https://mastodon.scot/@thisismyglasgow/112384577530070379 thisismyglasgow@mastodon.scot - There are few things which beats a wally close for making a great first impression. This one is in the Hyndland area of Glasgow. For those who don't know, a wally close is the communal entrance to a tenement which is lined with tiles, and often beautifully crafted ones.
#glasgow #tiles #tenement #hyndland #glasgowtenement #ceramics #tiling #architecture #glasgowbuildings
https://mastodon.scot/@thisismyglasgow/112362081344038138 thisismyglasgow@mastodon.scot - Broomhill tenement tiles in the West End of Glasgow.
#glasgow #architecture #glasgowbuildings #tiles #tiling #ceramics #tenementtiles #broomhill #design
https://mstdn.social/@alchemistsstudio/112232240964042947 alchemistsstudio@mstdn.social - Guess who is now half a century old?
It took me till my early 40s to find my true passion of creating pottery and making art from clay. I'm always feeling like I am late to my calling and trying to play catch up.
If you have an interest in art or pottery and like the work you see below, consider helping to support this older person's dreams and follow along to be a part of my pottery journey. And remember, it's never too late to chase your dream
Paris-based homeware brand Trame has unveiled a collection of rugs and ceramics with pieces designed by architect Arthur Mamou-Mani as well as designers Amandine David and Wonmin Park that reference the historic Alhambra palace in Granada.
On show at cultural centre Institute Du Monde Arabe in Paris, the Tales of Imperfect Repetition collection references the tiles and patterns seen in the Alhambra palace in Spain, one of the world's most well-known examples of Islamic architecture.
Trame has launched a collection of colourful rugs and ceramics
According to Studio Vedèt co-founder Valentina Ciuffi, who was responsible for the artistic direction of the exhibition, the designs celebrate Trame's love for Mediterannean style and Spanish architecture.
"The incredible architecture of the Alhambra in particular are at the origin of a collection that interweaves history and contemporaneity more evidently than ever before," Ciuffi told Dezeen.
The items draw on the architecture of the Alhambra
"Trame has set its eyes on the tiles which cover the walls of the ancient palace and on the three-dimensional transpositions of these infinite geometries, which give shape to the ceilings by ringing sequences of Muqarnas [ornamented vaulting]," she added.
The brand called on architect Mamou-Mani, Brussels-based designer David and Dutch designer Park to create pieces for the collection, which range from colourful tactile rugs with tassels to different-sized round vases.
As part of the creation process, all of the designers took a trip to the Alhambra, where they drew inspiration from its architectural forms and intricate interiors.
The collection features colourful rugs
"While Islamic art made important mathematical discoveries much before scholars began formalizing them, one of the most fascinating aspects of its aesthetics is the infinite repetition of forms that creates mesmerizing, kaleidoscopic patterns," said Ciuffi.
"Indeed, it is the geometric and mathematical origin of these artistic expressions that act as a common thread," she added.
[ 
](https://www.dezeen.com/2020/01/23/trame-homeware-voyage-to-meknes-design/)
Among the items designed by Mamou-Mani are several stackable cups. The architect first created prototypes of the objects at his studio in London, where he worked with locally sourced red clay.
Like many of Mamou-Mani's past works, including a sand installation in Saudi Arabia, all of the designs were then 3D-printed before being finished with glazing by hand.
David created a selection of black vases for the collection, while Park contributed white vases and candleholders.
The ceramics were 3D-printed
For Trame's launch, Studio Vedet decided to collaborate with the studio Space Caviar to create a space that reflects the Alhambra.
They were attracted to Institute Du Monde Arabe because of its similarities with the Alhambra.
"The Institute Du Monde Arabe, which is the synthesis between Arab and Western culture, was absolutely perfect for the preview of the new Trame collection," Ciuffi explained.
"Probably one of the best architectures signed by Jean Nouvel, the space is perfect both symbolically and aesthetically to recall the architecture of the Alhambra and the concept behind this collection," she said.
