View allAll Photos Tagged ceiling
Palau Güell (arch. Antoni Gaudì 1885-1889), Barcelona. Catalunya, Spain
CROSSVIEW
To view 3D pics cross your eyes focusing between at the pictures until both images overlap one another in the middle.
Per vedere le foto in 3D incrociare (strabuzzare leggermente) gli occhi fino a che le due immagini si sovrappongono formandone una sola centrale.
This is a detail of the Paris Opera House, also known as the Palais Garnier. The Opera House is still the site of some productions of the Opera National de Paris (www.operadeparis.fr/en/), and is the host of many other events. Wikipedia details (en.wikipedia.org/wiki/Palais_Garnier) the history and architecture of the Palais Garnier, observing that "The Palais Garnier is a building of exceptional opulence. The style is monumental and considered typically Beaux-Arts, with use of axial symmetry in plan, and its exterior ornamentation. Its audience sits under a central chandelier which weighs more than six tons, and it has a huge stage with room to accommodate as many as 450 artists." The architect for this building was Charles Garnier.
More photos to come ....
explore #320 on may 17, 2008
the ceiling of the desert view watchtower -- a stone building on the south rim of the grand canyon in arizona.
better bigger -- take a closer look
"The Desert View Watchtower, constructed in 1932 as a replica of a prehistoric Indian tower, commands a magnificent view of the Grand Canyon, the Painted Desert to the east and the San Fransico Peaks to the south. This seventy-foot tower is the highest point on the South Rim. The interior walls of the tower feature murals by Hopi artist Fred Kabotie."
more information about the building here: www.nps.gov/grca/planyourvisit/placestogo.htm
When I say it's "quack time" that means it's time to duck! Keep your head low and squat walk towards the back wall of this cave. Access to the cave interior is around a bend on the left. Kaminiwa Cave, Saitama, Japan.
This complex image is the ceiling in the main hall of the National Art Gallery in Ottawa, Ontario. This is a massive ceiling, and even with a very wide 10mm shot I was not able to capture it all.
Efteling, Kaatsheuvel, Holland
History and details
The Steam Carousel is an attraction in the Efteling amusement park in the Netherlands. It is an indoor carousel situated in what is now known as the "Carousel Palace" (in Dutch "Carrouselpaleis"; formerly "De Efteling Stoomcarrousel" ("Efteling Steam Carousel") and originally "Janvier's Stoomcaroussel" ("Janvier's Steam Carousel").
The carousel, dating from 1895, was bought by Efteling from Hendrik Janvier , who had toured with it to local funfairs, and has been operating in the park since 11 May 1956.
Hendrik Janvier (1868-1932), considered to be the founding father of the salon carousel, sold the Carousel because of the high costs and declining income. Building the ride up took 4 days and it had to be transported with 25 train carriages and trucks.
Rumour has it that Anton Pieck, the most important creative designer of Efteling, pushed for the purchase, because he rode the carousel as a child in Haarlem.
There also is a bar area within the salon carousel. The area surrounding these carousels was normally used for entertainment, eating and dancing in past times.
In 1956 the carousel was the only attraction in the building, but in 1966 the Water Organ, in 1971 the Diorama and in 1972 the Victorian Theater were also set up in the Carousel Palace.
The ride
Although the mechanics are still visible, the carousel was only powered by a König steam centre engine (under license from Savages) until the 1970s; nowadays it is powered by electricity. The seats of the carousel are in the form of animals, such as 22 Hübner horses and 2 Karl Müller carved pigs (with clown thumbing his nose at the riders behind), and 4 carved Moulina gondolas and coaches, all turning to the music of an original Gavioli organ (only 5 remaining worldwide). The steps for mounting the horses and entering the gondola are fixed to the ride platform. The ride moves on a rail track under the platform, with cams to rock the animals and swing the gondolas.
Ride length: 2 minutes
Ride capacity: 750 passengers/ hour
Here is my virtual tour through the city - portfotolio.net/jup3nep/album/72157631887823501
The Topkapı Palace (Turkish: Topkapı Sarayı or in Ottoman Turkish: طوپقپو سرايى) is a large palace in Istanbul, Turkey, that was the primary residence of the Ottoman Sultans for approximately 400 years (1465-1856) of their 624-year reign.
As well as a royal residence, the palace was a setting for state occasions and royal entertainments. It is now a major tourist attraction and contains important holy relics of the Muslim world, including Muhammed's cloak and sword. The Topkapı Palace is among the monuments contained within the "Historic Areas of Istanbul", which became a UNESCO World Heritage Site in 1985, and is described in Criterion iv as "the best example[s] of ensembles of palaces [...] of the Ottoman period."
