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by Yoko Ono
Climb up a ladder. Look at the painting on the ceiling with a magnifying glass, and find the word ‘YES’
The interactive object known as Ceiling Painting was an important work shown at Ono's historic 1966 Indica Gallery show in London. The viewer is invited to climb a white ladder, where, at the top, a magnifying glass, attached by a chain, hangs from a frame on the ceiling. The viewer uses the reading glass to discover a block letter "instruction" beneath the framed sheet of glass-it says "YES." It was through this work that Ono met her future husband and longtime collaborator, John Lennon.
Q: How did you meet Yoko?
John Lennon: There was a sort of underground clique in London; John Dunbar, who was married to Marianne Faithfull, had an art gallery in London called Indica, and I'd been going around to galleries a bit on me off days in between records, also to a few exhibitions in different galleries that showed sort of unknown artists or underground artists.
I got the word that this amazing woman was putting on a show the next week, something about people in bags, in black bags, and it was going to be a bit of a happening and all that. So I went to a preview the night before it opened. I went in - she didn't know who I was or anything - and I was wandering around. There were a couple of artsy-type students who had been helping, lying around there in the gallery, and I was looking at it and was astounded. There was an apple on sale there for two hundred quid; I thought it was fantastic - I got the humor in her work immediately. I didn't have to have much knowledge about avant-garde or underground art, the humor got me straightaway. It was two hundred quid to watch the fresh apple decompose.
But it was another piece that really decided me for or against the artist: a ladder that led to a painting, which was hung on the ceiling. It looked like a black canvas with a chain with a spyglass hanging on the end of it. I climbed the ladder, looked through the spyglass, and in tiny little letters it said, YES.
So it was positive. I felt relieved. It's a great relief when you get up the ladder and you look through the spyglass and it doesn't say NO or FUCK YOU or something.
I was very impressed. John Dunbar introduced us - neither of us knew who the hell each other was. She didn't know who I was; she'd only heard of Ringo; I think it means apple in Japanese. And Dunbar had sort of been hustling her, saying, "That's a good patron; you must go and talk to him or do something." Dunbar insisted she say hello to the millionaire - you know what I mean. And she came up and handed me a card that said BREATHE on it - one of her instructions - so I just went [pants]. This was our meeting.
The second time I met her was at a gallery opening of Claes Oldenburg in London. We were very shy; we sort of nodded at each other - she was standing behind me. I sort of looked away because I'm very shy with people, especially chicks. We just sort of smiled and stood frozen together in this cocktail-party thing.
The next thing was, she came to me to get some backing - like all the bastard underground do - for a show she was going. She gave me her Grapefruit book. I used to read it, and sometimes I'd get very annoyed by it; it would say thing like "paint until you drop dead" or "bleed." Then sometimes I'd be very enlightened by it. I went through all the changes that people go through with her work - sometimes I'd have it by the bed and I'd open it and it would say something nice and it would be all right, and then it would say something heavy and I wouldn't like it.
So I gave her the money to back her show. For this whole thing, everything was in half: There was half a bed, half a room, half of everything, all beautifully cut in half and all painted white. And I said to her, "Why don't you sell the other half in bottles?" having caught on by then to what the game was. And she did that - this is still before we'd had any nuptials - and we still have the bottles from the show; it's my first. It was presented as "Yoko Plus Me" - that was our first public appearance. I didn't even go to see the show; I was too uptight.
Q: When did you realize that you were in love with her?
JL: It was beginning to happen; I would start looking at her book, but I wasn't quite aware what was happening to me. Then she did a thing called Dance Event, where different cards kept coming through the door every day saying BREATHE and DANCE and WATCH ALL THE LIGHTS UNTIL DAWN, and they upset me or made me happy, depending.
I'd get very upset about it being intellectual or all fucking avant-garde, then I'd like it, and then I wouldn't. Then I went to India with the Maharoonie and we corresponded. The letters were still formal, but they just had a little side to them. I nearly took her to India, but I still wasn't sure for what reason; I was still sort of kidding myself, with sort of artistic reasons and all that.
When we got back from India, we were talking to each other on the phone. I called her over; it was the middle of the night and Cynthia [Lennon's first wife] was away, and I thought, well, now's the time if I'm gonna get to know her any more. She came to the house and I didn't know what to do, so we went upstairs to my studio and I played her all the tapes that I'd made, all this far-out stuff, some comedy stuff, and some electronic music. She was suitably impressed, and then she said, "Well, let's make one ourselves." So we made Two Virgins. It was midnight when we started; it was dawn when we finished, and then we made love at dawn. It was very beautiful.
