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Timber entrance door, with its surrounds and small porch clad by decorative tiles. The door has sixteen raised and bevelled panels, providing extra strength, heat insulation and prominent shadowing. In the Kasbah district of Marrakech, Morocco.
[There are 5 images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The Colonial Theater in South Hill, Virginia, dates from 1925, when the town had a population of around 1400. Originally constructed for musical performances and vaudeville, it was remodeled as a movie theater in 1933 with new lighting and sound systems. It had retail and office space (e.g. lawyers and insurance agents) on the second floor and a Masonic meeting hall on the top floor. For a period of time the building also housed the post office with its entrance on the clipped corner. During the 1930s it encouraged clean-up campaigns, offering “Tin Can Movies” with free admittance to children who brought in 25 tin cans; it supported the war efforts in the early 1940s by offering free admission for bringing in scrap iron. It closed down in the 1970s. In 2001 it was purchased by a civic group and in 2011, after some renovations, became a cultural center and a site for performing arts—the 400-seat theater on the bottom level, an art gallery and offices on the second, and a ball room on the third.
The 3-story red brick structure with 14,571 square feet is the tallest building in the town of South Hill. The style is commercial. It’s most noticeable feature may be the clipped corner, a design element often used for buildings with street corner entrances. One of the major repairs was replacing a deteriorated roof with one of standing seam metal, similar to the original. The walls of the front and right facades culminate in a parapet, subtly ornamented in brick panels; the theater section has solid walls. Below the parapetted portion is a wide overhang supported by brackets of brick between which is a series of stone tablets. These panels are framed in brick with white stones at each corner. The use of stone also accents each 2-story window section with white stones again at the corners. Separating the ground level from the upper two stories is a stone ledge. On the front façade are 1/1 double-hung sash windows in groups of two and threes, each with its own transom; they extend around the clipped corner onto the side façade. At street level there are large display windows with vertically segmented transoms. The corner entrance is a double-leaf wood door, each leaf with a single vertical pane; above is a transom which provides continuity with the design of the larger windows. The lobby entrance consists of two pairs of wood doors, each with an upper vertical pane and 6 smaller panes below. Aside from changes made to the lobby entrance, the structure possesses architectural integrity, maintaining the original design and use of materials.
I had no opportunity to go inside to see the floors of ceramic tile and the pressed tin ceilings. More on the interior design is at the Virginia Department of Historic Resources (VDHR) site in the National Register nomination form, to which I’m indebted for much of this information. The theater was placed on the National Register of Historic Places May 19, 2003 with reference ID #03000448
The theater’s internet site is www.colonialcenterva.org/
The VDHR link to the pdf nomination file is
www.dhr.virginia.gov/registers/Counties/Mecklenburg/301-5...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
I didn't think it advisable to get any closer to take this photo of a decoratively tiles house entrance. Not without a tin of dog food anyway.
Casa Batlló, Barcelona, Catalonia, Spain
Casa Batlló is a remodel of a previously built house. It was redesigned in 1904 by Gaudí and has been refurbished several times after that. Casa Batlló evokes the creativity and playfulness of Gaudí’s work through the incrassate facades and creative floors. Gaudí's assistants Domènec Sugrañes i Gras, Josep Canaleta and Joan Rubió also contributed to the renovation project.
The local name for the building is Casa dels ossos (House of Bones), as it has a visceral, skeletal organic quality. It was originally designed for a middle-class family and situated in a prosperous district of Barcelona.
It seems that the goal of the designer was to avoid straight lines completely. Much of the façade is decorated with a mosaic made of broken ceramic tiles (trencadís) that starts in shades of golden orange moving into greenish blues. The roof is arched and was likened to the back of a dragon or dinosaur.
Nervi, Liguria
Nervi, Liguria, Italy
Founded in 1779, renovated in 1927
Home cooking, Piedmont selected wines
The 1906 and '07 tube stations, on the Bakerloo, Northern and Piccadilly lines, built by the Underground Electric Railways of London group were designed by architect Leslie Green and they are noteworthy for their extensive use of ceramic tiling. The ticket hall interiors were in cream and green tiles and had a decorative, relief dado band - the vast majority of the halls used the acanthus tile - much rarer is the pomegranate version seen here.
