White polished porcelain floor tiles. How to do ceramic tile flooring.

White Polished Porcelain Floor Tiles

white polished porcelain floor tiles

    floor tiles
  • (Floor tile) A ceramic, glazed or unglazed paver, quarry or mosaic tile resistant to abrasion and impact.

  • Glazed or unglazed or natural stone tiles of sufficient strength, impact and abrasion resistance to withstand the weight and wear of foot traffic.

  • Articles made of this

  • Porcelain is the second album by the band Sparta. It was released on July 13, 2004 on Geffen Records and peaked at #60 on the Billboard 200. The first single released from the album was "Breaking the Broken".

  • Such articles collectively

  • ceramic ware made of a more or less translucent ceramic

  • Porcelain is a ceramic material made by heating raw materials, generally including clay in the form of kaolin, in a kiln to temperatures between and .

  • A white vitrified translucent ceramic; china

  • Refined, sophisticated, or elegant

  • Shiny as a result of being rubbed

  • perfected or made shiny and smooth; "his polished prose"; "in a freshly ironed dress and polished shoes"; "freshly polished silver"

  • showing a high degree of refinement and the assurance that comes from wide social experience; "his polished manner"; "maintained an urbane tone in his letters"

  • Accomplished and skillful

  • milled: (of grains especially rice) having the husk or outer layers removed; "polished rice"

  • Paint or turn (something) white

  • a member of the Caucasoid race

  • being of the achromatic color of maximum lightness; having little or no hue owing to reflection of almost all incident light; "as white as fresh snow"; "a bride's white dress"

  • whiten: turn white; "This detergent will whiten your laundry"

white polished porcelain floor tiles - Porcelain Tile

Porcelain Tile Polished Rectified 24x24 Calacatta White

Porcelain Tile Polished Rectified 24x24 Calacatta White

PRODUCT: Polished - Rectified Porcelain Tile COLOR: White SIZE: 24" x 24" x 3/8'' PRICE: $2.50 sqft = $1600.00 per pallet. PACKAGE: Original Packaging 40 boxes per pallet (640 sqft) WEIGHT: 2500 pounds per pallet aprox. APPLICATIONS: First Quality, high-end flooring suitable for Residential and Commercial indoors. PEI V INSTALLATION: The joint should be no less of 1/16 (Be aware!!) However this tile is Rectified Or hire a person who knows how to install marble. SHIPPING: We are Located in Florida and can ship out throughout USA with good shipping rates. Normally ships within 3 business days of receiving payment. We have a pallet RATE PROGRAM WITH GREAT RATES THRU USA. To get the shipping cost send an e mail to us with your zip code and the number of sqft you need. If you are a business with loading dock & forklift or a home. PAYMENT Freight samples per pallet 640 sqft. To a Business with forklift or up to the closest terminal. May change depending on fuel price. MA $322.00 - IL $290.00 - CA $379.00 - GA $129.00 - TX $289.00 Samples are available for $10.00 cut piece or $25.00 full piece. Fedex Ground. nhdrustics@gmail.com Juan Velez 786 768 5358 Nhd Rustics Inc.

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Ali Qapu and Mosque Sections-

Ali Qapu and Mosque Sections-

Diagrammatic Sections through Ali Qapu portal-Palace and Shah Mosque, Maidan Square, Isfahan.
NOTE Not to the same scale.

In the upper diagram of the Ali Qapu we see the Imperial balcony-porch which overlooks the square to to the right.

In the lower diagram we see the double structure of the great dome of the Shah Mosque. The top of the outer dome is apparently 52metres above the ground.

notes continued............
Round the edge of the great Square, I chatted by gesticulation at stalls and workshops, to one crafting tile-mosaics in superb white-on-cobalt calligraphy. I was given a no-English explanation of a flowing inscription to the effect that “There is no god but one God.”

And along the eastern side to the royal-chapel mosque – a smaller gem which came to be called the Lotfollah mosque in association with the Shah’s father-in-law. It was for the royal household, and the sheikh led prayer there.

The Lotfollah chapel was built early (1603 on) in the Abbas development, along with the Square’s surround arcading and integrated into it, directly opposite the Ali Qapu. A distinct form, but with restraint. However, this is no typical Persian mosque — it’s a subtle internal space without open-sky courtyard.

