, and sometimes the whites can be creamier. Of course, these blocks also have economic value. Pricing at the point of marketing is starting to come to the fore. Unfortunately, this is also the difficulty of manufacturing fresh materials. That’s why the price range should be wide. Rather than setting a standard price scale, predicting the value of a block stone would be more accurate.