From 'Lennon Remembers'
(Jann Wenner editor of Rolling Stone magazine interviewing John Lennon in December 1970)
The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.
Over the centuries the ceiling had become so darkened by dirt and soot to become heavily obscured and hard to read, and this is how I saw it for the first time in the 1990s, when many visitors probably missed it altogether. Now it has been fully cleaned and restored it shines again not only as one of the glories of the temple but one of the most remarkable surviving decorative schemes of ancient Egypt. The contrast with its previous blackened, unrestored condition is dramatic, giving an entirely different impression from our previous visit.
The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan.
The dominant structure in the complex is the Temple of Hathor, an enormous structure with a rectangular facade punctuated by the Hathor-headed columns of the hypostyle hall within. This hall is an architectural wonder, a masterpiece of ancient Egyptian design and decoration, which covers every surface and has been recently cleaned, revealing a superb astrological ceiling in all its original vibrant colours.
Sadly there was much iconoclasm here during the early Christian period and most of the reliefs of the walls and pillars have been defaced. Worse still is the damage to the 24 Hathor-head capitals: not one of the nearly a hundred huge faces of the goddess that once smiled down on this hall has been left unblemished, most with their features cruelly chiselled away.
The main temple building is otherwise structurally intact, and extends into further halls and chapels beyond, again with much relief decoration (much of which is again defaced). In one corner is an entrance to a crypt below, an unusual feature in Egyptian temple architecture consisting of several narrow passages adorned with carved relief decoration in good condition.
There are further sanctuaries and chapels above on the roof of the temple, accessed by a decorated staircase and including the room where the famous Dendera Zodiac was formerly located (today its place in the ceiling taken by a cast of the original, now displayed in Paris). The highest part of the roof complex is no longer accessible to tourists, but I can still recall making the ascent there on our first visit in 1992.
Several other buildings surround the main temple, the most impressive of which is the mammisi or 'birth-house'. This consists of a large rectangluar hall surrounded by a colonnade near the entrance to the site and has some well preserved relief decoration on its exterior. Most of this structure dates to the Roman period, but the ruins of its predecessor built under Nectanebo II (Egypt's last native pharoah) stand nearby.
Dendera temple is one of the most rewarding in Egypt and shouldn't be missed. It is one of the most complete and evocative ancient monuments in the country and its recent restoration has revealed a surprisingly extensive amount of colour surviving within (we were amazed by the dramatic contrast with the soot-blackened ceiling we'd beheld on our previous visit in the 1990s). Despite its relative youth (in Egyptian terms at least!) it is easily one of my favourite sites in Egypt.
The Court Building was once the Ba'ath Party Headquarters in Baghdad. The inside was quite lavishly decorated. Here is a slightly better view of the glass ceiling in the "Chemical Ali" courtroom.
Today I went to two different churches and looked up at their ceilings. Can you tell which has the traditional and which has the contemporary worship style?
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Lower Balcony
In 1903 real estate entrepreneur General Louis V. Clark purchased lots 11, 12, and 13 on 3rd Avenue and 18th Street. The soon to be Lyric Office Building and Lyric Theatre occupied addresses 1800-1808 Third Avenue North adress. City directories reveal this location to have been a grocery store, a furniture store, a shoe shop and a saloon.
Generak Clark engaged the Birmingham firm of Hendon Hetrack Construction Company to construct the office building and theatre. To operate the theatre, Clark entered into a partnership with Jake Wells. Mr Wells was a leading Southern Theatre owner. Wells owned the Bijou Theatre ( formerly Birmingham Auditorium, Bijou, Lowes Bijou, Pantages, and Birmingham Theatre ) on Third Avenue and Seventeenth Street.
The Lyric Theatre was advertised to open its doors on January 12, 1914. Due to an injunction filed by the Orpheum Theatre the Lyric opened January 14, 1914. The dispute centered around the fact that both the Orpheum and Lyric Theatres had a vaudeville booking contract with B.F. Keith Shows. The Lyric would present B.F. Keith Big Time Vaudeville from 1914 until the opening of the Ritz Theatre in 1926. Some of the show business legends to perform on the Lyric stage were Sophie Tucker 9 during the 2nd week the theatre opened0, Gus Edward's Kid Kabaret with George Jessel and Eddie Cantor, Will Rogers, Buster Keaton with the Keaton Family Acrobats, Milton Bearle, and Mae West. In the fifties both Roy Rogers and Gene Autry appeared live on stage at the yric Theatre.
