View allAll Photos Tagged TileWork
The scaffolding has mostly come down since I last saw the Custard Factory's Devonshire House. It was still up when I took it last in October 2009. It is nice to see it like this again, although there is still barriers at the bottom. I hope that they have removed the graffiti that was on the bottom of the building last year (when sections were exposed to vandals).
My bus route switched to Bradford Street, so I can't see it from the bus anymore.
Was part of the Devonshire Works of Alfred Bird & Sons.
It was built in 1902.
Pevsner description:
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
Not sure I've noticed this before. It's a sailing ship (with two smaller ones) on the top of Devonshire House. As an added bonus, there was a dove perched on the top of it! (at least I think it is a dove - well it's a white bird of some kind).
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
Devonshire House - Heritage Gateway
A bird on top.
The scaffolding has mostly come down since I last saw the Custard Factory's Devonshire House. It was still up when I took it last in October 2009. It is nice to see it like this again, although there is still barriers at the bottom. I hope that they have removed the graffiti that was on the bottom of the building last year (when sections were exposed to vandals).
My bus route switched to Bradford Street, so I can't see it from the bus anymore.
Was part of the Devonshire Works of Alfred Bird & Sons.
It was built in 1902.
Pevsner description:
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
Not sure I've noticed this before. It's a sailing ship (with two smaller ones) on the top of Devonshire House. As an added bonus, there was a dove perched on the top of it! (at least I think it is a dove - well it's a white bird of some kind).
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
Devonshire House - Heritage Gateway
A bird on top.
The Custard Factory is now home to Zellig.
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
From Pevsner Archiectural Guides Birmingham by Andy Foster
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
Devonshire House - British Listed Buildings
Art in one of the windows and office and studios to let.
Beautiful brickwork & tilework inside the interior chamber of Sultan Amir Ahmad Bathhouse, a traditional Iranian public bathhouse in Kashan, Iran. It was constructed in the 16th century, during the Safavid era; however, the bathhouse was damaged in 1778 as a result of an earthquake and was renovated during the Qajar era.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
This thriving back-street pub in Rochester, Kent, still carries tilework relating to its original ownership by Woodham & Co. - a Rochester brewery that was taken over by Style & Winch (themselves long gone) as long ago as 1918. Surprisingly the Brewery still stands, close to the city centre.
The side of a building in Old Church Street, Chelsea, London. Can you imagine something like this on the side of a 'Tesco Express'.
Once cows would have actually been kept at the back of the dairy. This would have been the only way to ensure a supply of fresh milk.
Geotagging: 'Stanley'. What on earth does that mean?!
The portal to the Nadir Divan-Begi Madrasa (Islamic school) is notable for its unusual decoration. Islam prohibits the depiction of living creatures yet the tilework shows two peacocks with lambs in their talons flanking a sun with a human face. Although originally built as a caravanserai (roadside inn), at the opening ceremony in 1622 the khan declared that it was made in the glory of Allah and should thus be converted into a madrasa. Nadir Divan-Begi was the khan’s treasury minister who had financed the construction.
By 500 BCE the settlements at the Bukhara oasis had grown enough that a walled city was founded. Bukhara prospered as a trading center, especially benefitting from its location along the Silk Road. Christianity may have been the official religion of the ruling caste in the late-7th/early-8th centuries as more coins with crosses have been found in Bukhara than anywhere else in Central Asia. However, after the Arabs finally conquered Bukhara in 751, Islam gradually became the dominant religion. In 892 the Samanids (a Sunni Persian empire) moved their capital from Samarkand to Bukhara which then grew to become the intellectual center of the Islamic world with the largest population by far of any city in Central Asia and rivaling Baghdad in its glory. The Samanid Empire was toppled in 999. In 1220 the city was leveled by the Mongols led by Genghis Khan but managed to slowly recover. In 1868 the Emirate of Bukhara was forced to become a protectorate of the Russian Empire. After the attack of the Red Army of the Bolsheviks in 1920, the Bukharan People’s Soviet Republic was formed with the bulk of it then integrated into the Uzbek SSR in 1925 (smaller portions going to present-day Tajikistan and Turkmenistan). In August 1991 Uzbekistan declared its independence.
The Historic Centre of Bukhara became a UNESCO World Heritage Site in 1993.
