View allAll Photos Tagged CeramicTiles
...which will be receiving some treatment in July, when I visit again boh for pleasure and work: redecorating for some clients and taking all my time in Apartment 44 making small additions and taking pictures!
The entrance to the new SESI Lab museum of science, technology and art exhibits a 100m2 mural of ceramic tiles by Athos Bulcão.
One of the platform roundel nameplates, in 1920s style that dated from the reconstruction of the City & South London Railway platforms that took place as part of the Kennington - Modern extension works, and that have over the years been replicated. The lettering is the Johnston typeface commissioned by the Underground group and that came into use after 1916. The sign also features the "Way Out" arrow with four flights - over time the number of flights used on arrow signs grew less! These were the first group of stations where the roundel positions were set in physical borders of ceramic tiles as seen here.
Self Portrait of Chuck Close, 86th Street subway, Q Line, 2nd Avenue, Manhattan, New York City.
Justin
Interior of the dome of Jame Mosque, which 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.
Vestibule entrance from Burlington Arcade, Argyle Street. The coloured tiles are known as 'wally' tiles from the Scots word for pale cream ceramic, and are most commonly found in what would have been been known as high class tenement flats, where they adorn the common stairwells. Sloans is a CAMRA heritage pub.
Ceramic tile frieze by the Bordallo Pinheiro factory, Caldas da Raínha. In the Bordallo Pinheiro garden, Museu de Lisboa, Lisbon. Recent re-edition with original early 20th century molds.
One time tea merchants these offices were designed by WJ Anderson. One architectural guide describes it as a ‘splendid confection’.
Behind the Cathedral’s High Altar is the 82-foot-high ceramic tile Reredos depicting “Christ in Glory”. The Reredos was designed by the Italian sculptor, painter and ceramist Enzo Assenza, (Pozzallo, October 8, 1915 – Rome, November 22, 1981).
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san miguel de allende, gto
mexico
extreme close up....i thought that the paint drips were part of the ceramic mosaic design until i noticed that they had also gotten on the grey mortar...
Amir Olimhon Madrassa is a beautiful, small Islamic school near Bukhara's famous Mir-i-Arab Medressa. It features wonderful ceramic tiles and a wooden door. Photo taken on July 09, 2012 in Bukhara, Uzbekistan.
During the 1950s and ‘60s there was renewed interest in the use of mass produced colour pattern ceramic tiles to help provide decorative features in buildings. These ranged from full sized ‘feature walls’ such as this depicted here to simpler schemes for such areas as the entrance lobbies to flats - indeed a fair number of the latter survive to this day. Peggy Richards is noted as having studied mass production patterns suitable for tile production - several companies, most notably Carter’s Poole Pottery, manufactured a range of patterns and colour ways on ‘basic’ 6” x 6” ceramic tiles to allow a ‘construction’ of repeating patterns and visual themes. The Lansbury Primary School was designed as part of the post-WW2 reconstruction of London’s blitz damaged and decaying Victorian East End and formed part of the architectural components of the 1951 Festival of Britain. It was designed by architects Yorke Rosenberg Mardall and is now known as the Lansbury Lawrence Primary School. Peggy Richards (nee Angus) 1904 - 1993, was one of the remarkable group of very politically aware artists, designers and educators of the time. She was at one time married to JM Roberts, editor of the AR at this time, and the pattern tiles she developed were commercially produced by Carter’s at Poole.
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These tiled façades in Lisbon’s Alfama district capture the enduring beauty of Portuguese azulejos, a ceramic tradition deeply woven into the city’s architectural identity. Dating back to the 16th century, azulejos reflect a blend of Moorish geometric influence and Renaissance ornamentation, later evolving into the baroque storytelling panels found throughout Portugal. Here, repeating starburst and floral motifs in shades of blue, green, and black cover the façades, contrasting elegantly with arched windows, wrought-iron balconies, and crisp stone frames. Beyond their decorative appeal, tiles served a functional purpose—cooling interiors and protecting walls from weather. Today, they remain an iconic symbol of Lisbon’s timeless charm.
