View allAll Photos Tagged CeramicTiles
Processing the work from this shoot right now, going back for more, when the light's right.
© Blue Perez 2008 all rights reserved.
location | leach pottery, st. ives, cornwall
photography | blue
processing | not analog
blogged | here
prints | available
These are so colorful Ceramic Tile at the end of the California street. It has been done about 3 months already. Have you been it? you better check it out to see it in person. Very beautiful :) My lucky snapshot of they day in such bright sunny day view of it.
#colors #sanfrancisco #alwayssf #colorfultile #californiastreet #ceramictile #luckysnapshot
© 2007 All rights reserved by JulioC.
Azulejos de uma pequena capela/santuário, em Faro (Algarve - Portugal)
Typical ceramic tiles on the wall of a small chapel/sanctuary, in Faro (Algarve - Portugal)
The "azulejos" are a typical form of Portuguese and Spanish painted, tin-glazed, ceramic tilework. They have become a typical aspect of Portuguese culture, manifesting without interruption during five centuries the consecutive trends in art.
Wherever one goes in Portugal, azulejos are to be found inside and outside churches, palaces, ordinary houses and even train stations or subway stations. They constitute a major aspect of Portuguese architecture as they are applied on walls, floors and even ceilings. They were not only used as an ornamental art form, but also had a specific functional capacity like temperature control at homes. Many azulejos chronicle major historical and cultural aspects of Portuguese history.
-- from Wikipedia
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Minton's were one of the many UK ceramic tile manufacturers but amongst one of the most highly regarded. The concern, based in Stoke on Trent in the English Potteries, was a partnership between the established Minton pottery family and Michael Hollins in 1845. As well as ceramic wall and decorative tiles the company became famous for its encaustic floor tiles. These were very popular in the mid-Victorian period when the styles and designs echoed the interest in Gothic and Medevial architecture and as well as 'new' works, their product was used in many 'restorations' of earlier buildings.
The old tileworks on Shelton Old Road has, unlike the main pottery long demolished, survived and is now a Listed building. The advert appears in the November 1933 issue of Architectural Review.
A rare little find during a site visit to Tottenham Court Road - in what was part of the lower lift landing passageways built by the Charing Cross, Euston & Hampstead Railway and that opening in 1907 one of the 'manufacturer's tiles' that appeared very occassionally on each station. This has come to light as we've stripped years of paint off the tiles that has covered this tile up. It reads "W B Simpson & Sons, London WC" - Simpson's were the contractors who acted as 'fixers' and "Appt Agents Maw & Co.". Maw's were once arguably the world's largest producers of tiles and were based in Ironbridge in Shropshire. The company meregd into Johnston's of Stoke in 1968 but was re-established in 2001 and it now has a base back in Ironbridge.
Surrounding the Plaza de España are 48 small alcoves with benches, each dedicated to a province of Spain and decorated with brightly colored ceramic tile artwork from each of those regions. In this photo you can see 10 of the alcoves at the base of the building. Seville’s famous and iconic Plaza de España was built for the Ibero-American Exhibition World Fair of 1929. The beautiful plaza is located in María Lusia Park in Sevilla, located in the Andalusia region of southern Spain.
treasuresoftraveling.com/short-history-seville-plaza-de-e...
#TreasuresOfTraveling #Seville #Sevilla #Spain #España #Andalusia #PlazaDeEspaña #Barcelona #SpanishMonument #MaríaLusiaPark #SpanishProvince #CeramicTile #UrbanPark #TravelSpain #Europe #SpanishTreasures #PhotoOfTheDay #WorldTraveler #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTravel #GayTravelBlog #GayTraveler
Fun with camera. Shot of the Urique Canyon reflected in the lobby window of Hotel Mirador Posada Barranca near Divisadero, Chihuahua, Mexico.
The courtyard of the Kalon mosque basks in the soft warm glow of the late afternoon / early evening sun. Photo taken on July 08, 2012 in Bukhara, Uzbekistan.
