View allAll Photos Tagged ceiling
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.
Oxford's Divinity School. Among the identifiable arms here are the royal arms in the centre with the Lancastrian rose behind it and the arms of the University.
Painted ceiling of the Serb Orthodox Cathedral, in Szeged, Hungary. The mural shown is directly over the centre of the nave. The altar, aligned towards the east, is on the right hand side of this image, the narthex and proch/entrance is in the west, to the left hand side of this image.
Built in 1774 in the church was built in the style of classicism with baroque elements. It is considered to have been the fourth rebuilding on the Serb church on this site, the first dating from the early 1200's.
In-progress photo of hand-painted ceiling.
Blogged on Apartment Therapy June 25, 2008: www.apartmenttherapy.com/la/inspiration/inspiration-kate-...
The supports in the Van Gogh museum's glass ceiling casting shadows on its walls, Amsterdam, Netherlands.
Ornate ceiling of the Great Hall of the Thomas Jefferson Building of the Library of Congress in Washington DC. The heavily decorated Beaux Arts style building was built in the 1890s.
Atomic Ceiling Light - Orange and White Space Age Ceiling Lamp Pendant Lamp - 60's 70's Retro Home Decor
Find it here: etsy.me/1KoVEan
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.
One of the many painted ceilings in the Vatican. This one is actually a small dome, though it doesn't really show up well in 2D.
this one is for Nada =D ;)
PS: it was view from my bed up to heaven ;) I know that you like this views on ceilings ..
Passageway to sports oval. Corridor with brick walls and ceiling lights to a sports arena. Black and white photo of a sporting venue entrance.
Stramit Board or compressed straw ceiling panels at St Elizabeth's Primary School in Dandenong North southeast of Melbourne.
The ceiling system has been used for decades for public buildings, some commercial buildings and even occasionally private residences. The panels are formed by compressing straw under heat until the individual lengths fuse together from the resins released by the process. The system proved popular owing to the lightweight panels being strong enough to be used in long lengths reducing the steel framework support system required. In addition they provided good thermal and acoustic insulation.
Stramit Board ceilings were popular at Melbourne schools from the 1970s onwards including this which was built in the late 1970's with extensions in the 1980's. Nearby Nazareth College designed by the same architect used the same system.
This ceiling is in the lobby of a building downtown that many doctors, dentist, orthodontist, etc. practice. I went to visit my orthodontist and I finally snapped some photos of it :)
This ceiling light is original to our kitchen, it's mate is a pull-down style lamp shown in another one of my photos. It and a few other touches first attracted me to our1958 rambler home
I love this ceiling, it is just incredibly beautiful. I have been wanting to go back and shoot it again for quite some time. I was just a little off center, but I am getting closer to just the shot I want. This shot was triple exposed and tone mapped in photomatix, I also played with it a little in lightroom. This is why HDR is so beneficial, the originals show no where near the detail this shot does.
The lights you see are a chandelier and this is the info from the brochure I took last night: A chandelier weighing 6,000 lb (2,700 kg) hangs from the rotunda of the central dome. The chain supporting it weighs an additional 7,000 lb (3,200 kg).
You are doing yourself and this photo a disservice if you dont View On Black.
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 white 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)