After the 1926 Ritz Theatre opening, the Lyric's star began to fade. To supplement the loss of the B.F. Keith Vaudeville, the Lyric began to produce plays. Changes in ownership and the depression took their toll on the Lyric. The theatre closed and when it reopened it operated as a holdover house for the Alabama Theatre and later the Empire-Melba Theatres. From time to time, the Lyric showed lower grade movies and was not the best place to go see a movie.
Never again would the Lyric Theatre attain its former greatness. Over the years the theatre woud gradualy decline. In the late 1950's the Lyric closed its doors. The lobby would be used for retail space and the theatre would be vacant. In 1972, a group of young businessmen reopened the Lyric as the Grand Bijou Theatre showing classic movies ( I was 6 at that time). After the Grand Bijou closed, the Lyric Theatre ended it operation as the Foxy and later Roxy Adult Cinema.
Plans are to raise the money and completely restore the theatre in time for its 100th anniversary in January 2014
Ceiling of the St. Nicholas church of Finiki. Finiki is a small fishing-village on Karpathos with offcourse some tavernes with excellent and fresh fish.
Squash in the Sensory Patios, Tucson Botanical Gardens
On August 28th we finally returned to Tucson Botanical Gardens after a long Covid-19 enforced absence. Although the cafe and the gallerys weren't open it was worth wearing a mask in the humidity to finally get out.
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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
Real BasÃlica de san Francisco el Grande) is a Roman Catholic church in central Madrid, Spain, located in the Barrio (neighborhood) of La Latina. The main façade faces the Plaza of San Francisco, at the intersection of Bailén, the Gran VÃa de san Francisco, and the Carrera de san Francisco. It forms part of the convent of Jesús y MarÃa of the Franciscan order. The convent was founded in the 13th century at the site of a chapel.
The basilica was designed in a Neoclassic style in the second half of the 18th century, based on a design by Francisco Cabezas, developed by Antonio Pló, and completed by Francesco Sabatini. The church contains paintings by Zurbarán and Francisco Goya. The temple once functioned as the National pantheon, and enshrined the remains of famous artists and politicians.
The dome is 33 metres (108 ft) in diameter and 58 metres (190 ft) in height; its shape is very similar to the Pantheon's dome, having a more circular shape than the typical domes built in the 18th century.
On Isola Bella in Lake Maggiore.
A look around the Borromeo Palace and it's amazing gardens.
Isola Bella (lit. 'beautiful island') is one of the Borromean Islands of Lago Maggiore in north Italy. The island is situated in the Borromean Gulf 400 metres from the lakeside town of Stresa. Isola Bella is 320 metres long by 400 metres wide and is divided between the Palace, its Italianate garden, and a small fishing village.
Until 1632 the island—known only as l’isola inferiore or isola di sotto—was a rocky crag occupied by a tiny fishing village: but that year Carlo III of the influential House of Borromeo began the construction of a palazzo dedicated to his wife, Isabella D'Adda, from whom the island takes its name. He entrusted the works to the Milanese Angelo Crivelli, who was also to be responsible for the planning the gardens. The works were interrupted around middle of the century when the Duchy of Milan was struck by a devastating outbreak of the plague.
Construction resumed when the island passed to Carlo’s sons, Cardinal Giberto III (1615–1672) and Vitaliano VI (1620–1690); the latter in particular, with the financial backing of his elder brother, entrusted the completion of the works to the Milanese architect Carlo Fontana and turned the villa into a place of sumptuous parties and theatrical events for the nobility of Europe.
The completion of the gardens, however, was left to his nephew Carlo IV (1657–1734). They were inaugurated in 1671.
The island achieved its highest level of social success during the period of Giberto V Borromeo (1751–1837) when guests included Edward Gibbon, Napoleon and his wife Joséphine de Beauharnais, and Caroline of Brunswick, the Princess of Wales. It is said that Caroline, having fallen in love with the place, did her best to convince the Borromeo family to sell her Isola Madre or the Castelli di Cannero islands; her request being turned down, she established herself on the banks of Lake Como at Cernobbio in the Villa d’Este.