Construction began in 1459, ordered by Sultan Mehmed II, the conqueror of Byzantine Constantinople. The palace complex consists of four main courtyards and many smaller buildings. At its peak, the palace was home to as many as 4,000 people, and covered a large area with a long shoreline. The complex was expanded over the centuries, with major renovations after the 1509 earthquake and the 1665 fire. The palace contained mosques, a hospital, bakeries, and a mint. The name translates as "Cannon gate Palace" from a nearby gate which has since been destroyed.
From the end of the 17th century the Topkapı Palace gradually lost its importance as the Sultans preferred to spend more time in their new palaces along the Bosporus. In 1856, Sultan Abdül Mecid I decided to move the court to the newly built Dolmabahçe Palace, the first European-style palace in the city. Some functions, such as the imperial treasury, the library, and the mint were retained in the Topkapı Palace.
Following the end of the Ottoman Empire in 1921, the Topkapı Palace was transformed by a government decree dated April 3, 1924 into a museum of the imperial era. The Topkapı Palace Museum is administered by the Ministry of Culture and Tourism. The palace complex has hundreds of rooms and chambers, but only the most important are accessible to the public today. The complex is guarded by officials of the ministry as well as armed guards of the Turkish military. The palace includes many fine examples of Ottoman architecture. It contains large collections of porcelain, robes, weapons, shields, armor, Ottoman miniatures, Islamic calligraphic manuscripts and murals, as well as a display of Ottoman treasures and jewelry.
A set of pictures I took a few years ago at the Cathedral of the Blessed Sacrament in Altoona, Pennsylvania.
A fisheye view of the ceiling of the downstairs lobby in Austin's historic Driskill Hotel.
I would greatly appreciate your vote in the 2011 Photoblog Awards. Thanks!
Gallery | Blog | Photoblog | Twitter | Facebook | ImageKind | Getty Images
Winchester Cathedral is one of our most rewarding churches, a treasure house of art and history that is also a textbook in stone of architectural styles, from the Romanesque period to the last flowering of Gothic. It also epitomises the English preference for length over height, being the longest medieval church in Europe.
The earliest parts of the present building are 12th century Romanesque, begun in 1079 to replace the smaller Saxon cathedral (whose foundations can be traced in the churchyard) and comprise the unusually squat central tower and both transepts. The Norman crypt also survives under the choir, but suffers frequently from flooding.
The Norman nave also partially survives, but is totally unrecognisble since the late 14th century remodelling of the western limb, which now appears entirely of that date. This Gothic makeover was an immense success internally, beautifully proportioned with a magnificent sweeping vault studded with foliate bosses.
By comparison the choir is much shorter, and is the result of seperate 14th and 15th century rebuildings. It too has delicate vaulting with bosses, though here all is of wood. The dominant feature by far is the towering altar screen reredos dating from 1455-75. It's original statues were destroyed at the Reformation and are now replaced with Victorian figures; fragments of some of the original 15th century figures survive in the cathedral museum and show them to have been of very high quality indeed, a grevious loss.
Behind the great altar screen in the retrochoir stood the shrine of St Swithin, lost at the Reformation but today marked by a more modest modern replacement. This part of the building with it's chapels dates mainly from the 13th century, with the main Lady chapel remodelled in the 15th century (still possessing a sequence of early 16th century murals, hidden today under modern reproductions).
The cathedral is packed with items of interest, from the superb and amazingly preserved choir stalls of c1308 to a sequence of magnificent chantry chapels, mostly ornate late medieval creations and the largest collection in any English cathedral, the Wykeham, Beaufort , Fox and Waynflete chantries being among the finest examples of the English Perpendicular style. The Gardiner chantry is also of interest as the very last, showing a transition from Gothic to Renaissance forms.
Earlier works of art in the cathedral include the 12th century black marble font, carved with scenes from the life of St Nicholas, and some superb late 12th/early 13th century murals in the chapel of the Holy Sepulchre and the vault of the Guardian Angels chapel. Most famous of all is the exquisite Winchester Bible, one of the finest of 12th century illuminated manuscripts, on show in the cathedral library. Visitors to the library can also access the museum in the south transept gallery which contains many superb fragments of medieval sculpture.
