View allAll Photos Tagged TileWork
Motawi Tileworks exhibit at the Arab American National Museum in Dearborn, Michigan. On display until June 12, 2011.
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.
inspired by the tilework of the alhambra palace. 'Wala ghaliba illah Allah' - No conqueror except God inscription in the middle in maghribi style. acrylic on 100% cotton canvas.
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.
The tiles with the calligraphy are on the same wall as the panel of tiles shown below.
It's interesting to compare the two and discover how they are similar and how they differ.
Mausoleum of Khawje Rabie, Mashhad, Iran.
The little turquoise triangles lend sophistication to an otherwise run-of-the-mill pattern.
Mosque, Kerman, Iran.
At the bottom are the tiles from which the mosque gets its name ("Yeşil Camii" means "Green Mosque"). The glaze is incredible--liquid and deep--even after all this time.
The tiles at the top are so elaborate I can hardly believe they're all hand-painted!
A nice bit of tilework on either side of the front door. (View of pub building.)
Address: 115 Charterhouse Street.
This 360° panoramic image captures the interior of a hall within the Topkapi Palace, a historical landmark in Istanbul, Turkey. The hall is characterized by its stunning architectural details, including walls covered in vibrant blue and white tilework, large arched windows, and a beautifully decorated domed ceiling. The floor is tiled with a geometric pattern. Several tourists are present, some actively taking photographs with cameras and smartphones. The overall impression is one of grandeur, history, and cultural richness.
My 360° Istanbul Video on youtube
This link will bring you to my immersive 360° YouTube video.
Unlike the glazed rectangular tilework seen earlier in this photostream, this tile in the 17th century hammam (public bath) is a mosaic: each colored piece is a separate tile. The difference is more apparent when this photo is viewed in flickr's "large" size.
I am not positive, but I suspect the artisans used templates to fashion each of the tile segments that make up this piece.
Even so, there are slight discrepancies between the right and left sides of this tilework that show the two sides are not mirror images of one another.
Seen at the old public bath in Kerman, Iran.
The eivan is the concave structure on the face of the mosque that typically extends from the ground almost to the roof. The entrances to the mosque are set into the eivan,
As in this example, eivans often feature elaborate tilework, especially at the apex, where it is not uncommon to find complex 3-D geometric designs.
This is looking straight up at the muqarnas in the entrance gate.
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.
Here I departed from this... I should have stood in the exact center... you can see how it's all out of whack because I didn't. Never fear - I learned from my mistake as you'll see later. :-)
Time has not been kind to the tilework on the rounded edges of this niche; only a few vestiges of blue tile remain.
Inside the niche, though, the tiles are in splendid condition and present an interesting star design that resembles in two dimensions the elaborate three-dimensional work at the top of the eivan.
Mosque, Kerman, Iran.
The Shah Nematollah Vali Shrine is a historical complex, located in Mahan, Iran, which contains the mausoleum of Shah Nematollah Vali, the renowned Iranian mystic and poet. Shah Nematollah Vali died in 1431 aged over 100. In 1436 a shrine was erected in his honor and became a pilgrimage site. (Wikipedia)
Khujand is an old city, having been established by Alexander the Great in 329 BCE as Alexandria Eschate (farthest Alexandria). It is on the notable Silk Road and was a reasonably imperative exchanging city on that course for quite some time. Its position is key, at the passageway of the Valley where it can expense exchange and oppose intrusions.
YAZD CITY-IN PROGRESS
The capital of Yazd province, a relaxed city surrounded by desert.
the city of Yazd’s first mention in historic records predate it back to around 3000 years B.C. when it was related to by the name of Ysatis, and was then part of the domain of Medes, an ancient settler of Iran.
In the course of history due to its distance from important capitals and its harsh natural surroundings, Yazd remained immune to major troops' movements and destruction from wars, therefore it kept many of its traditions, city forms and
architecture until recent times.
During the invasion of Genghis Khan in the early 1200’s A.D. Yazd became a safe haven and home for many artists, intellectuals and scientists fleeing their war ravaged cities around Persia.
