All posts filed under: Workshop Updates 1

My Mosaic Discoveries in Berlin this summer

Published by gertrud

My “Art in Architecture” Mosaic Discoveries in Berlin in the Summer of 2026 While I was waiting for the birth of my third grandchild in Berlin, I set out to explore mosaics in the eastern part of the city. I’m familiar with the mosaics at the Haus des Lehrers and the reopened Café Moskau. This summer, I discovered two more wall mosaics at a construction site on Karl-Marx-Allee, just around the corner from my son’s family’s apartment, where I spent a lot of time this summer for the reason mentioned above. I strike up a conversation with a passerby, who also points out the mosaic fountain in the garden of the former State Council building in Berlin-Mitte. That’s how the idea for a photo walk with my friend and photographer Sabine Ohle was born. Mosaikbrunnen befindet sich im Garten des ehemaligen Staatsratsgebäudes, heutige ESMT (European School of Management and Technology), Schlossplatz 1, 10178 Berlin On a hot July morning, I meet up with Sabine to take pictures of the mosaic fountain. The garden is accessible …

Fashion and Mosaics

Published by gertrud

As part of Paris Fashion Week, mosaicmoments studio showcased Kathrin von Rechenberg’s naturally dyed silk collection and Gertrud Müller’s natural stone mosaics on October 4, 2026. It was a wonderful evening with many guests who observed the contrast between the flowing fabrics and the cool stones with great interest.

Owl, owl

Published by gertrud

I am completely enchanted by this little owl, which was carved from rough marble and granite. Actually, I just wanted to try out a new technique and wasn’t at all sure if it would turn out to be anything worth showing off. In this method, the tesserae are first laid out on a template. Next, apply a thick layer of tile adhesive to a second, identical template covered with plastic sheeting. As a result, the adhesive does not bond to the substrate, and once dry, the finished mosaic can be removed as a single piece and transferred to a permanent backing. Since I deliberately wanted to place the tesserae at an angle to suggest the softness and fluffiness of a bird’s plumage, this technique proved to be ideal. The owl’s head came together surprisingly quickly. Then my gaze wandered to my woodpile. The bark of an olive tree from Ayvalık seemed perfectly suited to capturing the structure of the plumage. In addition, there was a cedar shingle, the kind traditionally used in the United States …