From the moment of its existence, humanity has been a being in search of meaning. This quest is not only an intellectual or metaphysical process but also a concrete experience manifested on an abstract plane through space, material, and habitat. Stone, meanwhile, emerges as one of the oldest and most enduring witnesses to this quest. It is neither entirely organic nor a passive backdrop. It resists human intervention, yet simultaneously gains meaning through it. For this reason, in the history of architecture, stone is not merely a structural element but also a tool of thought that bears the weight of existence.

The philosophy of stone lies in its relationship with time. Through its permanence, it accumulates the past and the present on the same surface. When humans intervene on this surface, they do not merely produce a form; they also carve their own existence, emotions, beliefs, and desire for infinity into this hard ground. For this reason, the relationship established with stone always takes precedence over function. What is most decisive is the desire to leave a mark on the world.

One example from the geography of Turkey, the Phrygian Midas Monument, offers an approach that does not create an interior space but focuses solely on the surface. Here, stone functions less as a volume to enter and more as a plane of meaning to confront. The absence of space leaves the observer face-to-face with thought. This approach reverses the conventional reflex in architecture to produce space. The structure ceases to be something one inhabits; it becomes a situation one encounters.

Another example, Göbekli Tepe, presents a structure where stone serves no purpose of shelter, but is entirely ritual-focused. These standing stones, built before settled life had even begun, demonstrate that humans first felt a need to believe and make sense of things. Here, stone is not merely a tool that organizes life, but one that defines it. This situation also raises a crucial question regarding the origins of architecture: Did humans build first to shelter, or to create meaning?

Cappadocia, with its well-known rock-carved architectural style, is an example where the relationship with stone is inverted. Here, architecture is established not by adding stone, but by removing it. The aim is to reveal the space. This approach demonstrates that emptiness is a design element as powerful as mass. The absence of stone actually transforms into the space itself.

On Mount Nemrut, stone becomes a symbol of power and the desire for immortality. The placement of colossal statues on the mountain’s summit makes visible humanity’s effort to transcend time. The stone on this mountain has never been conceived merely as a material; rather, it has embodied power and permanence in a material sense as the focal point.

One of the world’s notable examples is the Ryōan-ji Temple in Japan, which emphasizes the perceptual impact of stone rather than its physical presence. The 15 stones in the Square Sansui Garden are positioned on a bed of white gravel. The gravel represents water, while the stones symbolize islands or mountains. However, the true power of this composition lies in what is unseen: no matter the angle from which the garden is viewed, all the stones cannot be seen at the same time.

The concept of “ma”, defined in Japanese aesthetics as “empty space”, is decisive here. Empty space is not merely absence; it is the space where meaning is constructed. Surfaces that develop moss over time, in conjunction with the “wabi-sabi” philosophy, reveal transience and the beauty of imperfection. Thus, the space transforms from a physical garden into a mental landscape.

One of the representatives of the cosmic relationships stones establish with the sky is Stonehenge in England. It demonstrates that stone is not merely a material of the earth but also a part of the relationship established with the sky. This prehistoric structure in England consists of massive stone blocks arranged according to specific astronomical alignments. Its precise relationship with the solstices reveals that the structure serves a physical, calendrical, and ritual function.

Unlike other examples, Stonehenge constructs space not inward but upward. In this regard, it also demonstrates that in the production of meaning through stone, one can work not only with surface, void, or mass but also with orientation and alignment.

The Great Pyramid of Giza, whose philosophical essence lies in the ordering of infinity and death, is one of ancient Egypt’s characteristic structures. This structure is akin to an attempt to accept human mortality and transcend it through architecture. The flawless geometry of the stones signifies not a chaotic end but a mathematical continuity. Here, architecture transcends the role of a “tomb,” transforming into a form of thought that translates the concept of death into engineering.

Teotihuacan, located in Mexico, represents the replication of the universe as a city. This city is not a plan of the world humans inhabit, but of the universe they believe in. The Sun and Moon pyramids are not merely structures but the petrified diagrams of the cosmic order. Here, architecture can be linked to humanity’s attempt to reconstruct the universe while striving to understand it.