Early and mid-18th-century Portuguese ceramic tiles cover every inch of wall at the Quinta dos Azulejos (now a private school, the Colégio Manuel Bernardes), including the garden's pergola.
I know, only too well, what is happening here. That chap is conducting a pendulum swing test to check the degree of 'slippiness', or ideally 'non -slippness' or slip resistance of the floor tiles!
Prior to my retirement from London Underground I got to know possibly just a bit too much about the results of such tests as station floors should meet a certain standard and many are the sites that have indeed had their floor tiles replaced due to failure - although I do recall some embarrassing moments when new floors failed usually due to a lack of finishing (some surfaces require in-situ grinding) or actually seemingly produced results worse than the ones we'd replaced. An exact science; hmm.
The tiles seen here are in fact amongst some of the best we ever had - the 1920s and '30s saw London Transport use a tile to its own specification and that is known as the "St James's". The secret is in the mix of clays, cement and carborundum that allows for wear to gradually expose flecks of the carborundum thus actually improving the slip resistance. These floors were also very solidly laid and the tiles are cast to quite a depth that proved complex to replicate in renewals.
The station is, I'm sure, Leicester Square station, opened in 1906/7, that was reconstructed between 1930 and 1936 in a hugely complex scheme to construct a new sub-surface ticket hall and replece lifts with escalators to serve both the Northern and Piccadilly lines. The staircase entrances, ticket hall and upper escalator landings have walls clad in these large faience blocks that still survive in places although the carefully laid floor, seen here, was replaced with an unfortunately 'square' layout in a circular space that has never looked that good to my eye,
The bronze framed direction sign is a later replacement for the original (this has two flights to the arrow, the original would have had three flights - a good way to date an LT sign) and is in Johnston typeface. Given that, the fashion and other details such as the wear to the walls I'd think this is mid-late 1950s.
Detail of the eastern facade of the Carmo church, Porto. The church itself was built between 1756 and 1768 in the baroque/rococo style, on designs by Portuguese architect José Figueiredo Seixas (?- 1773). The panels of tiles that cover the eastern facade were installed in 1912. The were designed by Silvestre Silvestri,- an artist and arts teacher of Italian origin working in Porto - and painted by Carlos Branco.
Samples of pottery and tiles produced by The Washhouse Pottery.
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Abandoned in 1928 as part of the reconstruction of Piccadilly Circus station the 1906 passageways at low level showing the trademark coloured ceramic tiles used on the Leslie Green stations.
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telegraph avenue
berkeley, california
Tolteca Tlacuilo in Old Town Artisans complex at 186 N. Meyer Avenue in the historic El Presido neighborhood of Tucson, Arizona. Carly Quinn is a very; talented hand glazed tile artist located in Tucson. You can learn more about her and her work here:
An official photo this and showing the newly opened St John's Wood station on the Bakerloo line extension that had opened on 20 November 1939 under wartime conditions. This section of tube railway, from a new junction at Baker Street to Finchley Road, created the second northern branch of the Bakerloo and, at surface at Finchley Road, it took over the Stanmore branch of what had been the Metropolitan Railway/line that had itself come into use in 1932. This scheme had its origins in the desire of the Metropolitan to ease congestion on the sub-surface two-track section of railway between Finchley Rd and Baker St that a combination of new Met branches and electrufucation had helped to create. Following the effective merger of the Metropolitan Railway into the new London Transport in 1933 LT picked up the problem and under the 1935 - 40 New Works Programme (a vast series of schemes to improve London's transport) constructed this section of tube tunnel with two new stations (St. John's Wood and Swiss Cottage) and closed existing stations on the Met to help improve capacity.
The scheme did assist but it in turn, over time, caused huge overcrowding and operational problems on the Bakerloo south of Baker St (the joy of managing two branches into one rapid transit railway) and this eventually was solved by the Fleet/Jubilee line extension of 1979 that built a new tube south of Baker St and grafted the Stanmore branch on to it. So, the station here was on the Bakerloo and is now on the Jubilee line.