'THE GUARDIANS' AT SOUTHBANK
Walking along Southbank Promenade, on the southern bank of the Yarra River in the CBD, one can see two large sculptures, called ‘The Guardians’, outside the eastern end of the Crown Entertainment Complex. They are striking and colourful art works that immediately catch the eye and contribute to the appeal of the walk along the Promenade.
These two large sculptures are carved from Italian statuary marble and clad with ceramic tiles. They were created in 1997 by the, then local, artist Simon Rigg. The square based mounting of the larger statue depicts the four elements. The smaller Guardian reveals a woman’s head looking through the hole of the larger sculpture, and hints at the source of all the images, beyond our plane of vision.
Green ram 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 ram's head in it!
If anyone knows the artist, or any more details, please tell me so I can add to this information.
[Green ram tile_Merriwa_2010_IMG_7501]
A series of images taken from a presentation I used to give on London Underground's Disused or non-operational stations when I was one of the curators at the London Transport Museum in the 1990s. Part of the day job was inspecting disused stations to see what was still there and the sites ranged from places abandoned nearly a centuty earlier, such as King William Street station that closed in 1900, up to stations such as Aldwych that had just closed.
There was only one 'easy' way to visit the site of South Kentish Town station that had opened as part of the Northern line (Charing Cros, Euston & Hampstead Railway) in 1907 and that closed in 1924 and that was by hopping off a service train. This is the scene in May 1996 when we travelled up, by arrnagement, in the cab of a now long gone 1959-tube stock train and the train operator stopped in the tunnel alongside the long removed platform. You had to be carefully hopping out of the front cab door so as not to step on the negative current conductor rail directly below you or the postive 'juice' rail to the side nor the running rails! Anyhow, here we are about to be left to exploring, the driver making sure we are 'all clear' before be proceeds north towards Kentish Town station. He may have told the guard the reason for the unscheduled stop in the middle of nowhere but there may have been some curious passengers looking out of the front cars wondering what was going on!
The ghostly presence of one of the party appears here but the main interest is that the steel spiral staircase, a feature of all the 'Leslie Green'/Yerkes stations of the UERL in 1906/07 and still found in lift operated stations, has been stripped out as redundant. However, the wall tiles have remained as a short of clue as to the shaft's original purpose.
One of a series of adverts from Architectural Review issued by the famous tile manufacturers of Poole, Carter & Co Ltd. This, showing ranges of both ceramic tiles and mosaic tesserae manufactured by the company, is of a very modernist or Art Deco style bathroom.
On the campus of UNAM, Coyoacan Borough, Mexico City
UNAM has a number of buildings in its Coyoacan campus festooned with murals, many made with coloured ceramic tiles.
So a quick trip to visit the ones not under restoration.
Not all the wall murals at UNAM are readily locatable. We were told by our University Student tour guides we should look at this one located in the faculty of Architecture building inner courtyard.
Think we could find it? Not. So we stopped in a building that had someone posted at the entry desk and asked. No english but soon he summoned a nice lady with some English. She dropped what she was doing and lead us on a 5 minute walk through doors and corridors until we arrived.
John is busy documenting his visit.
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.
Panorama of Shah Cheragh as dusk rapidly approaches. Photo taken on August 12, 2015 in Shiraz, Iran.
It appears that Mr Thompson was originally a school teacher but a flair for business saw him branch out into other areas.
The Nasir al-Mulk Mosque is a traditional mosque in Shiraz, Iran, and is famous for its use of colored glass in its facade. Photo taken on July 31, 2008.
Vancouver WA, Canon EOS 5D Mark II,
EF 50mm f /1.4
© All Rights Reserved, PJ Resnick
PJ Resnick Photography: pjresnickphotography.smugmug.com
Better on black. Click on photo or press L.
Fluidr Gallery Sets:
A fine example of a very 'Victorian' design of wall and dado tiles manufactured by Carter's of Poole based at the Encaustic Tile Works in the Dorest town. Carter's made a wide range of tiles, faience and mosiacs and in later decades, notably the 1930s, they made vast quantities of tile and faience blocks for London Underground stations.