Most of the stained glass is Victorian, the medieval glass having been mostly destroyed during the Civil War. The huge west window still shows the patchwork of fragments installed at this time, and other pieces from the 14th and 15th centuries can be found scattered throughout the building. More substantial work however survives in several of the higher choir windows but is very hard to see; the east window is still largely filled with the fine early 16th century glass installed by Bishop Fox, somewhat restored but surprisingly complete (some figures not in situ, brought from other windows to fill gaps) and remains largely unappreciated because of it's inaccessibility.
More recent artworks include some beautiful glass made to designs by Edward Burne Jones by Morris & Co in the north transept chapel. More recent still are the striking series of nave banner paintings that are often hung from the nave pillars with rich batik designs on a theme of Creation and Redemption by the late Thetis Blacker.
The former monastic buildings have mostly disappeared, the site of the cloister is still apparent on the south side (where modern buttresses were built as part of the campaign to secure the cathedral's failing foundations in the 1900s) and a nearby group of Norman arches are all that remain of the chapter house. the cathedral is still fortunate though in being seperated from the city by the relative peace of the Cathedral Close.
Support beams at the Great Hall in Stirling Castle. Someone, somewhere else, told us the name for this type of ceiling structure, but I can't remember it.
Galerías Pacífico is a shopping mall located at the junction of Calle Florida (a major shopping-oriented pedestrian-only street) and Avenida Córdoba. The building was constructed in 1889 by architects Emilio Agrelo and Roland Le Vacher, modelled on Paris’ Le Bon Marché. In 1896, part of the building was converted into the Museo Nacional de Bellas Artes (which has since been relocated). In 1908, British-owned Buenos Aires and Pacific Railway acquired part of the building for offices, resulting in the building becoming known as the “Edificio Pacífico”.
The building was remodelled in 1945 by architects José Aslan and Héctor Ezcurra. The offices were separated from the rest of the building and a large central cupola was built. In 1946 the cupola was decorated with 12 frescos by Argentine artists Lino Enea Spilimbergo, Antonio Berni, Juan Carlos Castagnino, Manuel Colmeiro and Demetrio Urruchúa.
In 1989 the building, which had been abandoned for a number of years, was declared a national historic monument. Further renovations under Juan Carlos López were done at that time and the building re-opened in 1990 as Galerías Pacífico. Four more frescos by Romulo Maccio, Josefina Robirosa, Guillermo Roux and Carlos Alonso were added to the cupola. In addition to major high-end boutique stores, the building has become the home of the contains the Jorge Luis Borges Cultural Centre and the Julio Bocca Dance Studio.
Seeing all the ceiling pictures I took, you'll probably wonder if I ever looked around. Yes I did and I should have taken more pictures. Like of the HUGE baptismal font which is more like a small reflection pool. And the stone which is called "Bumping Stone". I'll post my son's picture of it next. A docent showed us a stone which is used as part of an initiation for boys joining the choir. Their heads are banged against it 3 times-- in the name of the Father, the Son, and the Holy Ghost. There is a head shaped dent in the stone. When girls wanted to be in a choir they decided they couldn’t bang the heads of the girls on the stone, so they have a large Bible to bang on the heads of the girls, in the name of the Father, the Son, and the Holy Ghost.
Britain is a nation blessed with countless stunning churches, but few can match the grandeur and sheer spectacle of Salisbury Cathedral. Built between 1220 and 1258, the cathedral bears all the hallmarks of the early English Gothic style, with an elaborate exterior decorated with pointed arches and flying buttresses, and a sombre, austere interior designed to keep its congregation suitably pious.
Beyond the highly decorative West Front, a small passageway leads into the 70m-long nave, lined with handsome pillars of Purbeck stone. Look out for a fascinating old clock from 1386 in the north aisle, probably the oldest working clock in the world. At the eastern end of the ambulatory the glorious Prisoners of Conscience stained-glass window (1980) hovers above the ornate tomb of Edward Seymour (1539-1621) and Lady Catherine Grey. Other monuments and tombs line the sides of the nave, including that of William Longespée, son of Henry II and half-brother of King John. When the tomb was excavated a well-preserved rat was found inside Longespée's skull.
The splendid spire was added in the mid-14th century. At 123m, it's the highest in Britain, and represented an enormous technical challenge for its medieval builders; it weighs around 6500 tons and required an elaborate system of cross-bracing, scissor arches and supporting buttresses to keep it upright. Look closely and you'll see that the additional weight has buckled the four central piers of the nave.
Sir Christopher Wren surveyed the cathedral in 1668 and calculated that the spire was leaning by 75cm. A brass plate in the floor of the nave is used to measure any shift, but no further lean was recorded in 1951 or 1970. Despite this, reinforcement on the notoriously 'wonky spire' continues to this day.