[The term ‘Silk Road’ was coined in 1877 by German geographer Ferdinand von Richthofen. The Silk Road contributed not only to the exchange of goods and technologies, but also to the mutual enrichment of cultures and traditions of different peoples. Direct maritime trade between Europe and the Far East ultimately supplanted the overland route.]
On Google Earth:
Nadir Divan-Begi Madrasa 39°46'23.37"N, 64°25'16.99"E
Smith Garrett was a brewery based in Bow, London, taken over and closed by Taylor Walker in 1927. This tilework on a pub in Junction Road, Upper Holloway, has clearly been exposed during a recent refurbishment.
See also: www.flickr.com/photos/9003948@N05/5154758527
Mild Ale was once the most common beer sold in pubs. Today its extremely rare to find it in any London pub. I suspect that its a victim of fashion rather than anything else - people today prefer light coloured beers, even though mild has ten times more taste than the rubbish called 'lager'.
The superb frontage of The Prince Albert Hotel, Folkestone. Although closed, it had seen the removal of the Ind Coop sign which previously covered the original glazed tilework (and the subsequent banner has thankfully fallen down!). The building went to auction in May this year. Did it find a buyer?
According to an entry on the Arch Net [phto] Web site, where this locale is called the Mausoleum of Khwaja Rabi'),
"The Mausoleum of Khwaja Rabi' is a shrine built by Shah Abbas in 1621. It is located approximately six and a half kilometers north of the city center of Mashad. Approached by an avenue lined with plane trees, the mausoleum is set within a garden. Khwaja Rabi' is revered for having been one of Ali's companions. As such, a structure must have existed prior to the one built by Shah Abbas."
"The mausoleum of Khwaja Rabi' is often grouped by scholars within the traditional Persian architectural typology of the octagonal domed mausoleum, and is believed to be the oldest Safavid version of the type. Since the edges differ greatly in size, however, the plan is best described as a square with chamfered exterior corners. Symmetrical along both axes, it has a large iwan at the center of each of the main elevations, and deep pointed arch niches in each of the chamfered corners. The four iwans lead to the interior domed chamber, and also give access to a room in each of its sides, for a total of eight rooms. These can also be entered directly from the exterior as there are doorways set in pointed arches which flank each of the iwans. Two of the rooms have stairs leading to second story rooms. "
"The plan reveals that the four iwans are not identical. Two iwans, opposite one another, lead directly to the entrance of the interior space at the back of their walls. The other two narrow towards the back wall with a smaller pointed arch preceding the entrance to the interior. This technique of stepping the walls to break down a volume into various planes and angles is seen again in the articulation of the interior space. Although the dome is supported by four arches set within a square, the interior of the mausoleum does not have the feeling of a square volume. The arches are broken down into smaller recesses, adding angles to the surfaces of the walls. The transition from base to dome is made with multiple offset bearing walls rather than squinches. The double dome is very tall. From the exterior, the height and narrow diameter of the dome contrasts that of the base which seems squat and wide in comparison. "
"Although much of the decoration is in disrepair, it can be deduced from historical photographs that it was once decorated throughout with tile work. In "The Road to Oxiana," Robert Byron describes the tile work of the mausoleum as containing the colors turquoise, lapis, violet, and yellow. "
"An inscription reveals that restoration was undertaken by Mirza Sadr ad-Din in 1672. In this inscription, Mirza Sadr ad-Din claims responsibility for the actual construction of the structure. This is, of course, untrue, and there are earlier such inscriptions from Shah Abbas. Another restoration is dated 1707, at which point a neighborhood qanat (subterranean water channel) was also built. Its profits were used for the upkeep of the shrine."
"According to Arthur Upham Pope, the form of the mausoleum may have been influenced in part by the design of ancient fire temples. Pope also suggests that the Mausoleum of Khwaja Rabi', with its two stories of open arcades, may have influenced the design of the Taj Mahal "
Tileworks and brick works of the facades on the Western courtyard of the early Safavid era (17th century) Imam Mosque in Isfahan, Iran.
