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讓泥土、釉色與窯火重新回到空間表面

當(dāng)瓷磚行業(yè)長期追求更平整、更統(tǒng)一、更高效率的工業(yè)化表達時，空間也在某種程度上被帶入了重復(fù)與冰冷。墻面可以嚴(yán)絲合縫，紋理可以高度一致，色號可以穩(wěn)定復(fù)制，但材料本身的溫度、觸感和細微變化，往往也隨之被削弱。

As the tile industry has long pursued more flat, more uniform, and more efficient industrial expression, spaces have to some extent been drawn into repetition and coldness. Walls can be seamlessly joined, textures can be highly consistent, color batches can be stably replicated — but the warmth, tactility, and subtle variations inherent to the material itself are often diminished along with them.

墨墨希望重新討論一種更貼近材料本源的產(chǎn)品可能：以傳統(tǒng)濕法擠出工藝為基礎(chǔ)，研發(fā)濕法工藝小磚系列，讓泥土在成型、干燥、施釉與燒成過程中保留更自然的肌理變化。它不是對工業(yè)標(biāo)準(zhǔn)的否定，而是在成熟制造體系中，為真實、質(zhì)感與原創(chuàng)表達保留一條更有溫度的路徑。

Momo seeks to re-examine a product possibility that returns closer to the essence of materials: building on the traditional wet extrusion process to develop a small-format tile series that allows clay to retain more natural textural variation through forming, drying, glazing, and firing. This is not a rejection of industrial standards, but rather a warmer path within a mature manufacturing system — one that preserves authenticity, texture, and original expression.

作為專注東方人居美學(xué)的原創(chuàng)設(shè)計瓷磚品牌，墨墨一直強調(diào)“原創(chuàng)、質(zhì)感、年輕理想家”的品牌核心。濕法擠出工藝小磚，正是這一核心在底層工藝上的延伸：原創(chuàng)不只停留在圖案和色彩，也進入泥料配比、成型方式、釉面狀態(tài)與空間應(yīng)用的系統(tǒng)研發(fā)。

As an original design tile brand focused on Eastern living aesthetics, Momo has always emphasized its brand core of "Originality, Texture, and Young Idealist." The wet extrusion small-format tile series is precisely an extension of this core at the foundational process level: originality goes beyond pattern and color to encompass systematic R&D in clay body formulation, forming methods, glaze surface states, and spatial application.

 

01

什么是濕法擠出工藝？

What is the Wet Extrusion Process?

濕法擠出工藝，是將具有較高含水率的陶瓷泥料，通過真空擠出設(shè)備連續(xù)擠壓成型，再經(jīng)過切割、干燥、施釉或表面處理、燒成等環(huán)節(jié)，形成磚體的一種傳統(tǒng)陶瓷成型方式。

The wet extrusion process is a traditional ceramic forming method in which ceramic clay body with relatively high moisture content is continuously extruded through vacuum extrusion equipment, then subjected to cutting, drying, glazing or surface treatment, and firing to form the tile body.

Extrusion Process

與常見的干壓成型不同，干壓工藝通常以粉料為基礎(chǔ)，通過高壓壓制獲得穩(wěn)定、規(guī)整的坯體；濕法擠出則更接近泥料本身的原生狀態(tài)。泥料在擠出過程中沿單一方向被推動，內(nèi)部礦物顆粒和黏土結(jié)構(gòu)會隨擠出方向自然排列，從而在磚體表面和邊緣形成細微而真實的工藝痕跡。

Unlike the common dry-press forming method — in which dry powder is compacted under high pressure to produce a stable, uniform body — wet extrusion stays closer to the clay's natural state. During extrusion, the clay is pushed in a single direction, causing internal mineral grains and clay structures to align naturally with the extrusion direction, thereby creating subtle yet genuine process marks on the tile surface and edges.

這些痕跡包括輕微的擠出紋理、邊緣微圓角、細小針孔、局部色差、自然窯變，以及因泥料干燥和燒成收縮帶來的尺寸微差。對于標(biāo)準(zhǔn)化大規(guī)格瓷磚而言，這類變化常被視為需要盡量控制的偏差；而在手工磚、小規(guī)格藝術(shù)磚和濕法工藝產(chǎn)品中，它們恰恰構(gòu)成了產(chǎn)品識別度與空間生命力的一部分。

These marks include slight extrusion texture, micro-rounded edges, fine pinholes, localized color variation, natural kiln transformation, and dimensional variation caused by clay drying and firing shrinkage. For large-format standard tiles, such variations are often regarded as deviations to be minimized; but for artisanal tiles, small-format artistic tiles, and wet extrusion products, they precisely constitute part of the product's identity and the vitality of the space.