The Leeds Fireclay Company, whose main works were at Wortley, Leeds in West Yorkshire, were amongst the major manufacturers of glazed architectural ceramic products such as faience, terracotta, bricks and tiles. The company was founded in 1889 as an amalgamation of several concerns - including the Burmantofts Fireclay Company who manufactured the distinctive ox-blood faience facades of Edwardian London Tube stations. Many Edwardian and mid-twentieth century buildings used Leeds products, including their 'Marmo' artifical marble finishes. The company petered out in post-WW2 years, formally closing in c1957. This very stylish advert dates from 1938 - interesting choice of colour, layout and typefaces make it very striking.
These tiles in a Faro church are faded by the sun slightly but certainly hint at the wealth this region once had during the days of the famous Portuguese explorers.
Park Güell, Barcelona, Catalonia, Spain
Park Güell is a garden complex with architectural elements situated on the hill of El Carmel in the Gràcia. It was designed by the Catalan architect Antoni Gaudí and built in the years 1900 to 1914. It has an extension of 17.18 ha (0.1718 km²), which makes it one of the largest architectural works in south Europe. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí".
The park was originally part of a commercially unsuccessful housing site, the idea of Count Eusebi Güell, after whom the park was named. It was inspired by the English garden city movement. The intention was to exploit the fresh air (well away from smoky factories) and beautiful views from the site, with sixty triangular lots being provided for luxury houses. Ultimately, only two houses were built, neither designed by Gaudí. One was intended to be a show house, but on being completed in 1904 was put up for sale, and as no buyers came forward, Gaudí, at Güell's suggestion, bought it with his savings and moved in with his family and his father. Gaudí lived in this house from 1906 to 1926.
The colorful ceramic serpentine bench, that runs around the square was designed by Josep Maria Jujol between 1910 and 1914, made from prefabricated blocks of concrete clad with tile-shard mosaic and cylindrical pieces of pottery.
The Alcázar of Seville, officially called Royal Alcázar of Seville (Spanish: Real Alcázar de Sevilla or Reales Alcázares de Sevilla),[1] is a historic royal palace in Seville, Spain. It was formerly the site of the Islamic-era citadel of the city, begun in the 10th century and then developed into a larger palace complex by the Abbadid dynasty (11th century) and the Almohads (12th to early 13th centuries). After the Castilian conquest of the city in 1248, the site was progressively rebuilt and replaced by new palaces and gardens. Among the most important of these is a richly-decorated Mudéjar-style palace built by Pedro I during the 1360s.[2][3]
The palace is a preeminent example of Mudéjar style in the Iberian Peninsula and also includes sections with Gothic and Renaissance elements. The upper stories of the Alcázar are still occupied by the royal family when they visit Seville and are administered by the Patrimonio Nacional. It was registered in 1987 by UNESCO as a World Heritage Site, along with the adjoining Seville Cathedral and the General Archive of the Indies.[4]
Islamic era
In the year 712, Seville was conquered by the Umayyad Caliphate. In the year 913–914, after a revolt against Cordoba's government, the first caliph of Al-Andalus Abd al-Rahman III built a fortified construction in place of a Visigothic Christian basilica.[9] It was a quadrangular, roughly square enclosure about 100 meters long on each side, fortified with walls and rectangular towers, and annexed to the city walls.[10][11] In the 11th century, during the Taifa period, the Abbadid king Al-Mu'tamid expanded the complex southwards and eastwards,[10] with a new southern enclosure measuring approximately 70 by 80 meters.[11] This new palace was called Al Mubarak (Arabic: المبارك).[2] Various additions to the construction such as stables and warehouses were also carried out.[9]
Towards 1150, the Almohad Caliphs began to develop Seville as their capital in Al-Andalus. The Almohad governor extended the fortified complex to the west, nearly doubling its size. At least six new courtyard palaces were constructed in the old enclosures and nine palaces were added in the western extensions.[11] In 1163 the caliph Abu Ya'qub Yusuf made the Alcazar his main residence in the region.[9][11] He further expanded and embellished the palace complex in 1169, adding six new enclosures to the north, south, and west sides of the existing palaces. The works were carried out by architects Ahmad ibn Baso and 'Ali al-Ghumari.[11] With the exception of the walls, nearly all previous buildings were demolished, and a total of approximately twelve palaces were built.[10] Among the new structures was a very large garden courtyard, now known as the Patio del Crucero, which stood in the old Abbadid enclosure. Between 1171 and 1198 an enormous new congregational mosque was built on the north side of the Alcazar (later transformed into the current Cathedral of Seville). A shipyard was also built nearby in 1184 and a textiles market in 1196.[11]
