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The law office of Apollo, Melpomene, Calliope and Clio? 18th century azulejo panel at the Palace of the Marquis of Pombal, Oeiras.
Black frame to finish it off. Enjoyed doing this one altho it is challenging doing the grouting process.
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[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 Head' is one of a number of pieces of Contemporary sculpture and art that can be found along Barcelona's regenerated waterfront.
"El Cap de Barcelona, 1991-1992, is a surrealist sculpture created by American Pop artist Roy Lichtenstein for the 1992 games in Barcelona, Spain. Its English title is "The Head".
The sculpture was Lichtenstein's first outdoor work using ceramic tile. It is said to acknowledge Gaudi and Barcelona's affinity for mosaics." Source : 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
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
From the third year of publication, 1927, an issue of the German advertising and design magazine "Gebrauchsgraphik" devoted to Verkehrs Reklame" or travel and transport advertising. The main article, by J.C.S. Lore, is on "Die reklame auf den Hoch- und Untergrund-Bahnen Berlins" or advertising on the 'Elevated' and 'Underground' Railways of Berlin.
The article includes this marvellous rendering of the surface ticket hall and entrance building at Wittenbergplatz. The original station opened as part of Berlin's first Underground line on 11 March 1902 and originally had one of the 'standard' surface subway entrances. However the station underwent major reconstruction as part of the development of the system that saw Wittenbergplatz expanded to have new island platforms serving additional lines in 1910 - 1912. The splendidly ornate surface building seen here and that serves the station was designed by the U-Bahn's architect Alfred Grenander and completed in 1913.
Although badly damaged in the Second World War the station was reconstructed in much the original style and today looks remarkably similar with the ornate ceramic tile interior along with the advertising panels.
#563,
13
Next to Quinta da Bacalhoa in Azeitão, there is a factory of handmade tiles that keeps the manufacturing process manual, with origins in the eighteenth century and using the technique of faience
Didn't really expect this one to come out so well, particularly as I've not even resorted to the RAW file yet. I deliberately under-exposed it to get a fast enough shutter speed to hand hold and then I was going to correct it at RAW conversion stage. With this JPG I've just adjusted the Shadow/Highlights and the colour balance.
[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.
Looking straight up in the entranceway.... try it original size; it'll blow yer mind! :)
Before going to Iran I had studied the work of Horizon and other Flickrites, and had concluded that the best way to shoot the amazing architecture is head-on, maximizing the impact of their geometry and not adding anything with funky angles.
But what to do when it won't all fit in the viewfinder? (the original reason for all my funky angles). I tried snapping these muqarnas from the side (here) and the center (next photo)... let me know which you like better.
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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!
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*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.
This is a photo of a printed ceramic tile, from an original colored pencil drawing. The subject is a modern-day, Native American and a good friend, Levi Walker.
Pack of three flower tiles in two different sizes, mixed colors of deep red, a rich caramel and stunning blue highlights.
Great for home decor, 3D Scrapbooking or to finish off your nature themed mosaics or mosaic themed crafts.
These were handmade in a bohemian format, glazed with bright colors adding to the artsy affect.
I hope these tiles will help in the inspiration in your creative juices whether it be for your mosaics, pottery or just to decorate in a home.
Item Details:
• Stoneware ceramic
• Various glazes
• Flower #1 & # 2 = Approx. dimensions 3.5" x 3.5" x .25" (Thick)
• Flower #3 = Approx. dimensions 3" x 3" x .188" (Thick)
As with all my artwork these tiles are one-of-a-kind pieces that can be copied but not duplicated, so you never have to worry about finding an identical anywhere else.
View both my shops:
Animal-Instincts-Art-Studio >Shopify
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Making a ceramic tile at the McLean County Arts Center: my trusty old Pokey around 1975, a sketch I made from the photo, and the tile I painted (somewhat clumsily but what the heck) which will now dry for a few days before being fired in a kiln. I'll post the final product.
'Sculptural Deck and Bicentennial Wings'
by Jacques Overhoff (b. Netherlands, 1933)
restored 2008 by Karen Fix: it had taken a beating from skateboarders
cast concrete and ceramic tile
1979
City College of San Francisco
San Francisco
June 17th
20210617_203141
The concept for a Memorial to Heroic Self-Sacrifice was proposed by Symbolist artist George Watts OM RA (1817–1904). Loggia designed by Ernest George, original ceramic plaques designed and made by William De Morgan. Unveiled 1900 in Postman's Park, City of London.
(CC BY-SA - anyone can freely use this size file anywhere, provided accompanied by the credit: Images George Rex.)
For several of the stations built or reconstructed as part of the 1935 - 38 New Works Programme for London Transport (such as Aldgate East or Bethnal Green) a series of 18 relief tiles were commissioned from Harold Stabler - a designer associated not only with London Transport but also Carter's of Poole - the pottery that made the bulk of the tiles. The designs show images associated with London Transport and the area it served.
This tile shows the swan from the armorial bearings of the County of Buckinghamshire, then served by the LPTB area by both train and bus.
The eight-pointed star-tile has two figures seated face-to-face, as if in conversation. Birds can be seen in the centre and in three of the cardinal points, and two fishes below.
Around the edge is an inscription of romantic poetry in Naskh script: "The moon came to your house last night. I was filled with envy, and thought of chasing it away. Just who does this moon think it is, to sit in the same place as you ?"
Isfahan, Persia / Iran
Albukhary Foundation Gallery of the Islamic World
The British Museum, London UK
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.
It's the Ceramic Tiles_small square texture created in the Filter Forge plugin. It can be seamless tiled and rendered in any resolution without loosing details.
You can see the presets and download this texture for free on the Filter Forge site here — www.filterforge.com/filters/559.html (created by Bongo51)
To use this texture download Filter Forge 30-day trial version for free here — www.filterforge.com/download/
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13in diameter - MDF base
handmade ceramic lettering in Arabic - Allah meaning God
Glaze fused with glass and fired.
materials used: ceramic tiles with mirror on surround, vireous glass mosaic tiles with glass nuggets & recycled jewellery on inside.
Made in Japan for Holt Howard. My favourite part of this trivet is the crazy buttons which say "Hippy" "Hippy" "Ye Ye" "Folk Song" "La la la", put them together and they make some crazy lyrics.