Yazd was visited by Marco Polo in 1272, who described it as a good and noble city and remarked its silk production. Isolated from any approach by a huge tract of monotonous desert, the vibrancy of Yard is invariably a surprise.
For a brief period, Yazd was the capital of Atabakan and Mozaffarid dynasties (14th Century A.D.). During Qajar Dynasty (18th Century A.D.) it was ruled by the Bakhtiari's Khans.
The city of Yazd is located in the eastern part of central Iran situated on the high, desert plateau that forms much of the country. Amidst the immense desert, Yazd retains its sterling of old in religion, traditions and architecture. Recognized by
UNESCO as holding one of the oldest architecture all over the world.
The word Yazd means, feast and worship, The city of Yazd has resisted the modern urbanization changes and maintained its traditional structure. The geographical features of this region have made people developed special architectural styles. For this reason, in the older part of the city most houses are
built of mud-bricks and have domed roofs. These materials served as insulation preventing heat from passing through.
The existence of special ventilation structures, called Badgirs(WIND TOWER) on the roofs is a distinctive feature of the architecture of this city (A Badgir is a high structure on the roof under which, in the interior of the building, there is a small pool). Therefore, Yazd has presented its stable identity at the foothills of the 4000 meter Shir Kooh.
Jame Mosque
The Jame Mosque (Friday Mosque) crowned by a pair of minarets, the highest in Persia, the portal's facade is decorated from top to bottom in dazzling tile work, predominantly blue in colour. Within there is a long arcaded court where, behind a
deep-set south-east Ivan, is a sanctuary chamber. This chamber, under a squat tiled dome, is exquisitely decorated with faience mosaic: its tall faience Mihrab, dated 1365, is one of the finest of its kind in existence.
The Mosque was largely rebuilt between 1324 and 1365, and is one of the outstanding 14th century buildings in Persia. The tile work has recently been skilfully restored and a modern library built to house the mosque's valuable collection of books and manuscripts.
Zoroastrians have always been populous in Yazd. Even now roughly ten percent of the town's population adhere to this ancient religion, and though their Atashkadeh (Fire Temple) was turned into a mosque when Arabs invaded Iran, a dignified new fire temple was inaugurated thirteen hundred years later.
Atashkadeh (Fire Temple)
Atashkadeh (Fire Temple) intitates meet there, but nobody apart form the Moubad (Grand Priest), a descendant of the Magi, reciting the Avesta, has access to the Moubad-e Moubadan (Saint of Saints) where for the past 3000 years a fire burns in a brazen vessel. The fire itself is a representation of what is good.
Being located beside the central mountains, far from the sea, adjacent to the kavir and in the shadow rainy region, Yazd has a climate which mostly resembles dry desertic climate. Little rain along with high water evaporation, relatively low
humidity, high sun radiation and great temperature changes are among the factors making this province, one of the driest parts of Iran. The only moderating climatic factor is height and so, there is a pleasant climate dominant in Shirkuh heights.
Seen from Carpenter Road in Edgbaston, one of the diversions from the Worcester & Birmingham Canal. Got off the towpath at Islington Row Middleway as the towpath was blocked as far as The Vale for the towpath widening of the Edgbaston Tunnel.
I went down Wheeleys Road, Carpenter Road, Church Road, and back onto the canal at The Vale Village (University of Birmingham).
50 Carpenter Road is behind hoardings. It has interesting looking brickwork, which is being restored.
Grade II Listed Building
Listing Text
CARPENTER ROAD
1.
5104 Edgaston B15
No 50
SP 9585 SE 45/26 21.1.70
II
2.