Angkor Wat, the temple city of Cambodia, aims to reduce the universe to an architectural model. The temple is less a place of worship than a map of cosmology. Mountains, oceans, and divine centers are represented in stone. Here, the structure aims not to carry the faith but to transform the faith itself into a space.

While all these examples demonstrate that stone acquires different meanings across various geographies within the context of the tension between stone and humanity and philosophical approaches, they ultimately converge at a common point: Stone is the surface where humanity’s relationship with the world is most intensely concentrated. At times it emerges as a faith, at times as a display of power, and at times as a space of silence. Yet in every instance, the tension between the stone’s resilience and humanity’s quest for meaning gives rise to one of architecture’s most fundamental questions: How does humanity carve out a place for itself within the enduring?

Written By: Meltem Gürsoy / Interior Architect

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How did your artistic journey begin? Could you share with us the pivotal moments that led you toward sculpture?

I’ve been deeply involved with and interested in painting since I was very young. But during my university years, I had turned toward the social sciences, and art was second on my list of priorities at the time. While studying in the History Department at Ankara Hacettepe University, encouraged by my friends in the sculpture department, I began taking drawing classes. Soon after, I found myself taking the special talent exam and had been accepted into the sculpture department. As you might expect, I transferred from the history department. I then continued my education in stone carving at the Istanbul Fine Arts University (MSÜ) Sculpture Department and completed my undergraduate studies there. I conducted studies on stone carving at the Carrara Academy of Fine Arts in Italy.

The moment I would call a turning point was when I first worked with stone. Encountering the resistance of the stone was, in fact, like encountering my own limits. From that point on, there was no turning back.

How would you define the concept of “the balance of opposites,” which you frequently emphasize in your artistic practice? How does this approach reflect in your work?

In my works, the coexistence, interaction, or tension of opposing principles in nature manifests itself as a composition of contrasts in form and texture. These forms, which constitute the fundamental principle of form, exist in a dynamic balance. While the massive outer forms define the sculpture’s relationship with its surroundings, the textures and inner forms express the sculpture’s inner state of mind. The relationship between the sculptural, geometric elements and the organic, soft, fluid-textured elements in the sculptures expresses this dialogue while also highlighting the fact that stone, alongside its massive, heavy, and hard appearance and qualities, is also incredibly fragile, soft, and delicate. Consequently, natural stone also contributes to the works through its own inherent qualities.

For me, opposites are not conflicting forces, but forces that bring each other into being. Hard–soft, heavy–light, introverted–extroverted… The delicate balance established between these opposites forms the spirit of the form. In my sculptures, I generally seek a fluid movement and a soft texture within a hard material. The tension between the stone’s rigidity and the form’s fluidity is the fundamental dialogue I establish with the viewer.

What does the contrast between inner and outer forms mean to you? How do you conceptualize the relationship between these two layers?

Internal and external form, in essence, represent the relationship between what is visible and what is felt. The external form invites the viewer, but the true story begins within. Cavities, voids, transitions… For me, these are not merely formal elements but also emotional spaces. In my sculptures, emptiness is just as important as fullness; because meaning is often hidden there.

What does working with natural stone mean to you? How do you assess the expressive possibilities of this material?

Stone is my indispensable medium; I love its durability, yet despite all this perception of durability, mass, and weight, I also love the sensitivity, fragility, and softness within it. Stone also takes on a role in my works that supports the formal characteristics and the subject matter, giving them their identity. Marble, which carries the Earth’s life story in its folds, texture, and colors, adds its own process to this journey

Working with natural stone means working with history and process. You are touching a material formed by the accumulation of millions of years. This is a great responsibility. Stone does not reveal itself to you immediately; it demands patience and respect from you. Instead of pushing its limits, you learn to move in harmony with it. The possibilities for expression emerge precisely through this dialogue.

Which stones do you use most frequently as a material in your work, and why?