© All rights reserved - No usage allowed in any form without the written consent of the photographer
The mihrab is a half-octagonal niche, decorated with a glazed tile mosaic revetment of floral motifs
When wandering, somewhat tired from sightseeing, through the streets of Belém on our way home to our hotel, we happened on this lovely little chapel. What (at least to foreigners) is so special about it are the walls covered with azulejos. Azulejo is a form of Portuguese painted, tin-glazed, ceramic tilework. It has become a typical aspect of Portuguese culture, having been produced without interruption for five centuries. Azulejos are found on the interior and exterior of churches, palaces, ordinary houses and even railway stations or subway stations. They constitute a major aspect of Portuguese architecture as they are applied on walls, floors and even ceilings. Mind the crucifixion scene on the wall. The name of the chapel is not known to us. The church has no windows and is lit by artificial lgiht. (Information on azulejos from Wikipedia)
The geotag is a rough guess. Best on black.
The tiles surrounding the calligraphy are different than similar tiles that appear earlier in my photostream. An example of the different type of tiling is shown below.
The difference is that here, the multicolor geometric design is painted on rectangular tiles and is fully readable once the tiles have been set in the correct order.
In contrast, the tile pattern below is made up of shaped pieces of one color only. The pattern emerges when the monochromatic shaped pieces have been assembled together in the correct fashion, like a mosaic.
Mashhad, Iran.
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.
The Alcazar of Seville occupies a large swathe of the southern edge of the old city. It was initially built inthe Moorish period as a fort and has been added to and embellished over the succeeding centuries to create the magnificent palace complex we see today (still an official residence of the Spanish royal family).
The Acazar is an outstanding example of Moorish and Mudejar architecture, being largely constructed in Arab / Islamic style, most of it dating from after the Spanish reconquest and illustrating the high esteem in which Moorish design and craftsmen were then held. Later generations added sections in more native styles, such as Gothic, Renaissance and Baroque.
The finest features of the palace are the courtyards, which with their cusped arches, filigree wall ornamentation and reflective pools are worthy rivals for the more famous Alhambra of Granada. There are also numerous rooms decorated with exquisite tilework, ceilings and doorways, culminating in a grand audience hall crowned by a gilded wooden dome.
Mosque Names: Masjed-e Jadid-e ʿAbbāsi, Masjed-e Šāh (the Royal Mosque), Masjed-e Emām (Imam Mosque, since 1979).
The mosque was completed c.1630 during the reign of 'Abbas's successor, Shah Safi (r.1629-1642).
Patron: ʿAbbās I, the Great 1571-1629, Safavid Shah (king) of Iran (r.1588-1629), son and successor of Solṭān Moḥammad Shah.
Shah Safi (Abu’l-Naṣr Sām Mirzā) 1611-1642, Safavid Shah (king) of Iran (r.1629-1642), grandson of ʿAbbās I.
Structural plan: Badi' al-Zaman Tuni.
Architect & Engineer: 'Ali Akbar Isfahani (Memar Bashi) b.1577, a pupil of Badi' al-Zaman Yazdi, the court architect of Shah Abbas.
Contractor: Mohib 'Ali Beyk (Abeyk).
This series of photos documents the faceted tile at the apex of the eivan on a mosque in Kerman, Iran.
The eivan is the arched structure that dominates the fronts of mosques, extending as it does from ground level to just a few feet from the roof.
While I find all Islamic tile fascinating in its complexity and its inspired use of form and color, it's the area beneath the apex of the eivan I admire most.
What appeals to me about it is the emergence of faceted tile that covers the surface starting at the point where the walls begin to curve inward, continuing almost to the very apex of the eivan.
Seen here is the last section of flat tile and the first part of the faceted tilework.
From Wikipedia:
The Bahia Palace is a palace and a set of gardens located in Marrakech, Morocco. It was built in the late 19th century, intended to be the greatest palace of its time. The name means 'brilliance'. As in other buildings of the period in other countries, it was intended to capture the essence of the Islamic and Moroccan style. There is a 2 acre (8,000 m²) garden with rooms opening onto courtyards.
Set up at the end of XIXth century by Si Moussa, grand vizier of the sultan, for his personal use, this palace would bear the name of one of his wives. Here, the harem, which includes a vast court decorated with a central basin and surrounded by rooms intended for the concubines. As the black slave Abu Ahmed rose to power and wealth towards the end of the 19th century, he had the Bahia palace built by bringing in craftsmen from Fez. The structures tell a lot about the taste of the nouveau-riche of its time, and can appear vulgar to modern tastes. It was intended to become the greatest palace of its time, but it is really dominated by hasty planning as well as uninspired detail work. This doesn't make the palace less worth visiting, it is a monument of its time, and served even as the residence of the French resident general, Lyautey.