On approach, the viewer sees a composition of balanced asymmetry — entry arch to the left, shining dome set back to the right. A hurried critical comment by Byron on the lack of symmetry is selectively quoted by writers who haven’t seen the building.
It’s the play of expressive asymmetry that makes it, especially as seen from the royal balcony directly opposite. Symmetry here would be too mechanical, too deadly dullard.
In fact Byron’s comments on the Lotfollah also said “...the outside is lyrical...”, “... flowered dome skewed sideways over a blue recess. Symmetry; but not too much.” and “...the beauty lies in the contrast between a formal space and a romantic diversity of building.”
Hardly condemnation.
Instead, an enchanting intrigue.

And what of that dome? Cafe-au-lait with azure tints and tendrils, it’s an exquisite, slightly squat form. Each Persian dome employs a different shape. This one is beautifully proportioned, restrained, taught, and flowing from its drum as one. Somehow it’s just right, and commonly regarded the most pure of all, though that’s hard to define. But think too of the set-out geometry. Each such cupola creates a new curve, yet here the favoured floral pattern runs round the dome and up the swelling with the design exactly meeting in three-dimensional geometry — not just tile craftsmanship, but a unified whole. Original plant-pattern arabesques are glazed white, turquoise and touches of ultramarine flourishing in curves over the beige ground, fusing down to further blue dominating the drum. And use has been made of the contrast between glazed and unglazed tiles which gives glitter to the surface as sunlight deflects; yet there are hints of the underlying brickwork. Here’s refined porcelain promising special containment.

Coming closer, the entry recess conjoins with the square’s arcading. Delicately-decorated blue tile-panels face the public space — inviting but special — a set-back marker and change in response. The cobalt-blue finish, essentially from the Safavid era, contains intricate designs, and there’s stalactite work over the portal with concentrations of blue and yellow motifs. (In fact much of the recess vestibule has been refinished in the post-WWII era.) Several marble steps rise up to inner floor level. This initiates the spatial transition, though I think there may be a little-known basement level beneath. (See my 2010 photo!)

Now through the offset portal entry. A constricting corridor angles further left, almost leading people away in the dark until eyes adjust to the gloom with glistening patches angled in the vaulting. On goes the transition passage, sight and senses adjusting to the mystery. Enigmatic. Another disorienting change, and suddenly an explosion of spatial splendour. Some say this angling was just to align to Mecca. That could have been more easily done, but here the succession is one of architectural skill. Now inside, a decorated, light-diffused, polished interior reveals.

This circular sanctuary is subtle with gentle light. Lower, shifts of illumination play across deep-blue tilework. Higher, sun filters through the moderating grilles of small window-openings to produce a changing interplay of light and shadow. The eye is drawn up to the spectacular under-saucer ceiling with golden-yellow decoration patterned to shrink to the heavenly centre. Gorgeous, almost too fine. The arabesqued double-lattices over the tiny window openings are called, I think, qamariyyah. Lower, the architectural forms resolve so well, simply and smoothly bringing the dome form down on integrated squinches to square plan — without complicated stalactites. The remarkable surface mosaic reads as a glazed multi-hue unity. Space, li

Grand Staircase -George Eastman House

Grand  Staircase -George  Eastman House

The Grand Staircase is in the Entrance Hall at the George Eastman House. This handsome space is dominated by the grand divided staircase. Backed by the greenery and lofty height of the Conservatory, the stair seems to float in space. You can look up the stairwell into the different spaces that rise and up to a skylight, this is a most magical effect of the house. The pine walls have a porcelain-like luster. The walls were painted, and each coat was rubbed or polished with pumice powder to achieve this look. Floors composed of warm white marble tiles divided by brass mountings enhance the effect of the Colonial white, as all Colonial houses were believed n 1900 to have been white. The staircase and walls follow a New England Colonial theme. The magnificent electric wall lamps are reproductions of two originals, which were the work of Edward Caldwell & Co. of New York, a premiere manufacturer of fine lighting fixtures from 1900 until 1934. Patterned on eighteenth-century French sconces, the wall lamps are bronze, gold-leafed, and represent the finest, sharpest, metal castings one could obtain. Note the crystal-like globes at the ends of the railings on the grand staircase. These glass accessories are known as Finials however, these are not the original crystal finials. The originals were much smaller ( as seen in early photographs) and were replaced during the occupancy of the University of Rochester. The present pieces are not Steuben crystal as popularly believed--manufacturer unknown. Located at the George Eastman House and Gardens, 900 East Ave in Rochester, NY.

white polished porcelain floor tiles

white polished porcelain floor tiles

Bianco Venatino Marble Polished Random-Strip Mosaic Tile on Mesh - Box of 5 sq. ft.

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