View allAll Photos Tagged TileWork
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.
The complex designs seen here were executed with mosaic tiles, i.e., each colored element of the design is a separate tile.
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!
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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.
Buildings on Vittoria Street.
On Vittoria Street this is the Municipal School for Jewellers & Silversmiths at 82, 84 and 86 Vittoria Street.
This is the 1911 extension building of the School of Jewellery.
It is currently part of Birmingham City University.
It is Grade II listed.
It is a gothic building from about 1865 designed by J G Bland, was built as a jewellers workshop and offices and was originally 2 storeys.
The school was founded in 1890 and Cook took over the building in 1891. Second floor added in 1906 by the architectural partnership of Cossins, Peacock and Bewlay. Same architects added an extension in 1911.
Original building is red brick with stone dressings and some tilework.
1906 attic storey has broad workshop. 1911 extension has 3 storeys and a basement building.
School Of Jewellery And Silversmithing 82, 84 And 86 - Heritage Gateway
The Arg of Karim Khan (Persian: ارگ کريمخاني ɑrge KɑrīmKHănɪ AKA Arge KarimKhani, Citadel of KarimKhan, KarimKhan Fortress) is a citadel located in the North-East of Shiraz. It was built as part of a complex during the Zand dynasty and is named after Karim Khan, and served as his living quarters. It's shape resembles a medieval fortress.
At times, the citadel was used as a prison. Today, it is a museum operated by Iran's Cultural Heritage Organization.
Contents
The Arg of Karim Khan is also known as Arge Karim Khan, Arge KarimKhani and Citadel of Karim Khan.
Arg-e-Karim Khan was built in 1180 AH (1766-7). Karim Khan invited the best architects and Artists of the time and bought the best materials from other cities and abroad for the construction of the citadel of Karim Khan and was quickly constructed. During the Zand dynasty it was used by the king as living quarters. During the Qajar period it was used as the governor's seat.
After the fall of the qajar dynasty it was converted into a prison and the paintings were plastered. in 1971 it was given to Iran's Cultural Heritage Organization. The renovation of the citadel started in 1977.
The design of the citadel combines military and residential architecture for it was the home of Karim Khan and the military centre of the dynasty.
tile works displaying legendary tales at the entrance gate of the citadel was a feature added during the Qajar period.
Here were large tiles of brown and aqua and small tiles of light brown, on fields of small tiles of pale yellow, all arranged according to no discernible pattern. It is very good.
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In Fort Wayne, Indiana, on November 11th, 2018, at Washington Elementary School at the southwest corner of West Washington Boulevard and Union Street.
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Getty Thesaurus of Geographic Names terms:
• Allen (county) (1002143)
• Fort Wayne (7013933)
Art & Architecture Thesaurus terms:
• aqua (color) (300311045)
• brown (color) (300127490)
• corners (object portions) (300266471)
• elementary schools (buildings) (300006597)
• light brown (300127503)
• Mid-Century Modernist (300343610)
• pale yellow (300127919)
• reflections (perceived properties) (300056034)
• tile (material) (300010676)
• windows (300002944)
Wikidata items:
• 11 November 2018 (Q45921752)
• Fort Wayne Community Schools (Q5472276)
• graffiti abatement (Q5592467)
• Northern Indiana (Q7058433)
• November 11 (Q2987)
• November 2018 (Q31179571)
• stop sign (Q250429)
From the Historic Trinity website:
On Sunday, June 23, 2013, special worship services were held at 9:30 a.m. and 11:00 a.m., at Historic Trinity, celebrating the friendship between Detroit and Windsor. The St. Andrew’s Society Pipe Band (bagpipes and drums) performed during these services. All were inspired by the performance of “Amazing Grace” by the bagpipes, drums, and organ. The Rev. Dr. David Eberhard preached, assisted by the Cathedral Pastors of Historic Trinity.
Its splendour is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions. The arch framed by turquoise cable mouldings and decorated with rich stalactite tilework are distinctive features of Persian Islamic architecture. The panels on either side of the entrance carry the design of a prayer rug.
This niche contains interesting examples of both types of Islamic tile: mosaic, and rectangular.
The pattern on the underside of the arch consists of rectangular tiles onto which the elements of a repeating pattern have been painted in different colors. To see the entire pattern, it is necessary to look at a section of nine tiles - three high by three wide.
In contrast, the tiling in the corner above the door is a mosaic, as is the intriguing tiling over the door on the far left edge of the image. Here, the patterns are made up of individual tiles of different shapes, sizes and colors.
The tilework above the entrance to the Friday Mosque in Yazd was so intricately beautiful that I photographed it in spite of the scaffolding.
If you zoom in far enough, you'll see that the pattern is a mosaic of myriad pieces of shaped and glazed tile - as opposed to simply being painted onto rectangular tiles laid side to side and top to bottom. This becomes apparent if you view this image in the "original" size.
While the scaffolding was a nuisance from this photgrapher's point of view, it is good to see the authorities are maintaining this jewel of Islamic art.
Yazd, Iran.
This series of photos documents the faceted tile at the apex of the eivan on a mosque in Kerman, Iran.
This is the second of four photos that capture the faceted tiling from its starting point to where it ends near the top of the eivan.
The eivan is the prominent 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.
Taken from the top of the Ali Qapu Palace, this shot is looking across Naghsh-e-Jahan Square towards the Emam mosque, the main dome which you can see to the right of the shot is 54m high.
Zellige, zillij or zellij (Arabic: الزليج) is terra cotta tilework covered with enamel in the form of chips set into plaster. It is one of the main characteristics of the Moroccan architecture. It consists of geometrical mosaics made of ceramic used mainly as an ornament for walls, ceilings, fountains, floors, pools, and tables. King Mohammed V Palace, Casablanca, Morocco.
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.
BARTON INGS PIPE & TILEWORKS presented by Charlie Stewart. Found on the banks of the Humber this is a loose representation of the last surviving claypit railway in Britain, until its closure around 1999/2000. The length of the line was less than 0.5km. A simple construction of wooden baseboard, plywood buildings covered in plaster. The scale/gauge combination is Gn15 (G scale scenery/stock on 00 gauge track) A plethora of mud/rust and general grime was then added to so capture the “dirty” atmosphere of this site.
Enlarge
Click diagonal arrows upper-right; then press F11 Fullscreen.
Wikipedia:
The larger dome surmounting the graves is thought to date from the time of Jahan Shah. However, its faience is Safavid work. The smaller dome is a 17thC addition (1671), with an inscription in gilded stucco against the azure background ascribing its creation to the time of Shah Sultan Hossein.
The building is bordered by three courtyards embellished with polychrome tilework.
But it's the play of big-brother little-brother dome forms that particularly appeal.
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