C1870, a substantial and important Gothic home by Chamberlain. Tall proportions
with asymmetrical elevations of red brick - polychrome brick banding, stone
dressings end decorative tilework. Two storeys and attics with 2 gabled to
front. Gable end elate mote with Gothic ridge tiled and saddlestones to
gables. Slender shafts to brick chimney stacks. Paired windows consisting
of 2 pointed lights divided by colonette. Pointed arcade with tracery to
stone porch, continued blind against blank wall to left with quatrefoil panel
below 1st floor window. Ornate modelling of stone eaves to side with decorative
panel of polychrome tiles and similar tilework in tympana of window, a feature
repeated on the garden elevation. On the left hand west side a short screen
wall links the coach house, slate roof with saddlestone to gable, banded red
brick walls.
Listing NGR: SP0571185216
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Super-closeup of tilework... some of it is more meticulously painted than others... I liked the lines in the corner, overshooting their mark a tad...
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Khan Theological School (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.
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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.
Azulejo
Azulejo is a form of Portuguese painted, tin-glazed, ceramic tilework. They have become a typical aspect of Portuguese culture, having been produced without interruption for five centuries. There is also a tradition of their production in former Portuguese colonies in Latin America.
In Portugal, azulejos are found on the interior and exterior of 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.
Porto
Porto, also known as Oporto, is the second largest city of Portugal (after Lisbon).
The city has the status of global city. It located in the estuary of the Douro river, in northern Portugal. The city of Porto comprises 15 civil parishes. The historic centre of Porto was declared a World Heritage Site by UNESCO in 1996. One of Portugal's most internationally famous products, Port wine, is named after the city because it is produced in, and shipped from the area or, more precisely, from Vila Nova de Gaia, a city just across the river which belongs to the same conurbation.
The Latin name of Porto, Portus Cale, is the origin of the name "Portugal" for the whole country. In Portuguese, the city is usually referred to with the definite article as "o Porto" (the port), hence the English name "Oporto".
Highlights
In recent years, UNESCO recognised its historic centre as a World Heritage Site. Among the architectural highlights of the city, Oporto Cathedral is the oldest surviving structure, together with the small romanesque Church of Cedofeita, the gothic Igreja de São Francisco (Church of Saint Francis), the remnants of the city walls and a few 15th-century houses. The baroque style is well represented in the city in the elaborate gilt work interior decoration of the churches of St. Francis and St. Claire (Santa Clara), the churches of Mercy (Misericórida) and of the Clerics (Igreja dos Clérigos), the Episcopal Palace of Porto, and others. The neoclassicism and romanticism of the 19th and 20th centuries also added interesting monuments to the landscape of the city, like the magnificent Stock Exchange Palace (Palácio da Bolsa), the Hospital of Saint Anthony, the Municipality, the buildings in the Liberdade Square and the Avenida dos Aliados, the tile-adorned São Bento Train Station and the gardens of the Crystal Palace (Palácio de Cristal). A guided visit to the Palácio da Bolsa, and in particular the Arab Room, is a major tourist attraction.
Many of the city's oldest houses are at risk of collapsing. The population in Porto municipality dropped by nearly 100,000 since the 1980s, but the number of permanent residents in the outskirts and satellite towns has grown strongly.
The stable block at Chatsworth, which is prominently situated on the rising ground to the north-east of the house, is almost as grand as the house itself. Indeed its entrance gate, which is in the form of a triumphal arch, is arguably grander than any part of the house. It features four Doric columns with rusticated banding, a pediment containing a huge carving of the family coat of arms, including two approximately life-size stags in high relief embellished with real antlers, and a clock tower topped by a cupola. The building was designed by James Paine for the 4th Duke and was built in around 1760. It is approximately 190 feet (58 m) square and is of two storeys. There are low towers in the corners in addition to the one over the entrance gate. The stables originally had stalls for 80 horses, and all necessary equine facilities including a blacksmiths shop. The first floor was occupied by granaries and accommodation for the many stable staff. According to the Dowager Duchess in her book, Chatsworth: The House, one room still has "Third Postillion" painted on the door. The 6th Duke added a carriage house behind the stables in the 1830s.