Jesse Carter had purchased the moribund business from its previous owner in 1873 and developed a steady trade that, by the 1880s, was competing for business on a national basis. One of the most telling developments was the company's acquisition of the 'Patent Architectural Pottery' at Hamworthy that brought them into a more 'art' niche market, aided by their contarcts and designers. From this time on Carter's developed lustre glazes and started to move into 'art pottery'. They also became known for highly decorative schemes and tiled panels and the design of these did 'move with the times' into the more modern idioms as the decades progressed. In 1921 a subsidiary company - Carter, Stabler & Adams - was set up to specifically produce art pottery and many people will recall "Poole Pottery" through association with their products. The whole concern was acquired by competitor Pilkington's Tiles of Manchester in 1964.
The tiling shows a style popular in pre-WW1 days and the illustrated dado is typical of the decorative panels the company manufactured, many designed by their head designer James Radley Young.
The advert appears in a contemporary trade 'catalogue' or almanac, "The Contractors', Merchants' and Estate Managers' Compendium" for 1909.
When the Chester Subway Station opened on the Bloor-Danforth Line in February of 1966, you could either take the subway or make a phone call for one thin dime.
As it stands today the most affordable adult fare is through the Presto Automated Fare System is $ 3.35, while a phone call is just 50 cents.
This year marks the 100th anniversary of artist Athos Bulcão, whose ceramic tiles decorate the exterior walls of the Brasília Palace Hotel.
theguide.com.br/entertainment/exhibition-100-anos-de-atho...
San Simeon, California, USA
Casa Grande is the main house at the Hearst San Simeon State Historical Monument.
To commemorate the Millennium, a ceramic mosaic was installed by Monmouth Town Council.
It incorporates 40 individually designed ceramic tiles, each depicting an important event in Monmouth’s long history, starting in the Iron Age and continuing through to the 20th century.
Back in Guadalajara on our last night (Friday) we wandered the streets of Centro. This nicely lighted and clean looking restaurant caught the cameras lens.
Surrounding the Plaza de España are 48 small alcoves with benches, each dedicated to a province of Spain and decorated with brightly colored ceramic tile artwork from each of those regions. This alcove showcases the Barcelona region. Seville’s famous and iconic Plaza de España was built for the Ibero-American Exhibition World Fair of 1929. The beautiful plaza is located in María Lusia Park in Sevilla, located in the Andalusia region of southern Spain.
treasuresoftraveling.com/short-history-seville-plaza-de-e...
#TreasuresOfTraveling #Seville #Sevilla #Spain #España #Andalusia #PlazaDeEspaña #Barcelona #SpanishMonument #MaríaLusiaPark #SpanishProvince #CeramicTile #UrbanPark #TravelSpain #Europe #SpanishTreasures #PhotoOfTheDay #WorldTraveler #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTravel #GayTravelBlog #GayTraveler
Chinese Artist Zhang Huan by Chuck Close. Close created twelve large scale portraits for the 86th subway station, Manhattan, New York City.
Justin
Copyright PS
Meidan Emam, Isfahan, Iran, 1968.
From back of Ali Qapu Palace if I remember rightly. (See last photo in set.)
Looking towards the Shah Abbas or Imam mosque with its angled alignment, (plan following).
Main square to the left.
Enlarge
Click diagonal arrows upper-right; then press F11 Fullscreen.
© Half the World — Isfahan
From old Baghdad with its hubble-bubbles wafting in Rashid St, and its gold, courtyard mosque by the Tigris, I headed to Tehran, Iran. Then down to Isfahan sitting oasis-like in desiccated landscape. This was months ago, well decades actually, the 1960s still in the time of the Shah.
Fabled Isfahan! Architect Harry Turbott had shown me a photo of a white snow blob, flowing form sitting on a glistening turquoise dome so perfectly matching its tear-drop shape. The snow a moment in time, the dome historically time-lasting. The subtlety of those pure-forms — a memory forever. And Byron, in his “Road to Oxiana” ranked “Isfahan among those rarer places, like Athens or Rome, which are the common refreshment of humanity.”
