Medieval Moated Sites in North-West Europe. Edited by F. A. Abergand A. E. Brown (original) (raw)
Related papers
Tiles have always been a part of world architecture ever since the first buildings of brick and stone have come to existence. They are important parts of our historical, cultural, and visual heritage. Different production techniques, variety of usage and the numerous ways of decorating them make up an interesting history. Both the decorative (aesthetic) and practical (architectural) values of tiles are the governing factors in their applications in architecture.
The two-volume catalogue of Ken Beaulah's tile collection
Journal of the Tiles & Architectural Ceramics Society Vol. 28, 2022
An analysis of the personal tile catalogues created by the great English tile collector Ken Beaulah (1910-1994) and his unorthodox methods of collecting medieval and Victorian tiles.
Proceedings of Bridges 2021: Mathematics, Art, Music, Architecture, Culture, 2021
Islamic geometric patterns can often be decomposed into a set of modular equilateral tiles, each decorated with a small motif, which assemble to form patterns. As the floodgate for tiles with additional side lengths was opened in the previous Bridges paper (Adapter Tiles Evolves the Girih Tile Set) in which the Φ-category was defined, it is time to examine another non-equilateral category-the Short category, which include a new edge length. While many historical 5-fold patterns can be tiled in two ways, only one way has been used to replicate them. With the introduction of Short tiles, the other way is now possible. I argue that the Short category provides a better way to replicate some of the historical patterns. Together with categories not yet published, the Short tiles play a crucial role when creating patterns, especially historical patterns.
2022
This is my third paper submitted to the Bridges Conference. Unfortunately it was rejected, and the reasons given by the reviewers was perfectly valid. The case being that this topic is too big to fit into the page limitation of eight pages. This gives me an opportunity to tell the story as it was intended in the beginning, and then publish in another channel that allows more space. -------------------------- The subject is about pattern creation, using a technique that includes modular tiles within 5-fold patterns. The tiles have a motif that cross over each side and interacts with the motif in the adjacent tiles. What is new in this paper is that these crossings are not at mid-point. Previous papers focused on non-equilateral tiles, but all tiles had midpoint crossings. Here I introduce the first non-midpoint category, called the Flat category. The Flat category is the missing link between two types of historical patterns, the Starry and the Floral pattern types (terms coined by Castera). As Flat tiles link these two worlds together, they enable a broader spectrum of historical patterns to be tiled, and gives promise to new interesting pattern where the two different pattern types are more distinctly shown than in historical patterns.
Studies in Heritage Glazed ceramics Nr. 3, 2021
The manufacture of azulejos in Portugal started, as far as we know presently, around 1560s by the workshop of Hans Goos, a Flemish potter established in Lisbon as João de Góis. His younger brother, of whom we only know the adopted Portuguese name Filipe de Góis, was referred to in 1575 as a “master of glazed ceramics” and so he may have also produced azulejos around that time. The productions of what we may call the “circle of João de Góis” (maybe only a single workshop or maybe several sharing the same technology) encompasses a period thus starting around 1560 and lasting at least until the 1590s. Practically all the potentially locally-produced azulejos from this period that we have studied (fifteen different panels) could be fitted into the productions of that rather consistent circle, while confirmed imports from Antwerp and Seville are characterized by different technological traits. We had now the opportunity to study all the azulejo panels and patterned linings at the Palace, annexes and gardens of Bacalhôa, amounting to more than 50 different types, a research made all the more difficult by the mixing of tiles of like patterns but certainly different provenances and by the use of clays, glaze formulations, or firing schedules that could not be safely included within the bounds of the circle of João de Góis. Since it is not viable to encompass all the types in a single paper, the most representative azulejo panels still extant at Bacalhôa were chosen, as well as the patterned types used at the Pleasure House by the lake and in the Palace itself. They were sampled and their morphological and chemical characteristics were compared between them and with previously published results, following which the panels and patterned tiles were organized in groups with a view to their future individual study.