因此，濕法擠出工藝的核心價值，不是制造“每一片都完全相同”的磚，而是在可控品質(zhì)基礎(chǔ)上保留“每一片都有細微差別”的材料真實感。

Thus, the core value of the wet extrusion process lies not in manufacturing tiles that are "identical in every piece," but in preserving the material authenticity of "each piece bearing subtle variation" on a foundation of controlled quality.

 

02

為什么墨墨選擇濕法工藝小磚？

Why does Momo Choose Wet Extrusion Small-Format Tiles?

小磚天然具有更強的尺度感和裝飾性。它既可以作為墻面、島臺、吧臺、玄關(guān)、浴室等局部空間的視覺重點，也可以通過不同鋪貼方式建立細膩的秩序、節(jié)奏和光影層次。

Small-format tiles naturally possess a stronger sense of scale and decorative quality. They can serve as visual focal points in localized spaces such as walls, island counters, bar counters, entryways, and bathrooms, or establish nuanced order, rhythm, and light-and-shadow layering through different laying patterns.

Decorative

濕法擠出工藝與小磚的結(jié)合，

使這種尺度優(yōu)勢進一步放大。小

規(guī)格磚面更容易呈現(xiàn)泥料擠出后

的細微肌理，磚與磚之間的縫隙

也會形成更清晰的陰影關(guān)系。

當(dāng)自然光或低色溫?zé)艄饴湓趬γ?/p>

上，微圓角、針孔、縮釉、窯變

色差會共同構(gòu)成有層次的表面，

而不是一整塊平滑、冷硬、沒有

變化的平面。

The combination of wet extrusion process with small-format tiles further amplifies this scale advantage. The smaller tile surface more readily reveals the subtle textures left by clay extrusion, and the joints between tiles create more distinct shadow relationships. When natural light or low-color-temperature lighting falls on a wall, the micro-rounded edges, pinholes, glaze retraction, and kiln color variation collectively form a layered surface — rather than a monolithic, smooth, cold, and unvarying plane.

這也是墨墨研發(fā)濕法工藝小磚的重要出發(fā)點：用傳統(tǒng)工藝打破工業(yè)化建材的重復(fù)感，讓空間表面重新?lián)碛惺肿鳒囟?、材料質(zhì)感和可被感知的細節(jié)。

This is also an important starting point for Momo's R&D of wet extrusion small-format tiles: using traditional craftsmanship to break the repetitiveness of industrial building materials, allowing spatial surfaces to regain handcrafted warmth, material texture, and perceptible detail.

對于年輕一代居住者和設(shè)計師而言，家不再只是功能容器，也是一種審美表達。越來越多“年輕理想家”希望空間不必過度完美，卻要真實、松弛、有獨特記憶點。濕法工藝小磚正適合這樣的需求：它不夸張，卻有辨識度；不追求絕對統(tǒng)一，卻能讓墻面、家具立面和局部場景更有層次。

For the younger generation of homeowners and designers, home is no longer merely a functional container but also an aesthetic expression. An increasing number of "Young Idealists" desire spaces that need not be overly perfect, but are authentic, relaxed, and endowed with distinctive memorable points. Wet extrusion small-format tiles are perfectly suited to this need: understated yet identifiable; not pursuing absolute uniformity, yet capable of adding layering to walls, furniture elevations, and localized scenes.

 

03

三個系列，呈現(xiàn)濕法工藝的不同面向

Three Series, Presenting Different Facets of the Wet Extrusion Process

圍繞濕法擠出工藝，墨墨形成了釉間、窯雨、向火三大濕法工藝小磚系列。三者共享同一工藝基礎(chǔ)，卻通過不同釉面、色彩和質(zhì)感方向，回應(yīng)不同空間風(fēng)格。

Centered on the wet extrusion process, Momo has developed three small-format tile series: Glaze Veil, Kiln Rain, and Kiln Ember. While all three share the same process foundation, they respond to different spatial styles through distinct glaze surfaces, color palettes, and textural directions.

釉間 Glaze Veil 

濕法擠出工藝 + 滿釉

Wet extrusion + full glaze

60×227×10mm

窯雨 Kiln Rain

濕法擠出工藝 + 滿釉

Wet extrusion + glaze retraction

60×227×12mm

向火 Kiln Ember

濕法擠出工藝 + 無釉/噴釉/金屬釉

Wet extrusion; unglazed / spray-glazed / metallic glaze

60×227×12mm

100x100x12mm

釉間 Glaze Veil

釉間 Glaze Veil，規(guī)格為 60×227×10mm

采用濕法工藝與滿釉表面表達。釉白、釉灰、釉青、釉綠等低飽和色系，讓磚面呈現(xiàn)溫潤、柔和、安靜的視覺效果。

Glaze Veil, available in 60×227×12mm, employs the wet extrusion process with a full-glaze surface expression. Low-saturation color tones such as Glaze White, Glaze Gray, Glaze Teal, and Glaze Green give the tile surface a warm, soft, and tranquil visual effect.