One of the set of nice sidewalk tiles outside the former P&W Norristown station at Main and Swede streets (there was one at each corner). They're no longer there, hopefully they got preserved.
Here is a better photo of the same tilework. :-)
This tilework is UNBELIEVABLE... each of those is a piece of glazed masonry, cut and fit together!!! We watched a master workman doing this and still couldn't believe it.
For more information about the mosque, see HORIZON's description - scroll down to "Jame Mosque."
I am so grateful to HORIZON for teaching me (through his example) how to photograph this stuff - always straight on - don't mess with the sacred geometry.
Not that I make a habit of photographing toilets but in this case - the lovely curves and tilework of the entrance to the Gents toilets in the Mitchell Library, Glasgow #toliets #publictoilet #mitchelllibrary #mitchelllibraryglasgow #glasgowlife #glasgow #tiles #tiledesign #spiralstaircase #spiralstairs
McDonald's #10812 (5,795 square feet)
950 North Wesleyan Boulevard, Rocky Mount, NC
Opened December 28th 1988, renovated in winter 2007
During my visit to Rocky Mount in March I contemplated the idea of documenting this McDonald's by Golden East Crossing, but I had my reservations about the dining room actually being open like Google Maps said it was. Enough time has passed that finding a McDonald's without an open dining room has become rare, so I figured I had a good shot this time, which I did! The restaurant has the type of Starbucks/Panera-aping décor you'd expect from a 2007 remodel, with lots of warm colors, partitions, and natural-looking tilework. Cemented swivel chairs were a favorite of theirs at that time too! There are also a few photos hung up featuring close-ups of a classic car; I guess this is the "theming" they were going far but I don't really get it.
Car park tileworks.
Cains brewery, Liverpool
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Originally taken and posted for the GWUK group.
Guessed by Mira66.
Bonus to Mendel9331
The scaffolding has mostly come down since I last saw the Custard Factory's Devonshire House. It was still up when I took it last in October 2009. It is nice to see it like this again, although there is still barriers at the bottom. I hope that they have removed the graffiti that was on the bottom of the building last year (when sections were exposed to vandals).
My bus route switched to Bradford Street, so I can't see it from the bus anymore.
Was part of the Devonshire Works of Alfred Bird & Sons.
It was built in 1902.
Pevsner description:
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.
I took this photo while wandering aimlessly around Istanbul, Turkey in November 2008. Istanbul is an absolutely fascinating city full of culture, history, and some pretty good food too - what a nice place to visit for a few days.
The scaffolding has mostly come down since I last saw the Custard Factory's Devonshire House. It was still up when I took it last in October 2009. It is nice to see it like this again, although there is still barriers at the bottom. I hope that they have removed the graffiti that was on the bottom of the building last year (when sections were exposed to vandals).
My bus route switched to Bradford Street, so I can't see it from the bus anymore.
Was part of the Devonshire Works of Alfred Bird & Sons.
It was built in 1902.
Pevsner description:
Six-bay centre of 1902 with buff terracotta arches and windows, ornate lettering and a rich shaped gable with a ship in tilework. Parapet cut out like a pie-crust, waiting for custard.
A zoom in on Devonshire Works - Alfred Bird & Sons Limited
Devonshire House is a Grade II listed building.
1902. Red brick and terracotta with some stone dressings. Four storeys plus attic;
3 bays. Ground floor of terracotta with 6 windows in recesses with ause-de-panier
arches, those of the 2 outside bays with ogee gablets. The 3 storeys above are
separated vertically by thin polygonal shafts with decorative finials which divide
the bays, and horizontally by wide bands of brick to the outside and of terracotta
to the centre. In the centre, the bands inscribed 'Alfred Bird and Sons Limited/
Devonshire Works/1837 and 1902' with foliage. Within the grid of shafts and bands,
the first floor with couplets of 2-light transomed windows with arched lights and
the second and third floors with central windows of cross type and outer couplets
of arched windows. Arched parapet with, over the centre bay, a shaped gable with
2 arched windows, tilework of a ship in full sail and little pinnacles. Left and
right of this composition, later wings of lesser interest, that to the left of 2,
that to the right of 8 bays. To the left again, railings with the Bird's custard
motif in them.