Marble is one of the most powerful mediums of expression for me. Especially homogeneous, dense stones like Afyon, Marmara, and Muğla marble. They all offer a wide range of colors and textures. I usually select the color and texture that will best convey and support the expression of my project. Sometimes I also turn to harder stones; because the material’s resistance directly influences the form’s character. Every stone has its own language, and I prefer to proceed by listening to that language.

What are your thoughts on Turkish natural stones? In your opinion, what are their standout features compared to other stones?

Turkey is a very rich region in this regard. The diversity and character of Turkish marbles are quite strong. They are particularly unique in terms of their vein structures and color transitions. This opens up a broad field for the artist, both aesthetically and narratively. Creating with local materials is especially meaningful to me; because you establish a connection with your land and the geography you inhabit, you become one with it.

What are your observations regarding the current state of sculpture art in Turkey?

Sculpture in Turkey has become more visible in recent years, but it’s still difficult to say it has found its rightful place in the public sphere. Young artists are very productive, but support mechanisms are limited. Despite this, there is strong potential. The output is quite rich in terms of materials, techniques, and concepts.

What advice would you give to young artists, and especially those interested in working in sculpture?

First and foremost, patience. Sculpture is not a field where results come quickly. You need to get to know the material and spend time with it. It’s also important to make room for intuition as much as technical knowledge. Instead of copying others’ styles, they need to find their own voice. And most importantly: keep creating. Consistency is the most defining element of this path.

Ebru Akıncı

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In particular, old and poorly maintained containers used for block marble shipments are cited as one of the main reasons increasing the risk of damage. Cracks and deformations in container bases during heavy cargo transport are causing major problems in shipping processes. According to experts, container damage that could previously be resolved at a cost of a few hundred dollars now creates a financial burden of tens of thousands of dollars.

Another dimension of the problem is the processes occurring at transhipment ports. Careless handling during the re-handling of cargo from Turkey at various ports is increasing container damage. A problem with a single container causes other containers in the same shipment to be held up at the port; delays, demurrage charges and additional operational costs further burden the exporter.

Another issue highlighted by the natural stone sector is the imbalance in freight costs. Whilst it is noted that competing countries can export at lower transport costs, it is stated that freight charges for shipments from Turkey are at much higher levels. It is emphasised that this situation particularly hampers price competitiveness in block marble exports.

Sector representatives state that the current structure of insurance systems fails to adequately protect exporters. The fact that a significant portion of the damage incurred during heavy cargo transport falls outside the scope of insurance leaves companies directly exposed to financial risk. In particular, the inability to clearly determine liability for damage occurring at international transhipment ports further complicates the process.

According to experts, these issues within the logistics chain are putting pressure on Turkey’s production and export capacity in the natural stone sector. It is also assessed that the high costs associated with block stone transport have played a role in the increasing shift towards processed products in recent years.

It is stated that a stronger logistics infrastructure, enhanced oversight mechanisms and the re-standardisation of transport processes are required to address these issues. Furthermore, it is noted that establishing a more independent structure in international transport holds strategic importance for natural stone exports in the long term.

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Artı3 Architecture, which positions architecture as a means of expression, carries out its projects through a process based on the unity of theory and practice. In this interview with the firm’s founders, Uğur Yıldırım and Assoc. Prof. Dr Ülkü İnceköse, we examined the team’s minimalist architectural language, design principles and material choices for the Arkas Art Alaçatı project. Treating natural stone as a fundamental component that defines the building’s memory and sense of time, the team highlights the importance of interdisciplinary coordination during the implementation phase. In this interview, we focused on architectural production processes that are enduring and contextually appropriate, rather than fleeting trends.

Could you briefly describe Artı3 Architecture’s founding process and architectural approach? What does the name “Artı3” signify to you?

For Artı3 Architecture, architecture is a production process based on the unity of theory and practice. We believe that every architectural creation involves touching life in different dimensions and having something to say. We view architecture as one of the tools through which we express ourselves in this world.

How would you describe your firm’s design approach and core principles?

Our design approach is to create a simple, serene yet powerful architectural language that allows each project to speak for itself. The priorities that define our design practice are:

Reading the problem and transforming it into our own understanding,

Understanding and analysing the context correctly,

Prioritising spatial experience, spatial atmosphere and sensory interaction,

Viewing detail design as one of the core challenges of design,

Establishing a balanced relationship between function and spatial composition.