One of the four surviving copies of the Magna Carta, the historic agreement made between King John and his barons in 1215, is kept in the cathedral's Chapter House
The Bombings of 1940 forced a reappraisal of deep-shelter policy and at the end of October the Government decided to construct a system of deep shelters linked to existing tube stations. London Transport was consulted about the sites and required to build the tunnels at the public expense with the understanding that they were to have the option of taking them over for railway use after the war. With the latter point in mind, positions were chosen on routes of possible north-south and east-west express tube railways. It was decided that each shelter would comprise two parallel tubes 16 foot 6 inches internal diameter and 1,600 feet long and would be placed below existing station tunnels at Clapham South, Clapham Common, Clapham North, Stockwell, Oval, Goodge Street, Camden Town, Belsize Park, Chancery Lane and St. Pauls...Each tube would have two decks, fully equipped with bunks, medical posts, kitchens and sanitation and each installation would accommodate 9,600 people...All the deep level shelters were sub-divided into sleeping areas. Each tunnel was divided into 4 sections with connecting doors between them. Each section was given a name. At Clapham South they were all naval commanders. The northern entrance sections (i.e. those accessed directly from the northern lift without crossing to the other side) were named: Freemantle, Beatty, Evans, Anson, Nelson, Jellicoe, Madden and Inglefield while those accessed from the southern entrance were: Grenville, Hardy, Drake, Oldham, Keppel, Parry and Ley. Each section had bunks fitted longitudinally along the outer wall, a single at the top, a double in the middle and a single at the bottom. Along the inner wall bunks were fitted across the passage forming bays. There were 7.952 bunks in total and each bunk was allocated to a named person. If they didn't turn up one night the bunk remained unused...Although work on them began in November 1940 there were difficulties in obtaining sufficient labour and materials so the first one was only ready in March 1942 and the other seven were finished later that year. Access to them was by ticket in order to help control numbers and prevent disruption to the underground network. There was considerable pressure to open the shelters to relieve the strain on London’s tube stations from people sheltering from the bombing, but the authorities were concerned about the cost of maintaining the shelters once opened and preferred to keep them in reserve in case the bombing intensified. Clapham South was used as weekend troop accommodation from 1943. The start of the attacks on London by V1 flying bombs (commonly known as ‘doodlebugs’) in June 1944, followed by the V2 rocket campaign in September that year, caused many of the deep shelters to be made fully available to the public; Clapham South opened on 19 July 1944. The south entrance, next door to what was the Odeon cinema, was in a small compound that housed administrative offices and ticket printing presses for all eight deep shelters. The shelters were used for their original purpose for less than a year. The north section closed on 21 October 1944 and the shelter was transferred from the Ministry of Home Security to the Ministry of Works on 1 October 1945. Clapham South closed completely on 7 May 1945 and from June 1945 it found a new use as a military leave hostel and for one month in June 1946 it acted as an armed-forces troop billet. At the end of the war, London had a severe labour shortage and the Colonial Office sought to recruit a labour force from Britain’s colonies. At that time there were no immigration restrictions for citizens from one part of the British Empire moving to another part. An advertisement appeared in Jamaica's Daily Gleaner on 13 April 1948 offering transport to the UK for a fare of £28.10s (£28.50) for anyone who wanted to work in the UK. As a result the ship MV Empire Windrush arrived in Tilbury later in 1948 carrying 492 worker migrants from Jamaica. However, as there was no accommodation for the new arrivals the Colonial Office decided to house them in the deep-level shelter at Clapham South.
The nearest labour exchange to Clapham South was on Coldharbour Lane in Brixton so the men sought jobs there. As a result Brixton became a focus for West Indian settlers from that point onwards with successive arrivals making their way to the developing
community. The actual time the deep-level shelter was occupied by new arrivals was relatively short as the men all quickly found jobs and accommodation, and successfully integrated into many parts of south London.
[Subterranea Britannica]
In 2015-2016, a full restoration of the Rotunda interior was completed. Full project details are at www.aoc.gov/rotunda.
-----
This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
This McDonald's even put detail on the ceiling!
------------------------------------------------------------------------------------------------------------------------
Bill Elliott's McDonald's Racing Museum. Pennsdale, PA. January 2014.
Ceiling of the Willy-Brandt-Haus in Kreuzberg, Berlin, taken moments before visiting the world press photo award exhibition.
Decke im Willy-Brandt-Haus in Kreuzberg, aufgenommen kurz vor dem Besuch der Ausstellung des World Press Photo Award.