There are few remnants of these Islamic-era constructions today. Archaeological remains of the Al Mubarak Palace are currently preserved under Patio de la Monteria. Several wall painting fragments were found that are now exhibited in the Palacio del Yeso.[9] The courtyard buildings now known as the Palacio del Yeso (or Patio del Yeso), the Palacio de la Contratación, and the Patio del Crucero all preserve remains from the Almohad period
Christian era
Seville was conquered in 1248 by Ferdinand III of Castile. The former Moorish palace-citadel was taken over by the Castilian monarchs and underwent significant reconstruction and modification, such that most of the Islamic-era structure has since disappeared.[12]
A Gothic-style palace was built on the site in 1258 for Alfonso X (Ferdinand's successor).[3] It stood on the site of the present-day Patio del Crucero, incorporating and preserving parts of the Almohad-era courtyard that was found here, including the Islamic-style garden divided into quadrants by two intersecting paths. Over these paths and around the courtyard, Gothic-style vaults and pointed arches were added, along with a hall divided into several naves. Corners towers containing spiral staircases granted access to an upper terrace.[13] Of the Gothic palace today, only the upstairs Sala de las Bóvedas and the Baños de María de Padilla, with their Gothic cross-ribbed vaults, have been preserved or partially preserved.[13]
In the mid-14th century, Alfonso XI commissioned the construction of a new throne hall known as the Hall of Justice, which commemorated his victory at the Battle of Río Salado (1340).[2] It is attached to the Patio del Yeso, an Almohad-era courtyard, and also serves as its antechamber. This new addition was made in a Mudéjar style, with stucco decoration and an overall arrangement of elements directly based on contemporary Islamic Andalusi architecture.[2]
1895 photo of a Mudéjar room in the palace
In the 1360s, much of the complex was rebuilt by Pedro I in an ornate Mudéjar style.[2] The palace includes a monumental façade, a courtyard (the present-day Patio de las Doncellas), and a great domed hall known as the Hall of the Ambassadors (Salon de los Embajadores). A Latin inscription on the palace façade includes the year 1364 while an Arabic inscription in the Hall of Ambassadors gives the year 1366, which indicate the probable dates for the start and completion of construction, respectively.[2] The architecture of Pedro I's palace has strong similarities to the contemporary Nasrid palaces of the Alhambra in Granada, although the complicated chronology of construction and renovations at both sites makes it difficult to determine what roles they might have played in influencing each other's designs.[2] It is likely that Muhammad V, the Nasrid ruler of Granada and Pedro I's ally, sent craftsmen to Seville to help assist in the palace's construction and decoration.[14] Under the Catholic Monarchs, Isabella (d. 1504) and Fernando (d. 1516), the upper floor of the palace was extended and transformed into their main residence.[9]
The palace was the birthplace of Infanta Maria Antonietta of Spain (1729–1785), daughter of Philip V of Spain and Elisabeth Farnese, when the king was in the city to oversee the signing of the Treaty of Seville (1729) which ended the Anglo-Spanish War (1727).[10] Much of the old Gothic Palace of Alfonso X was destroyed during the 1755 Lisbon earthquake.[13]
from wikipedia
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This set has 7 images] Built in 1920 in the Mediterranean architectural style, the 1-story Kansas City-Southern Depot in Mena, Arkansas sports a Spanish red ceramic tile roof; this architectural style was "popular for passenger depots during the early twentieth century in America." (quoted from the National Register of Historic Places nomination form--link provided below). The rectangular brick structure is long and narrow, 175' long and just under 28' wide. "A wide cornice surrounds the building. The walls and continuous foundation are built of mat tapestry brick, dark red in color with copings and pier heads of Carthage cut stone. The bricks are laid in black mortar with scratch joints." (again from the nomination form). Stone is used as a decorative material throughout, in the pier heads, in bits of white on columns and edges of elements of the facade, in the depot sign and in the projecting vent/window above the building sign. An open waiting area is at one of the building, with original concrete settees. Large wood brackets support the wide overhanging eaves. The building declined after closing in 1969. But in 1985, with contributions and many hours of volunteer labor, the structure reopened in 1987. It's owned by the city of Mena (in Polk County) and houses a museum of local history and railroad items. I had no time to view the interior, to my regret. The building was listed on the National Register of Historic Places June 5, 1991 with ID# 91000685
National Register of Historic Places Nomination Form-- www.arkansaspreservation.com/National-Register-Listings/P...
A brief account of the restoration is at www.menaarkansas.us/depot/index.htm
The photos in this series:
1) front facade, showing the length of the building
2) depot sign, the tiled roof, and ornamental elements mixing brick and stone
3) windows and brickwork below the depot sign
4) view of outside covered waiting area
5) stone pier head
6) concrete seating in waiting area
7} large wooden brackets and view of wide eave
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Kirigami artwork by Chelsea Hrynick Browne.
