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SHOP ALL Bridge No. 3
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Bridge No. 3

$60.00

The Bridge That Doesn’t Flinch
(Bridge No. 3, 1909. Built to Carry the Weight of a Century.)

It was never meant to charm you.

No Gilded Age fanfare. No postcard arches. Just towers of steel—deliberate, unornamented—rising above the East River like two fists planted against the sky. When it opened in 1909, Bridge No. 3 was the city’s newest crossing, connecting Canal Street to Brooklyn’s Flatbush Avenue with no pretense and no hesitation.

It had no time for spectacle. It had work to do.

Designed by Leon Moisseiff, the Manhattan Bridge was the first suspension bridge of its kind—employing deflection theory, a then-revolutionary idea that allowed the structure to flex with its load rather than resist it. Subways, cars, streetcars, trucks, bicycles, pedestrians—if it moved, this bridge could carry it.

And it did.

In its first century, it helped shape a modern city—quietly, reliably. While others were celebrated, this one simply endured. A bridge not built for applause, but for service.

Our Bridge No. 3 tile reflects that spirit: composed, balanced, and steady. The towers rise in clean relief, flanked by cables drawn like deliberate strokes across the sky. It is not decorative. It is definitive.

Pressed by hand. Glazed in restraint. Fired with reverence.

Adventure Built. For those who understand that the most important structures in life rarely ask for attention—they simply bear the weight and keep standing.

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The Bridge That Doesn’t Flinch
(Bridge No. 3, 1909. Built to Carry the Weight of a Century.)

It was never meant to charm you.

No Gilded Age fanfare. No postcard arches. Just towers of steel—deliberate, unornamented—rising above the East River like two fists planted against the sky. When it opened in 1909, Bridge No. 3 was the city’s newest crossing, connecting Canal Street to Brooklyn’s Flatbush Avenue with no pretense and no hesitation.

It had no time for spectacle. It had work to do.

Designed by Leon Moisseiff, the Manhattan Bridge was the first suspension bridge of its kind—employing deflection theory, a then-revolutionary idea that allowed the structure to flex with its load rather than resist it. Subways, cars, streetcars, trucks, bicycles, pedestrians—if it moved, this bridge could carry it.

And it did.

In its first century, it helped shape a modern city—quietly, reliably. While others were celebrated, this one simply endured. A bridge not built for applause, but for service.

Our Bridge No. 3 tile reflects that spirit: composed, balanced, and steady. The towers rise in clean relief, flanked by cables drawn like deliberate strokes across the sky. It is not decorative. It is definitive.

Pressed by hand. Glazed in restraint. Fired with reverence.

Adventure Built. For those who understand that the most important structures in life rarely ask for attention—they simply bear the weight and keep standing.

The Bridge That Doesn’t Flinch
(Bridge No. 3, 1909. Built to Carry the Weight of a Century.)

It was never meant to charm you.

No Gilded Age fanfare. No postcard arches. Just towers of steel—deliberate, unornamented—rising above the East River like two fists planted against the sky. When it opened in 1909, Bridge No. 3 was the city’s newest crossing, connecting Canal Street to Brooklyn’s Flatbush Avenue with no pretense and no hesitation.

It had no time for spectacle. It had work to do.

Designed by Leon Moisseiff, the Manhattan Bridge was the first suspension bridge of its kind—employing deflection theory, a then-revolutionary idea that allowed the structure to flex with its load rather than resist it. Subways, cars, streetcars, trucks, bicycles, pedestrians—if it moved, this bridge could carry it.

And it did.

In its first century, it helped shape a modern city—quietly, reliably. While others were celebrated, this one simply endured. A bridge not built for applause, but for service.

Our Bridge No. 3 tile reflects that spirit: composed, balanced, and steady. The towers rise in clean relief, flanked by cables drawn like deliberate strokes across the sky. It is not decorative. It is definitive.

Pressed by hand. Glazed in restraint. Fired with reverence.

Adventure Built. For those who understand that the most important structures in life rarely ask for attention—they simply bear the weight and keep standing.

All of our tiles are handmade in Texas. We use the cuenca, or arista, technique, in which the glaze colors are prevented from mingling in the firing process by raised borders molded into the clay

Because we individually press and glaze every tile there is a slight variation which lends to their handmade beauty. The size and weight of each of our tiles hearkens back to the days of true craftsmanship. 

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