它適合臥室背景墻、浴室、日式玄關(guān)等空間，用通體滿釉的柔光感弱化硬質(zhì)建材的冰冷感，營造都市療愈與日式靜謐氛圍。

It is suited to bedrooms, bathrooms, Japanese-style entryways, and other spaces, using the soft sheen of a full-glaze finish to soften the coldness of hard building materials and cultivate an atmosphere of urban sanctuary and Japanese serenity.

窯雨 Kiln Rain

窯雨 Kiln Rain，規(guī)格為 60×227×12mm

采用濕法工藝與縮釉表面表達?？s釉讓磚面形成滿釉與裸露顆粒的隨機交錯，釉白、雨霽、苔綠、翠綠等顏色強化了雨水、泥土與自然植物的聯(lián)想。

Kiln Rain, available in 60×227×10mm, employs the wet extrusion process with a glaze-retraction surface expression. Glaze retraction creates a random interplay of full-glaze areas and exposed raw clay on the tile surface, while colors such as Glaze White, Post-Rain, Moss Green, and Emerald reinforce associations with rainwater, earth, and natural vegetation.

它適合島臺、浴室墻面、茶室、玄關(guān)等區(qū)域，在局部空間中形成更鮮明的手工肌理和自然層次。

It is suited to island counters, bathroom walls, tea rooms, entryways, and other areas, forming more pronounced handcrafted texture and natural layering within localized spaces.

 

向火 Kiln Ember

向火 Kiln Ember，是濕法工藝小磚中更具原生張力的代表。產(chǎn)品包含 100×100×12mm 與 60×227×12mm 兩類規(guī)格，覆蓋無釉、噴釉、金屬釉以及滿釉/不滿釉等不同表面狀態(tài)。素壤、青灼、霜灼、窯霜、赤火等色彩，強調(diào)泥土、火焰與煙火感的關(guān)系。

Kiln Ember represents the most primal and raw expression within the wet extrusion small-format tile range. The product line encompasses two specifications: 100×100×12mm and 60×227×12mm, covering unglazed, spray-glazed, metallic glaze, and full-to-partial glaze surface options. Color tones including Raw Earth, Verde Flame, Frost Flame, Kiln Frost, and Crimson Flame emphasize the relationship between clay, flame, and the warmth of hearth.

它更適合茶室、咖啡廳吧臺、庭院墻面、藝術(shù)空間、復(fù)古民宿等場景，用粗糲、溫暖、帶有窯火痕跡的表面建立空間記憶點。

It is better suited to tea rooms, café bar counters, courtyard walls, art spaces, and vintage-style homestays, using rough, warm surfaces marked with kiln fire traces to establish memorable spatial identity.

從釉間的柔光滿釉，到窯雨的隨機縮釉，再到向火的原生煙火質(zhì)感，墨墨并沒有把濕法工藝簡單定義為某一種風(fēng)格，而是將其轉(zhuǎn)化為一個可延展的產(chǎn)品系統(tǒng)。它可以溫柔，也可以粗糲；可以服務(wù)家庭空間，也可以進入商業(yè)項目；可以做安靜背景，也可以成為空間視覺焦點。

From the soft-glow full glaze of Glaze Veil, to the random glaze retraction of Kiln Rain, to the raw hearth-fired texture of Kiln Ember, Momo does not reduce the wet extrusion process to any single style, but transforms it into an expandable product system. It can be gentle or rugged; it can serve residential spaces or commercial projects; it can serve as a quiet backdrop or become the visual focal point of a space.

 

04

讓墻面從背景變成有呼吸的界面

Three Series, Presenting Different Facets of the Wet Extrusion Process

在現(xiàn)代空間中，墻面和立面常常承擔(dān)兩種角色：一是安靜的背景，二是記憶點的來源。濕法工藝小磚的優(yōu)勢，正是在這兩者之間找到平衡。

In modern spaces, walls and elevations often fulfill two roles: one, a quiet backdrop; two, a source of memorable detail. The advantage of wet extrusion small-format tiles lies precisely in finding the balance between these two.