What are the most distinctive features that set you apart from other architectural practices?

We treat every new problem, regardless of its nature, scale or content, as our most important project. We actively participate throughout the entire process, from the inception of the design to the completion of the build, and even beyond. We produce projects where a direct relationship between the designed and the built is ensured.

How do you assess the role of natural stone in architectural design?

We believe that natural stone plays a very powerful role in architecture, reinforcing the tectonic expression. The colour, texture and form inherent in the material, along with the randomness and variations within these characteristics, can make it one of the fundamental elements of architectural design.

The way the stone is worked, the detailing of joints, the surface effect and the way the stones are arranged side by side become elements that directly determine the spatial atmosphere and, consequently, the experience. For this reason, we regard natural stone as a fundamental component that guides the design.

One of our favourite characteristics of natural stone is its timelessness. The qualities it possesses reveal a formation rooted in long-term processes. And this formation continues in a way even when you use it. Its colour may change, and variations may occur in its texture; we appreciate this ongoing process as well.

In which projects do you particularly favour natural stone, and why?

We do not evaluate natural stone based on a specific project type, but rather in conjunction with design decisions, just as we do with other material choices. In every project, we reassess the material decision based on the design’s requirements.

How do you assess Turkey’s diversity and potential in natural stone?

Our site observations during project processes have also shown that our country possesses a very rich variety of natural stone. This diversity offers significant potential for use. However, the production of natural stone is limited in terms of high added value, and consequently, its use is also limited. In recent years, we have seen more initiatives in this regard from manufacturing firms. We believe that this potential will be realised to a greater extent.

Could you tell us about the design process for the Arkas Sanat Alaçatı project?

Arkas Sanat Alaçatı was designed around the idea of creating a new, art-centred public space and an alternative spatial experience to everyday life, in response to Alaçatı’s consumption-driven transformation, which has accelerated in recent years. The design process began with imagining this spatial experience.

The building was conceived with a spatial composition that gradually directs visitors from the surroundings inwards, transporting them from the town’s existing atmosphere to a new, art-focused spatial experience. The design process was carried out in parallel with the structural, mechanical and electrical teams. During the construction phase, a coordinated process was implemented to ensure that the design was executed in its entirety, adhering to all details, with all teams working together in a coordinated manner. As the architectural team, we were involved in the process from the very beginning of the design phase right through to the day the building was put into use. Through a strong and productive dialogue with our client, we underwent a highly qualified building production process in which every design decision at every point of the building was generated by us.

How did the project’s context (the fabric of Alaçatı) influence the design?

Arkas Sanat Alaçatı is situated within a built environment characterised by fragmented and small-scale structures in Alaçatı. Ensuring the building remained an integral part of the settlement fabric, despite the large volumes specified in the architectural programme and the constraints of the plot, was one of the key design decisions. The interpretation of the architectural programme, and the design decisions regarding the definition and interplay of volumes, masses and surfaces, were shaped by the defined relationship with the context that we sought to establish.

What role did natural stone play in this project? Which types of stone were chosen?

The travertine material used is the most important element defining the building’s architectural character. It was identified from the very outset of the design as one of the key elements that would help create the spatial atmosphere we envisioned. In establishing a spatial atmosphere focused on the perception of time, and in the expression of a simple yet powerful architectural character, the use of a single type of natural stone plays a decisive role. Natural travertine stone was used on the building’s walls, floors, the floors of open spaces, and outdoor furniture. The travertine-clad surfaces allowed the sensation of daylight to vary with the time of day and the seasons, ensuring that the sense of time became a foundational element of the spatial composition.

How do you think the role of natural stone in architecture will evolve in the future?

We believe that in the future, natural stone will assume a stronger role in architecture as a fundamental architectural tool that carries the building’s memory, its relationship with the climate, and a sense of timelessness.