Blogged: www.allthingspaper.net/2016/02/kirigami-collage-art-by-ch...
17h x 9w x 6d
6Millefiori,mirror,ceramic tiles,iridized glass,Portieux blue milk glass,earth glass,vintage glass beads,glass shapes
Moorgate station has seen many changes over the years - from the original sub-surface Metropolitan Railway platforms opened in 1865, to the tube platforms of the City & South London Railway (now Northern line) in 1900, and the 1904 Great Northern & City Railway (now National Rail). Over the years various lift shafts and exchange platforms were constructed, many taken out of use when escalators were introduced.
A close up of the lettered tiles from the C&SLR lower lift landings of 1900.
Three Muslim women standing at back entrance to the Shah (Imam) Mosque in Esfahan.
Imam Mosque stands at the south side of Naghsh-i Jahan Square. Built during the Safavid period, it is an excellent example of Islamic architecture of Iran, and is one of the masterpieces of Persian Architecture. It is registered, along with the Naghsh-i Jahan Square, as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions.
Photo taken on August 20, 2007 outside the back entrance to Imam Mosque, Isfahan, Iran.
THINK PINK, a Mosaic Mirror donation for the mammography department at our local hospital. Needs to be edged with vitreous glass tiles and grouted. I'm thinking cream colored grout...
Materials: recovered vintage dishware and antique china; stained glass; (generously donated by Terry at Burlington Community Glass Studio in Burlington, Vermont); glazed ceramic tile, millefiore; salvaged mirror; on 1/4" 'environmental' MDF. Size = 24" x 30"
Park Güell, Barcelona, Catalonia, Spain
Park Güell is a garden complex with architectural elements situated on the hill of El Carmel in the Gràcia. It was designed by the Catalan architect Antoni Gaudí and built in the years 1900 to 1914. It has an extension of 17.18 ha (0.1718 km²), which makes it one of the largest architectural works in south Europe. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí".
The park was originally part of a commercially unsuccessful housing site, the idea of Count Eusebi Güell, after whom the park was named. It was inspired by the English garden city movement. The intention was to exploit the fresh air (well away from smoky factories) and beautiful views from the site, with sixty triangular lots being provided for luxury houses. Ultimately, only two houses were built, neither designed by Gaudí. One was intended to be a show house, but on being completed in 1904 was put up for sale, and as no buyers came forward, Gaudí, at Güell's suggestion, bought it with his savings and moved in with his family and his father. Gaudí lived in this house from 1906 to 1926.
Hypstyle Room
The room was conceived of as a covered space which, among other uses, could serve as a market for the estate. The regular layout of the dense colonnade is interrupted at certain sections to create three open spaces, one larger central one and two smaller ones, like the naves of a church.
This room is used for prayers and study during winter, when it is too cold to be outdoors. Jame Mosque was first constructed in the 12th century, and reconstructed in the mid-14th century. It is still used today. Photo taken on August 16, 2015 in Yazd, Iran.
Azulejos de cerámica or ceramic tiles in Barrio Santa Cruz. The Santa Cruz neighborhood is the heartbeat of Seville’s bustling tourist district. Within this barrio, there are many Spanish style homes, colorful Andalusian buildings, tapas bars, cafes, along with little squares, plazas with fountains and shops full of ceramics and crafts. Check out the other 14 things to see and do in Seville.
treasuresoftraveling.com/14-things-seville-spain/
#TreasuresOfTraveling #Seville #Sevilla #Spain #España #Andalusia #Andalucia #SantaCruzNeighborhood #BarrioSantaCruz #Azulejos #AzulejosDeCerámica #CeramicTiles #TouristDistrict #TravelSpain #Europe #SpanishTreasures #PhotoOfTheDay #WorldTraveler #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTravel #GayTravelBlog #GayTraveler
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This set has 7 images] Built in 1920 in the Mediterranean architectural style, the 1-story Kansas City-Southern Depot in Mena, Arkansas sports a Spanish red ceramic tile roof; this architectural style was "popular for passenger depots during the early twentieth century in America." (quoted from the National Register of Historic Places nomination form--link provided below). The rectangular brick structure is long and narrow, 175' long and just under 28' wide. "A wide cornice surrounds the building. The walls and continuous foundation are built of mat tapestry brick, dark red in color with copings and pier heads of Carthage cut stone. The bricks are laid in black mortar with scratch joints." (again from the nomination form). Stone is used as a decorative material throughout, in the pier heads, in bits of white on columns and edges of elements of the facade, in the depot sign and in the projecting vent/window above the building sign. An open waiting area is at one of the building, with original concrete settees. Large wood brackets support the wide overhanging eaves. The building declined after closing in 1969. But in 1985, with contributions and many hours of volunteer labor, the structure reopened in 1987. It's owned by the city of Mena (in Polk County) and houses a museum of local history and railroad items. I had no time to view the interior, to my regret. The building was listed on the National Register of Historic Places June 5, 1991 with ID# 91000685
National Register of Historic Places Nomination Form-- www.arkansaspreservation.com/National-Register-Listings/P...