The platforms are very fine examples of the 'standard' LT tube platforms of the period, drawing on the work of the company's two architects - the 'consultant' Charles Holden and their 'own' Stanley Heaps. The tunnel walls are clad in a pale yellow, matt glazed ceramic tile made by Carter's of Poole and designed to be 'clean' under filament lighting - oh, how I struggled in my job 80 years later to 'manage' what appeared, visually, to be even grubbier tiling than use had created thanks to fluorescent lighting! This batch of stations iniated the use of the tiled upper name frieze, in Johnston typeface, and here all 18 of Harold Stabler's embossed "London's symbols" tiles.
Under PPP work with Tubelines Ltd a decade or so ago all this original tiling was tripped out due to water ingress and physical damage and, carefully, recreated with new tiles made to the original specification, albeit with a slightly different layout to allow for metric posters and frames rather than the original imperial dimensions. Everthing that could be was integrated and so all cabling, and what services existed at the time (no fire alarms or CCTV cameras then!) was in conduit. We managed to put a lot of 'new' requirements behind the scenes when we did the reconstruction but that is a continuing problem on existing stations.
One main feature were the recesses to allow for vending and other services "auto sales" and one of those little illuminated signs survives in the LTM Collections. Auto as in Automatic so there is the cigarette and chocolate vending, the integral litter bin and yes, behind its bronze frame and with the weighing plate just visible is the 'penny in the slot tell me my weight' machine! The remains of such integrated scales survive on a couple of station platforms.
The other signs are all bronze frame vitreous enamel and include the rare complement of miniature bronze frames on tracksde walls that only a handful of stations had. The trackside 'describer' sign is also showing the short lived "1938 Standard Signs Manual" tombstone top with another bronze framed miniature roundel in place. Plainer versions of such signs, the first to standardise line interchange colours as per the map and diagram, survive at one or two places.
The posters are of course period piece and include some LT ones by the entrance/egress passageways; "Open Again" referring to the temporary closure of the various under-Thames tube lines to allow flood gate and safety features due to the concern that bombing may have penetrated the running tunnels and flooded large areas of the central area of the tube.
Green bull tile, Merriwa, country New South Wales, Australia.
A small piece of sheer Australiana. I cannot remember whether this was on the exterior wall of the local pub, or where exactly (I also don't know the artist), but I think it is charming, especially with the two lines of narrow glazed inset diamonds above. I also like the shape of the main tiles, and the way that the fancy insets show that two of them would make a square. Do make a square! A square with a bull's head in it!
If anyone knows the artist, or any more details, please tell me so I can add to this information.
[Green bull tile_Merriwa_2010_IMG_7502]
My brain automatically converts the AD to CE because this "in the year of our Lord" nonsense is just silly to me.
Set your Big Gulp on that platform while you rummage through your messenger bag, looking for a thing.
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In Buffalo, New York, on June 11th, 2021, at the Dudley Branch Library on the east side of South Park Avenue (U.S. Route 62), south of Lockwood Avenue.
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Getty Thesaurus of Geographic Names terms:
• Buffalo (7013463)
• Erie (county) (1002356)
Art & Architecture Thesaurus terms:
• branch libraries (buildings) (300006878)
• brick (clay material) (300010463)
• brick red (color) (300311462)
• ceramic tile (300010678)
• cornerstones (300002616)
• date stones (300374978)
• Mid-Century Modernist (300343610)
• platforms (general) (300375665)
• public libraries (buildings) (300006877)
Wikidata items:
• 11 June 2021 (Q69306079)
• 1960s in architecture (Q11185676)
• 1962 in architecture (Q2812303)
• Anno Domini (Q159791)
• Buffalo & Erie County Public Library (Q4985640)
• Buffalo-Niagara Falls metropolitan area (Q199196)
• Dudley Branch Library (Q107351502)
• June 11 (Q2617)
• June 2021 (Q61312778)
• push-button (Q870870)
• South Buffalo (Q7566450)
• South Park Avenue (Q7568156)
• swing-door operator (Q7658502)
• U.S. Route 62 (Q409975)
• Western New York (Q7988104)
Library of Congress Subject Headings:
• Public libraries—New York (State) (sh2010108953)