Whilst architecture today is increasingly being driven towards a form of production that is rapidly consumed, short-lived and focused on visual impact, natural stone offers a powerful alternative thanks to its longevity, capacity to age gracefully and the sense of belonging it establishes with its geographical context. Particularly in the Mediterranean region, stone ensures that a building continues to generate value over time, thanks to its thermal behaviour, texture, relationship with light, and the character it acquires as it ages.

We believe that as discussions surrounding the climate crisis intensify in the coming period, the use of local materials and low-carbon construction will gain greater importance. In this context, natural stone could reclaim a central position due to its longevity, low maintenance requirements, and the fact that it necessitates fewer processing stages compared to many industrial materials. What is important here is the ability to reinterpret stone in conjunction with contemporary details, new production techniques, and current spatial requirements.

In our view, the role of natural stone in the architecture of the future will be defined as a material that is site-specific, enduring, reusable, and capable of generating powerful spatial atmospheres.

Do you have any brief advice for architects at the start of their careers?

They must not forget that the architectural design process is a holistic, thought-based and practice-oriented process from the very definition of the problem. To produce quality architecture, this process requires mastery of the requirements of different disciplines, an understanding of materials, and the ability to produce detailed solutions.

Furthermore, we advise them to focus on producing works that are enduring and of high quality, that speak for themselves, and that are sensitive to their surroundings and the wider community, rather than adopting fleeting, popular approaches.

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At the heart of this historic fabric, Enoteca dai Tosi, located within a rock cavity dating back to the Paleolithic Age, offers a contemporary interpretation of Matera’s deep-rooted heritage. The project was realized following an invited architectural competition. Five distinguished architecture offices competed to design the three-level wine bar, and the winning proposal came from the Belgian-based studio Architecten De Vylder Vinck Taillieu.

The architectural approach is understated yet powerful. The aim was to make the Sassi livable again while introducing a contemporary spirit to Matera. The resulting design is shaped by cultural humility and refined simplicity. The space has been treated almost like an archaeological excavation, where layers are carefully revealed; the original rock texture is left visible, while new interventions are integrated with deliberate respect.

Within the project, stairs made from local tuff stone extend throughout the interior like a fluid spine. Stone seating elements, inspired by ancient amphitheaters, are arranged in stepped formations. This flexible layout allows groups of different sizes to gather, creating a shared experience centered around wine and conversation.

One of the most striking details of the design is the use of vivid jade green tones. This bright color appears in the lamps, railings, and stools, referencing the original color of the entrance door of the Sasso. At the same time, it reflects the hues of wine bottles, creating a visual harmony within the space. All original openings have been preserved, while the floors have been reinterpreted with herringbone-patterned tile flooring. Descending the main staircase, visitors are welcomed by the bar area highlighted with glossy green pendant lamps. At a lower level, a wine cellar positioned behind a glass partition becomes visible.

The method of wine storage is another distinctive feature of the project. The stone brick surfaces have been carved so that the bodies of the bottles fit perfectly into the cavities. Although this technique may leave slight marks on the bottles, the design team embraces it as a conscious choice. In this way, each bottle becomes part of the space, almost as if it carries a personal engraving belonging to a wine emerging from a Sasso in Matera.

The adaptive reuse of buildings that were once abandoned or neglected has always represented an exciting transformation in the architectural world. In the case of Enoteca dai Tosi, this transformation has been carried out with a respectful, measured, and refined approach to its historic context. As Matera’s stone memory is brought back to life through the language of contemporary design, the value of the space is further enriched by the experiences shared over fine wine.

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The artist describes the harmony that arises when she wears the marble slabs not as a performance, but as a temporary integration belonging to a specific moment in time. While the body is constantly changing, marble presents a more enduring presence. For this reason, the resulting objects can be read as records that archive a fleeting form of the body. As time passes, the body may no longer fit these stone forms; yet the marble continues to exist as an autonomous object. In this way, the work makes visible the tension between permanence and transience.

In Temporary Pieces, certain parts of the body are covered with marble and thereby abstracted, guiding the viewer’s perception. The body almost becomes a carrier for marble, like a piece of jewelry, while the stone frames the body like an inverted ornament. Through this interaction, marble is no longer merely a hard and durable building material; instead, it is redefined within a fragile, personal, and even intimate context.