A brief account of the restoration is at www.menaarkansas.us/depot/index.htm
The photos in this series:
1) front facade, showing the length of the building
2) depot sign, the tiled roof, and ornamental elements mixing brick and stone
3) windows and brickwork below the depot sign
4) view of outside covered waiting area
5) stone pier head
6) concrete seating in waiting area
7} large wooden brackets and view of wide eave
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
The Gibberd Garden
Sir Frederick Gibberb was a very prominent architect. His projects included Liverpool’s Catholic Cathedral, The Central Mosque in Regent’s Park and he drew the master plan for Harlow New Town. He also decided to live near the town that he designed and purchased the property just outside Harlow, on the Sheering Road.
The garden itself is situated on the side of a small valley and occupies some seven acres. There is an avenue of Lime trees, a brook, a waterfall in the brook and a children’s castle with drawbridge. From the time he and his wife started the work in 1972, until 1984, the time of his death, they filled the garden with Sculpture, architectural salvage and ceramic pots. In Sir Frederick’s words ‘Garden design is an art of space’ and this is shown perfectly when the garden is viewed.
It’s not huge on flowers but vistas, the placement of sculpture is very important, they have to fit the environment they are placed in. Gerda Rubinstein’s ‘The City’ now one the patio, other works by Henry Moore, Graham Sutherland and John Piper were donated to the Harlow Council and reside in the Civic Centre.
It is important that the visitor makes sure of the opening times, from 1st of April to 24th Sept (based upon 2016 times). On Wednesday, Saturday and Sunday, from 2.00 pm to 5.30, when garden is open. From 3.00 pm to 5.00 (timed entry) for The Gibberd Rooms. There is a Tearoom.
It’s definitely worth a look.
These panels are just a representation. It started with the top left tile on each panel which I then reversed and changed the colour pallet. They do not exist in the Garden.
Yes, to those observant people, I have spelt the name wrong.
The post-war years saw a renewed interest in patterned ceramic tiles to form part of contemporary design and architecture and although such tiles are often associated with Carter's of Poole, and the designs of Peggy Angus, it's important to recall that 'other suppliers' were available.
One of the other major players was the Manchester based company of Pilkington's and this advert from 1955 shows their contemporary designs sold under the 'Interplay' and 'Interlink' brands. As the advert notes these screen printed tiles, available in a range of linking designs and a mix of colourways, could be combined into pattern walls and friezes in buildings that included schools, industrial premises, public houses and shops.
Interior detail of the Kaldirgochbiy mausoleum, located on the grounds of Tashkent's Islamic University, Uzbekistan. Photo taken on July 6, 2012.
Khan Theological School (aka Imam Gholi Khan Madrasa or Madrasa-i-Khan) was built in 1627. I am not sure if there are additional buildings (I assume there are). We only saw an impressively muqarna*-covered entrance gate, a beautifully domed vestibule, and a lovely courtyard. The courtyard is a classic four-iwan** plan, apparently square, with shallow iwans covered in gorgeous tilework (apparently the same on each side). and was graced with palms, pines, roses, and citrus trees, and a reflecting pool in the center.
I loved that the plantings gave attention to all the senses... the sound of a breeze in pines and palms is a delight, even as their shade refreshes the skin; the scent of roses fills the air and the citrus trees made my mouth water.
To see what the courtyard looked like in 1933, visit ArchNet's pages on the school. Be sure to view the large photos - it's quite fascinating!
---
*Muqarnas are used in many ways in Islamic architecutre... see this page on Archnet for a full description, history, and references.
**An iwan is a large arched opening in the wall of a courtyard. Usually there are four; sometimes one leads to an interior hall of a mosque. The architectural theme apparently dates from ancient Assyria but became common in Islaimc architecture. The four-iwan plan is commonly used in domestic, religious, and public architecture in Iran and the region.
Read more about iwans, and see examples across time and space, here on Archnet.