The local proverb says “Isfahan is Half the World”.
There’s also a poem: “Go to Isfahan to experience the second heaven.”
And Vita Sackville-West wrote in 1925: “In sixteenth century Isfahan Persians were building out of light itself, taking the turquoise from their sky, the green of the spring trees, the yellow of the sun, the brown of the earth and turning these into solid light.”
Only very few of my photos have survived the years, so now some much-belated script to compensate.
On a cold desert plateau, 1500 metres above sea-level, Isfahan developed long ago in a green patch by the coming-and-going, but vital, Zayendah river. Desert mountains in the backdrop, it was located on the main north-south and east-west trade routes crossing Persia, and a branch of the Silk Road. Deep in 2½,000 years of history, but one of an endless succession of invasions, intrigues, violence and complexity, it came to be Iran’s masterpiece, the jewel of old Persia at the centre. From ancient poverty to Royal splendour. It flourished particularly at the end of the 16thC under the Safavid dynasty, when it was made capital for the second time. Can such conflict and contradiction produce resolved development? There are other facets, but my view was as a visiting western architect.
Traditional labyrinth:
Older housing of the region shows a desire for intimacy and enclosure. Alleys double back and end in cul-de-sacs. This can be seen as an expression of Muslim ideas including disapproval of civic ostentation — the beliefs of Arabian-influenced culture stress communal benefits of the city. Thus maze-like streets show lack of European secular hierarchy. Away from religious or royal structures, lanes are narrow, frequently spanned across, and coming to dead-end precincts; all formed by earth-built walls in puzzling layouts. With apparently-spontaneous growth, the homogeneity is an architectural reflection of customary values in neighbourliness. Alley-passages wiggle between dwellings which take air and light from inner courtyards. Quadrangular houses are organised around these courts, so lanes are relatively blank-walled. Housing, tightly-fitted, yet spread out as a jig-saw carpet, results, with accretion over the centuries.
And the old construction is nearly all earth — earth bricks and earth plaster making a continuous unity. The irregular flat-roof forms are fused here and there with strings of brick domes — a line of brown-earth buttons from above. All is khaki, tinting slightly yellowish or reddish. Labyrinth built, labyrinth evolved; chance and randomness; but with this, a humanity in scale, light and shade. The unity emphasises the chiaroscuro play, alternation and choice of sun and shadow, heat and coolness. Diagonal shafts of light stimulate the senses. And dome vaulting produces an undulating sensual rhythm, with openings to let in the daylight. But in the material sense, there was plenty of poverty in those days.
Matched-in, integrated within Isfahan, were caravanserai — inns with accommodation for merchants, animals, and goods — typically around a court, and centre for trade. As well as traveller hosting, these provided an in-between for wholesale merchandise from outside the city, middle-man to the bazaar stalls.
The overall homogeneity is a built expression of tradition, but the commercial and residential areas are kept apart. The vital arteries are the bazaar markets, often doubling as craft workshops, along with street-sides. But dwellings are for the most part accessible only through the narrow alleys. Seen from outside, individual houses are hard to distinguish from one another. It’s the courtyard mosques which serve as more formal points of assembly for the citizens.
Bad-girs and Sabats:
A couple of traditional details: Bad-girs are roof structures for cooling – ancient climate control. They’re in various forms from nipple-shaped, to wind scoops, to tall wind-towers. The few rectilinear towers are much the same as the barjeels of the Bastakiya Quarter, the Barasti house, and the Maktoum Palace, Dubai, that I mentioned in my green Travels book. Such scoops and towers were used through much of the Middle-east.
[My flickr: www.flickr.com/photos/peteshep/633867373/ ]
In twisting lanes of the southern Mediterranean as well as the Middle-east, the Sabat is a structure built between opposite buildings on both sides of the street. It provides passage under to respect right-of-way. Thus it’s a roofed lane designed to shade people in hot areas from direct sun for a short period. Modulated light results, and the construction material enables segued transitions.