它不像強圖案材料那樣快速占滿視覺，也不像純平材料那樣容易失去細節(jié)。濕法小磚通過釉色深淺、磚邊陰影、表面微差和縫隙節(jié)奏，在近看時提供豐富觸感，在遠看時形成整體秩序。它的裝飾性不依賴夸張圖案，而來自材料自身的細微變化。

Unlike bold-patterned materials that rapidly dominate the visual field, or pure flat materials that easily lose detail, wet extrusion small tiles, through variations in glaze tone, tile-edge shadows, surface micro-differences, and joint rhythm, provide rich tactility up close and form an overall order at a distance. Its decorative quality does not rely on exaggerated patterns but arises from the subtle variations inherent to the material itself.

PERSONAL AESTHETICS

這類變化會隨著光線發(fā)生改變。白天，自然光讓釉面和泥料肌理顯得更柔和；夜晚，低角度暖光能放大磚面起伏，形成更強的明暗層次。對于商業(yè)空間而言，這種變化有助于建立品牌氛圍和拍攝傳播點；對于居住空間而言，它能讓家更松弛、更耐看，也更有個人審美表達。

These variations shift with light. During the day, natural light softens the appearance of the glaze surface and clay texture; at night, low-angle warm light amplifies the surface undulations, creating stronger contrast and shadow layering. For commercial spaces, this variability helps establish brand atmosphere and photogenic moments; for residential spaces, it makes the home feel more relaxed, more enduring to look at, and more expressive of personal aesthetics.

 

05

從原創(chuàng)設(shè)計到原創(chuàng)工藝

Three Series, Presenting Different Facets of the Wet Extrusion Process

墨墨對濕法擠出工藝小磚的研發(fā)，并不是一次簡單的復(fù)古回潮。傳統(tǒng)工藝要真正進入現(xiàn)代空間，必須經(jīng)過泥料穩(wěn)定性、成型參數(shù)、干燥曲線、釉面適配、燒成控制、產(chǎn)品規(guī)格和終端施工方式的系統(tǒng)轉(zhuǎn)化。

Momo's R&D of wet extrusion small-format tiles is not a simple nostalgic revival. For traditional craftsmanship to truly enter modern spaces, it must undergo systematic transformation in clay body stability, forming parameters, drying profiles, glaze compatibility, firing control, product specifications, and end-user installation methods.

Looking Different

這意味著，墨墨所追求的原創(chuàng)，不只是“看起來不一樣”，而是從材料選擇、工藝路徑到空間落地都具有自己的判斷。濕法工藝小磚所呈現(xiàn)的手工感，也不是任由偏差失控，而是在品質(zhì)控制和自然變化之間建立新的平衡。

正因如此，濕法工藝小磚回應(yīng)了當(dāng)下建材消費中的一個重要變化：人們不再只滿足于材料的功能與價格，也開始關(guān)注材料是否有溫度、是否能表達個人審美、是否能讓空間更接近真實生活。

This means that the originality Momo pursues is not merely "looking different," but encompasses independent judgment from material selection and process pathways to spatial implementation. The handcrafted feel presented by wet extrusion small-format tiles is not a letting-go of variation into chaos, but rather the establishment of a new balance between quality control and natural variation.

It is precisely for this reason that wet extrusion small-format tiles respond to an important shift in current building material consumption: people are no longer satisfied solely with a material's function and price, but also care whether it carries warmth, whether it can express personal aesthetics, and whether it can bring a space closer to authentic living.

墨墨以濕法擠出工藝為基礎(chǔ)，將釉間、窯雨、向火三大系列構(gòu)建為一個兼具實用價值與裝飾價值的小磚系統(tǒng)。它打破工業(yè)化瓷磚過度統(tǒng)一的冷感，也避免把手工感停留在表面敘事中；它讓泥土、釉色與窯火重新回到空間表面，讓每一面墻都擁有可觸摸、可觀看、可停留的質(zhì)感。

Building on the wet extrusion process, Momo has constructed the three series — Glaze Veil, Kiln Rain, and Kiln Ember — into a small-format tile system that combines utility with decorative value. It breaks the coldness of over-uniformity inherent in industrial tiles, while also avoiding the reduction of handcrafted feel to mere surface narrative; it brings clay, glaze, and kiln fire back to spatial surfaces, endowing every wall with a texture that is touchable, visible, and worth lingering upon.

對于追求原創(chuàng)表達、重視材料質(zhì)感、希望擁有獨特居住體驗的年輕理想家而言，墨墨濕法工藝小磚提供了一種新的選擇：不必用絕對完美定義高級，而是在真實的細節(jié)中，看見空間更長久的美。

For Young Idealists who pursue original expression, value material texture, and desire a unique living experience, Momo's wet extrusion small-format tiles offer a new choice: one need not define sophistication through absolute perfection, but can discover a space's more enduring beauty within authentic detail.

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