Interior photos are not to be published anywhere else.
ceiling
Posted on PigPog: pigpog.com/2014/06/29/the-core-ceiling-2/
The ceiling of The Core building at the Eden Project – wood, with skylights letting the light shine in past the curved wooden beams.
Now part of Ottawa City Hall; they call it the Heritage Building.
lieuxpatrimoniaux.ca/en/rep-reg/place-lieu.aspx?id=7437
The Former Ottawa Teacher’s College National Historic Site of Canada is located on Elgin Street in downtown Ottawa. A fine example of late-19th century eclectic design, the building’s two-and-a-half-storey front block is a balanced composition exhibiting an eclectic interpretation of the Gothic Revival Style. The roof, in the Second Empire style, with a central spired belfry, features a gable and a lively series of turrets. The building is now part of the Ottawa City Hall Complex. Official recognition refers to the former school building on its original lot.
[...]
The Former Ottawa Teacher’s College was designated a national historic site of Canada in 1974 because it is a nationally significant example of the Gothic Revival Style in Canada whose use of disparate architectural details reflects a spirit of eclecticism.
The Ottawa Teacher’s College or Normal School, designed by the architect W.R. Strickland and built in 1874-1875 by J. Forin under supervising architect James Mather, was the second institution of its type to be established in Ontario. The College continued to train teachers for Ontario until 1974. Purchased by the regional government, an office complex was constructed to the rear. After municipal amalgamation, the building became part of Ottawa City Hall.
The rectangular massing with central pavilion of the main block follows an accepted format for 19th century academic institutions, while the use of disparate architectural details including a mix of pointed Gothic-style, semi-circular and flat-headed windows, Romanesque columns, and Second Empire-style roof, reflects a spirit of eclecticism.
ottawa.ca/en/arts-heritage-and-events/doors-open-ottawa/2...
The Heritage Building was formerly the Ottawa Normal School, built in 1875. It was the second Normal School established in Ontario and is the oldest still standing today. In 1879, a model school for 360 pupils was added. As well, an assembly hall and additional classrooms were added in 1892.
The original architect, WR Strickland, chose the Gothic renaissance style to reflect the influence of the parliament buildings. Semi-circular Italiante windows, Romanesque columns and Second Empire roof complete the Victorian structure. The exterior walls are made from limestone quarried in Gloucester Township. The roof is slate and all the decorative trim is made of cast iron.
The building was purchased by the Regional Municipality of Ottawa-Carleton (RMOC) in 1987, which built the office complex to the rear. Restoration and renovation work began in early 1988. Renamed the Heritage Building, it officially was reopened as part of Regional Headquarters in May 1990. After municipal amalgamation in 2001, the building became Ottawa City Hall. Today it is the executive block of Ottawa City Hall housing the offices of the Mayor, City Manager and City Clerk.
The Ottawa Sports Hall of Fame, showcasing Ottawa sports legends, is now permanently housed on the first floor of the building.
Doors Open 2023 @ City Hall; Ottawa, Ontario.
Title / Titre :
Various Conduits in the Ceiling of the Vault Structure’s First Floor /
Divers conduits dans le plafond de la structure de chambre forte du 1er étage
Description :
The exposed conduits make for easy repair . /
Les conduits exposés facilitent les réparations.
Creator(s) / Créateur(s) : Dave Knox
Date(s) : November 2017 / novembre 2017
Reference No. / Numéro de référence : AMICUS n/a, MIKAN n/a
Location / Lieu : Preservation Centre, Gatineau, Quebec, Canada / Centre de préservation, Gatineau, Québec, Canada
Credit / Mention de source :
David Knox. Library and Archives Canada, IMG_4458 /
David Knox. Bibliothèque et Archives Canada, IMG_4458
Lovely vaulted ceiling in the museum at the Castelo de São Jorge in Lisbon. They were a little untidy though with their patterns so maybe this wasn't a very important ceiling?
Sacro Monte ( Orta ). Chapel 20: Fresco ( 1670 ) by Antonio Busca, showing the coronation of Saint Francis by the Holy Trinity.
Post-Processing done with CaptureNX2
(Color Efex Pro 3).
I think this is evidence of where the stockroom for Loblaw's started.
Olean, NY. January 2020.
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