Tales of Imperfect Repetition is housed at The Institute Du Monde Arabe
Other recent homeware launches include a collection of rugs by Studio Agne that were created using textile dyes extracted from byproducts from industrial processing, and a range of vibrant tapestries by Chromarama that can be experienced by individuals with different forms of colour vision deficiency.
The photography is byMattia Parodi.
The post Arthur Mamou-Mani creates 3D-printed cups for Trame's latest collection appeared first on Dezeen.
#all #design #products #homeware #paris #ceramics #rugs #arthurmamoumani #news #trame
Bonjour tout le monde, je suis #nouveauici. Mes centres d'intérêt sont #ceramics, #ceramicsandpottery, #claythrowing et #céramique #ceramica #atheism #athéisme #cuisine
Je suis de retour ici après quelques années d'absence. J'étais plutôt familier de Friendica.
A bientôt
#Islamic #Art #Tiles #Round #Floral #Pattern #Motifs #Ceramics #Culture #History #Syria #Our #World
Tile | Origin: Syria | Period: 12th century | Collection: The Madina Collection of Islamic Art | Type: Ceramic; Architectural element, Fritware, molded and glazed, Diameter: 10 1/8 in. (25.72 cm); Depth: 1 1/8 in. (2.86 cm)
#Islamic #Art #Tiles #Eight-pointed #Star #Calligraphy #Pattern #Motifs #Ceramics #Culture #History #Greater #Iran #Iraq #Our #World
Three Tiles | Origin: Iran or Iraq | Period: 11th-12th century | Collection: The Madina Collection of Islamic Art | Type: Stucco; Architectural element, Stucco, carved and painted, Point to point: 4 7/16 in. (11.27 cm) each
#Islamic #Art #Tiles #Eight-pointed #Star #Blue #Floral #Pattern #Plant #Motifs #Ceramics #Culture #History #Greater #Iran #Our #World
Tile | Origin: Greater Iran | Period: mid-15th century | Collection: The Madina Collection of Islamic Art | Type: Ceramic; Architectural element, Fritware, molded and underglaze-painted, Point to point: 8 3/8 in. (21.27 cm)
#ceramics #pottery #clay #functionalceramics #warrenmackenzie #art #craft #maker
What makes a pot satisfying?
"It has to feel good in the hand. You have to like its weight, its balance, its texture, its rhythm, its relation to your own body. The lip of a pot for drinking has to feel good against your lips. You have to enjoy the warmth and texture of a bowl when it is full of hot soup. The easy rhythm of a wooden spoon as it stirs in a mixing bowl makes that bowl feel as well as look all the more right.
"In our society we have become a lot more visual than tactile. Television, movies and other means of mass communication separate us from actual experience. They prepackage and edit our values for us -- values which in the past could only be gained through experiencing things directly. The sense that has declined most of all, I think, is touch. Its almost as though having tactile communication directly with objects, or with other people, is somehow less acceptable than communication by sight or ear -- and maybe is even slightly obscene.
"Yet pottery get its shape from the hands of the potter, from the pressure of palms and fingers in wet clay. Potters' statements are made through their hands. Surrounded as we increasingly are in our modern age by industrially made things, we are losing our sense of the variety and subtlety of surfaces. The metal of a kitchen appliance in London is the same as the metal of a car door in Montreal. The plastic of a television casing in Tokyo is as predictable as the plastic of a counter top in Sydney, Australia. We even imitate in plastics the visual quality of hand-polished stone, or the grain of varnished woods, or the image of terracotta tiles -- but without getting to experience their tactile quality. It seems to me that surfaces like these are made specifically to atrophy our need to explore and know at first hand with our fingers and bodies. Tactile knowingness is edited and prepackaged for us through sight alone. And because we are in danger of forgetting how to touch sensuously, we are in danger of losing our ability to read and enjoy the cultural vocabularies of tactility. Brancusi was right on target when he called one of his smooth white marble pieces Sculpture for the Blind."
-- Warren MacKenzie, American Potter