Isfahan Dovecotes:
Traditional/vernacular architecture can convey fundamental values. It responds directly to place, and human involvement, organically. It’s local in both spirit and material, evolving in time and place without imposition. It provides a true expression; and is economic in the full sense.
Examples around Isfahan include the old dovecotes. Such pigeon-houses were historically used through much of Europe and the Middle-east to provide perhaps meat, but above all, fertilizer. Hundreds of dovecotes, particularly from the Safavid period, dot fields and orchards in the vicinity of Isfahan — they played an important role in sustaining the hinterland. The turrets built to collect droppings, developed over time as sophisticated architecture. Each tower could accommodate thousands of wild pigeons providing for field manure, as well as for softening leather at the tanneries. Agriculture in the fertile but nitrogen-lacking plains was thereby supported and epitomizes people working with nature in common alliance. A mutualism.
Today, over 300 historic dovecotes have been identified in Isfahan Province, many now registered on the Heritage list. The largest could have 14,000 birds, and were decorated with distinctive red or white bands. The taller towers are free-standing high-rise, over 20m, but many smaller ones are built into gardens, alike in form to rounded bastions. Others brood over the flat roofs of village dwellings.
Larger examples developed as symmetrical sculptural forms — typically as a series of drum shapes — like high earthen pepperpots. Their concentric flower-petal plans show rhythm with a sequence of solid and void comparing with the best architecture of the time. And the interiors are a diffusion of light playing on intricate opening-and-perch designs, accessed by spiral stairs. They’re built from sun-dried bricks and local-earth plaster, with domed cupolas, and honeycomb arrangements. Much of the inner sculpturing is due to the pattern of pigeon-holes above their projecting perches. Evolved craft tradition produced meaningful high aesthetics.
[ Video link: www.jadidonline.com/images/stories/flash_multimedia/Pigeo... ]
Wind catchers, pepper-pot pigeon towers, domed and coned cisterns, funnel-wall windmills, and long-line qanats are traditional structures of old Persia.
Town Planning:
In these arid lands, town siting was determined essentially by the availability of water, and it’s not surprising that the architecture should enjoy ornamental water-jets, and peaceful reflecting pools which are often an element in ritual ablutions.
Bazaars were provided for daily commerce, typically stretching along access routes, and craftsmen sell their products on the spot.
But then a town could be fitted out by a monarch as his capital and place of residence, as happened in Isfahan, and the existing plan modified by the creation of avenues and squares punctuated by formal buildings, yet all surprisingly integrated.
Safavid Capital urban design of Shah Abbas, late 16th C: ........... contd >
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Since become a UNESCO World Heritage Site:
en.wikipedia.org/wiki/Naqsh-e_Jahan_Square
www.ourplaceworldheritage.com/custom.cfm?action=WHsite&am...
ArchNet link Maidan square:
archnet.org/library/sites/one-site.jsp?site_id=3944
1001 Wonders world-heritage-tour interactive panning QTime. Allow time to download:
Mosque entry on square at night:
www.world-heritage-tour.org/asia/central-asia/iran/esfaha...
[Note: As well as the Maidan Square being a Unesco World Heritage Site (#115), the Historic Axis Planning of Isfahan is on a Tentative Listing: Click this link and click again for Description, Ref 5176: www.worldheritagesite.org/sites/t5176.html ]
See also 2010 Isfahan Set/album.
www.flickr.com/photos/peteshep/albums/72157625495320685
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This spot has been on my list to shoot for my 365. Finally got around to doing it today. Ideally, I would have loved to shoot this at night in it's neon glory, but it's been shuttered for a couple years now.
The rather fine ceramic tile name plate to the now closed Gentlemen's lavatory in Ilkley, West Yorkshire, set into some fine looking glazed bricks. The 'specials' that form the "hygenic' curve on the right are a delight. The underground toilets form part of the "Winter Gardens" block that was opened in 1914.