Naef’s relationship with marble is also rooted in a personal background. Growing up in her father’s sculpture school, the artist was raised next to Switzerland’s only marble quarry. Her engagement with stone makes her the fourth generation of stone sculptors in her family. In her work The Weight of Four Generations, a large marble piece placed on her leg makes this inheritance visible as both a physical burden and a form of ownership. This gesture represents not only the weight of tradition but also the effort to carve out a personal space within it.

Ultimately, Temporary Pieces invites viewers to reconsider marble by removing it from architectural or monumental contexts and focusing instead on its direct contact with the body. The tension between the stone’s resistance to time and the body’s changing nature lies at the center of the work. Here, marble is no longer merely a material to be shaped; it becomes an actor that holds memory, carries traces, and gains meaning through its relationship with the body.

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The conceptual framework of the series is based on the idea of looking at Peru’s landscape both from above and from beneath the earth’s surface. Surface compositions reminiscent of satellite imagery evoke the fragile topography of the Andes and the fluid textures of the Amazon basin, while the way the stone blocks come together reveals the sedimentary layers of the earth’s crust, fault lines, and tectonic traces. In this way, the tables become silent narrators that carry millions of years of geological processes into contemporary living spaces.

During the production process, the studio collaborates closely with Roberto Román, a master craftsman from Ayacucho whose family has practiced stone craftsmanship for three generations. The pieces are produced in his workshop in Lima using stone fragments that are often considered “waste” in industrial production. Instead of demanding large blocks, smaller pieces sourced from local quarries are assembled to create new geological compositions. This approach both respects the realities of artisanal production in Peru and proposes a more sustainable design model.

One of the most striking pieces in the series is a table specially produced for the world-renowned Central Restaurant in Lima. Designed in parallel with Chef Virgilio Martínez’s culinary approach, where Peru’s biodiversity is explored through a gastronomy structured around altitude, this piece establishes a conceptual bridge between landscape and flavor. The different layers of stone symbolize the diverse ecosystems represented in the restaurant’s dishes, turning the table into a spatial extension of the gastronomic experience.

Mapa de Suelos goes beyond being an aesthetic design series; it invites reflection on identity, land, and time. Each table can be read as a sculptural archive carrying Peru’s geological and cultural memory. Through this collection, RF Studio brings local materials and craftsmanship onto the global design stage, transforming contemporary furniture into a narrative of geography. Here, stone is not merely a material, but a story, one that connects the past to the present, shaped with respect and awareness.

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Exhibition Scale

 This year’s edition shattered all expectations! Spanning a massive 191,000 sq.m. of exhibition space, the fair brought together over 2,000 brands from 40 countries and regions. Notable participation with 300 international exhibitors – from industry key players in Italy, Turkey, Brazil, Greece, Egypt, Iran and Portugal to fast-growing markets such as Cambodia, India, and Vietnam, etc.

A Leap Forward – Chinese exhibitors truly stepped into the spotlight with remarkable leaps in quality, design, innovation, and presentation. Whether in material application, sustainable manufacturing, digital transformation, or brand storytelling, Chinese exhibitors showcased a new level of sophistication and global competitiveness, earning enthusiastic recognition from international buyers.

Global Attendance

The fair recorded over 154,000 visits from more than 122 countries and regions during the 4 days. Buyers, designers, architects, and visionaries flooded every halls and aisles, all searching for the next big thing. The international vibe was remarkably strong, with surging attendance from markets including India, Russia, South Korea, Australia, Malaysia, Vietnam, Thailand, Brazil, Italy and Singapore, etc. Connections were made, deals were sealed, and partnerships were born. This growing international presence reaffirmed Xiamen Stone Fair’s standing as a premier global hub for sourcing, networking, and industry collaboration.

