Where the Tile Becomes Itself

Where We Work

In the medina of Fez, Morocco — the oldest living city in the Arab world. Our family has operated this atelier since 1960, producing zellige, bejmat, tomettes, and kermoud for architectural projects across Morocco and beyond.

Our tiles have contributed to the restoration of the Mausoleum of Moulay Idriss II, the Karaouiyne Mosque and University, and the Medersa Ben Youssef in Marrakech.

Handmade architectural tiles laid on a construction site in Morocco

The Making

What hasn't changed

Industrial tile is pressed, printed, and fired by the thousand in a few hours. Ours is not.

Every bejmat and zellige still passes through the same hands it did in 1960. The clay is dug, kneaded, and shaped wet. The cutting is done by eye, one piece at a time. The kiln is fed and watched — not programmed.

We have added nothing to speed this up. The irregularities you see — the slight shift in a glaze, the living edge of a hand-cut zellige — are not flaws to be corrected. They are the record of how the surface was made.

Why this matters

A hand-fired surface ages differently than a printed one. It holds light unevenly, shifts with the room, and gains depth over the years rather than losing it.

It is also why the same atelier has been entrusted with work meant to last centuries — among them the restoration of the Mausoleum of Moulay Idriss II, the Karaouiyne Mosque and University, and the Medersa Ben Youssef. The material we send to a project comes from that same continuity.

For a contemporary project, this means a surface with provenance — one that belongs to a place and a method, and that we can still adapt to your specification rather than to a catalog.

Handcrafted Zellige tiled courtyard at Al-Qarawiyyin, Fez, Morocco

Karaouiyne Mosque and University

Intricate Zellige tilework and carved arches at Ben Youssef Madrasa

Medersa Ben Youssef

The atelier is where it begins. The specification is yours.