The last horses left the stables in 1939 and the building was then used as a store and garage. The grooms' accommodation was converted into flats for Chatsworth employees and pensioners and their families. When the house reopened to the public after the war, "catering" was limited to an outdoor tap which has since been relabelled "water for dogs". In 1975 a tea bar was established with an investment of £120. The first attempt at a café opened in 1979. It seated 90 in some old horse stalls in the stables and was not satisfactory; either to the customers or from a commercial point of view. In 1987 the Duke and Duchess's private chef, a Frenchman named Jean-Pierre Béraud who was also a leading light in the success of the Chatsworth Farm Shop and Chatsworth Foods, took charge of the catering. After a failed attempt to obtain planning permission for a new building incorporating the old ice house in the park, a 250-seat restaurant was created in the carriage house. The nineteenth-century coach used by the Dowager Duchess and the late duke at the Queen's Coronation is on display here. Other facilities include Jean-Pierre's Bar which also serves food, a shop which complements the main shop in the house, and three rooms which may be hired for private events. The stables cater for thirty thousand people a month during the visitor season.
Brickhouse Tileworks specializes in the design and creation of one-of-a-kind, site-specific works of art. Every tile at Brickhouse is meticulously hand crafted for our customers. Whether you are looking for three-dimensional sculpted-relief, hand painted, mosaic or handmade field tiles, our artists will work with you to meet your specific needs. Add exquisite beauty and personalized style to your home, indoors or out, with Brickhouse tiles.
Brickhouse will create a one of a kind custom look for your kitchen, bathroom, fireplace, pool or anywhere you’d like to personalize your home; and we can also produce breathtaking full mural designs. Work with Brickhouse artists to create custom-designed tiles or select from the original Brickhouse Tile Line. At Brickhouse Tileworks we are dedicated to the design and development of high-quality tiles that are distinctive, one-of-a-kind works of art.
I liked the contrast.... the weathered, rough, earthy wooden window and its surrounding bricks contrast with the smooth, colorful, gorgeous tiles. The bricks are probably much older than the tiles... see the archnet photos from 1933, where the brick "bones" are there but much of the surrounding tilework is damaged.
See comment below for a question...
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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.
The stable block at Chatsworth, which is prominently situated on the rising ground to the north-east of the house, is almost as grand as the house itself. Indeed its entrance gate, which is in the form of a triumphal arch, is arguably grander than any part of the house. It features four Doric columns with rusticated banding, a pediment containing a huge carving of the family coat of arms, including two approximately life-size stags in high relief embellished with real antlers, and a clock tower topped by a cupola. The building was designed by James Paine for the 4th Duke and was built in around 1760. It is approximately 190 feet (58 m) square and is of two storeys. There are low towers in the corners in addition to the one over the entrance gate. The stables originally had stalls for 80 horses, and all necessary equine facilities including a blacksmiths shop. The first floor was occupied by granaries and accommodation for the many stable staff. According to the Dowager Duchess in her book, Chatsworth: The House, one room still has "Third Postillion" painted on the door. The 6th Duke added a carriage house behind the stables in the 1830s.
The last horses left the stables in 1939 and the building was then used as a store and garage. The grooms' accommodation was converted into flats for Chatsworth employees and pensioners and their families. When the house reopened to the public after the war, "catering" was limited to an outdoor tap which has since been relabelled "water for dogs". In 1975 a tea bar was established with an investment of £120. The first attempt at a café opened in 1979. It seated 90 in some old horse stalls in the stables and was not satisfactory; either to the customers or from a commercial point of view. In 1987 the Duke and Duchess's private chef, a Frenchman named Jean-Pierre Béraud who was also a leading light in the success of the Chatsworth Farm Shop and Chatsworth Foods, took charge of the catering. After a failed attempt to obtain planning permission for a new building incorporating the old ice house in the park, a 250-seat restaurant was created in the carriage house. The nineteenth-century coach used by the Dowager Duchess and the late duke at the Queen's Coronation is on display here. Other facilities include Jean-Pierre's Bar which also serves food, a shop which complements the main shop in the house, and three rooms which may be hired for private events. The stables cater for thirty thousand people a month during the visitor season.