Featured Events

Design, Trend, Insight, and What’s Next

 The Design Area in Halls A7 and A8 buzzed with creativity – top class architects and interior designers and stone brands collaborating to deliver habitat spaces and product installations that captivated global audiences. Xiamen Habitat Design and Life Festival and Stone Infinite Product Design Show left design enthusiasts absolutely spellbound, proving that natural stone is not just material – it’s inspiration.

The 5th Natural Stone Varieties Collection presented over 400 stunning samples of marble, granite, limestone, quartzite and beyond, revealing the hottest trends shaping 2026. “Launch Out @XSF” provided a dynamic platform for 43 exhibitors to unveil 59 new products and technologies across 5 specialized segments this year. While the WSC – Educational Sessions packed the house with industry leaders exploring the future of the stone industry.

The Passion Lives On

With the continued support and enthusiasm of the global stone community, Xiamen Stone Fair 2026 has once again set new benchmarks for excellence. The 4-day event wasn’t just an exhibition – it was a celebration of everything we love about this industry. The passion is stronger than ever. And the future will be brighter than ever.

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PK Türkiye,

• Stone Lifting, Oscillating Type,
• Stone Lifting, Non-Oscillating Type,
• Classic Type,
• Mini Micro Wire Machine (for smaller-sized blocks and rubble)
• Upgrade of Micro Wire Gang Saw (conversion from classic gangsaw to Micro Wire systems)

Besides, the sales of such products, it also provides repair, maintenance, spare parts, and consumable materials support. Furthermore, auxiliary machines such as wire winding machines and welding machines, which can be purchased together with the gang saw, also increase production speed.

The micro wire technology used in the PK Micro Wire Gang Saw introduces a exceptional innovation to the classic multi-wire gang saw approach. With a wire diameter of approximately half a millimeter, it operates with lower resistance in a more stable and controlled manner, minimizing cracks in the stone. In addition, production capacity increases, allowing more slabs to be obtained from each block. The slabs have a much smoother surface after cutting, requiring less post-processing.

• Increase of 25%–40% in the number of slabs.
• Up to 80% reduction in cutting waste.

The PK Micro Wire Gang Saw also significantly reduces operating costs by saving on raw materials, energy, water, maintenance, labor, and consumables. Savings are one of the strongest outcomes of this system. Since the machine operates in a fully enclosed structure and is equipped with economical servo motors, it provides an extremely quiet, easy, and safe working environment. It minimizes workplace accidents. PK Türkiye also stands by the manufacturer throughout the processes of ordering, installation, commissioning, and personnel training.

In conclusion, PK Türkiye Micro Wire Gang Saw increases efficiency through innovative technology; increased efficiency reduces costs, and this cycle offers businesses a sustainable and profitable production model.

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The natural stone projects I’ve designed and managed over the years have shown me this: Marble doesn’t age; it matures. And there’s a significant difference between these two concepts. Aging signifies a loss of value; maturing, however, is the emergence of character.

The marks that form on marble’s surface over time are often seen as flaws. Yet these marks are part of the stone’s relationship with the space and with people. When we look at ancient structures, what makes them valuable is not their flawlessness; it is the marks they bear. Marble’s reactions to time do not make it ordinary; on the contrary, they make it unique.

Today, many materials are treated as if they must retain their original state. They must not scratch, lose their luster, or change… Marble must stand apart from this expectation. Because marble, though inanimate, behaves like a living material; as it is used, it becomes an integral part of the space.

I frequently observe a phenomenon in projects: Users who initially worry about marble aging eventually not only accept this change over time but also form a bond with it and come to love it. Because every mark on the stone’s surface creates a memory belonging to the space. Here, marble is not merely a covering; it becomes a surface that holds the past.

Today, claiming that marble has aged often stems from a misguided expectation. Interpreting a surface that has lost its luster as a loss of value goes against the nature of marble. The value of marble does not lie in its resistance to time; it lies in its ability to exist alongside time.

Perhaps the question “Does marble age?” should be rephrased: Do we want materials that remain unchanged, or spaces that age and gain value alongside us? Because some materials are beautiful on the first day. Marble, however, grows more beautiful with time.

Deniz Çobanoğlu

Natural Stone Designer | London, UK

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