View allAll Photos Tagged lightfitting
One of my favourite Gaudi details from the Casa Batllo was the sculptured ceilings. The way they integrate the light with the structure is the complete opposite to many modern houses where a single pendant hangs from the centre of the room (if you're lucky) looking like an afterthought. It's just one example of Gaudis comprehensive design ethos.
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences.
In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station.
Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since.
“Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
Walking through the stained glass framed front door, you enter “Warwilla’s” lofty entrance hall. The original ornate Art Nouveau plaster ceilings and foyer fireplace with brass, wood and tiled surround still remain intact. A grand early twentieth century crystal chandelier hangs from the central ceiling rose. On the landing of the original staircase a fine stained glass window by British born, German trained, Melbourne stained glass artist William Montgomery still overlooks St Kilda Road. Featuring a beautiful woman in Tudor garb in a garden setting, the window is typical of the British Arts and Crafts Movement which would have dominated interior design at the time. Framed by stylised Tudor flowers and pomegranates the line “a merlin sat upon her wrist, held by a leash of silken twist” appears on a scroll. Taken from the long narrative poem “The Lay of the Last Minstrel” written in 1805 by Sir Walter Scott (1771 – 1832) the choice of image and literary quote hark back to heraldic times, a great driver of the aesthetics of the British Arts and Crafts Movement. The stair hall window is signed by William Montgomery in the bottom left-hand corner of the frame, where it also lists his address as 164 Flinders Street.
At the time of photographing “Warwilla” was partly a Seasons heritage boutique hotel and partly the entrance to a towering modern apartment block which has been built directly behind it.
John Beswicke (1847 – 1925) was a Melbourne architect and surveyor between 1882 and 1915. He was apprenticed to the firm Crouch and Wilson at the age of sixteen. He worked there for eighteen years, finishing as head assistant. In 1882 Ralph Wilson and John Beswicke formed the partnership Wilson and Beswicke. Through his career he was in sole practice as J. Beswicke, between and following three partnerships including Beswicke and Hutchins, and Beswicke and Coote. John Beswicke designed many commercial and residential buildings during his career. These include: the Brighton Town Hall, the Dandenong Town Hall, the Essendon Town Hall, the Hawthorn Town Hall, the Malvern Town Hall, the St Kilda Presbyterian Church, the Auburn shopping strip along Auburn road, “Bendigonia” in Leopold Street Melbourne which runs off St Kilda Road, “Tudor House” in Williamstown, “Tudor Lodge” (later renamed “Hilton House”) home to Mr. Cullis Hill in Hawthorn, “Redholme” (later renamed Warwilla) and his own Hawthorn home “Rotha”.
This is my Holoplane 8718 UFO Flying Saucer Design Light Fitting Made in England.
This Light is very old and was replaced by Fluorescent Light Fittings, When The Leicester Permanent Building Society's head office was revamped.
My Grandfather and other employees were aloud to take them home. Unlike today when everything now gets skipped!
The Light was fitted in the hallway of his home. I had always like the light from a young age and when he passed away, the light was left to me in his will.
All I had to do was remove the light and fix up a new BC Pendant Lamp Holder (Ceiling Rose).
The two part Prismatic Pendant Glass gives out a great light even with a ECO-LAMP Philex Compact Fluorescent 15w fitted. The Lights Ratting (Incandescent Bulb 150Watt Max)
Holoplane was founded in 1898 and has made Lights for indoors and outdoors including Street Lights (Lamp Posts).
In the mid 1870s George, Prince of Wales, rented a small lodging house overlooking a fashionable promenade in Brighton. Brighton was developing from a decayed fishing town to an established seaside retreat for the rich and famous, being close to London. It also proved popular for the therapeutic health-giving sea water remedies made famous by Dr Richard Russell, a physician from nearby Lewes. The prince had been advised by his physicians to benefit from Brighton's fortunate climate and to try out the sea water treatments, which included 'dipping' (total body immersion into the salt sea water).
Brighton suited George who was a vain and extravagant man with a passion for fashion, the arts, architecture and good living. He rebelled against his strict upbringing and threw himself into a life of drinking, womanising and gambling.This decadent lifestyle combined with his love of architecture and the fine and decorative arts - his residences in London and Windsor were like immaculate sets to show off his superb collections - resulted in his incurring heavy personal debts. In 1787, after much pleading and many promises by the Prince of Wales, the House of Commons agreed to clear his debts and increase his income.
George hired architect Henry Holland to transform his Brighton lodging house into a modest villa which became known as the Marine Pavilion. With his love of visual arts and fascination with the mythical orient, George set about lavishly furnishing and decorating his seaside home. He especially chose Chinese export furniture and objects, and hand-painted Chinese wallpapers. In 1808 the new stable complex was completed with an impressive lead and glass-domed roof, providing stabling for 62 horses.
In 1811 George was sworn in as Prince Regent because his father, George III, had been deemed incapable of acting as monarch. At that time the Marine Pavilion was a modest building in size, not suitable for the large social events and entertaining that George liked to host. In 1815, George commissioned John Nash to begin the transformation from modest villa into the magnificent oriental palace that we see today.
This stage of the construction took a number of years. Nash superimposed a cast iron frame onto Holland's earlier construction to support a magnificent vista of minarets, domes and pinnacles on the exterior. And no expense was spared on the interior with many rooms, galleries and corridors being carefully decorated with opulent decoration and exquisite furnishings.
George was determined that the palace should be the ultimate in comfort and convenience. Particular attention was paid by his architect and designers to lighting, heating and sanitation, as well as to the provision of the most modern equipment of the day for the Great Kitchen.
George became King in 1820. However, due to increased responsibilities and ill-health, once the interior of the Royal Pavilion was finally finished in 1823 he made only two further visits (in 1824 and 1827).
On his death in 1830, George was succeeded by his younger brother, William IV. He continued to use the Royal Pavilion for entertaining, but on a much smaller scale.
KIng William IV died in 1837 and was succeeded by his niece Victoria. Lack of space and privacy for Victoria's growing family led to her selling the Royal Pavilion to the town of Brighton for £50,000 in 1850. The building was stripped of all its interior decorations, fittings and furnishings, for use in other royal homes. The Royal Pavilion was then opened to the public, admission being 6d from 1851 until the 1920s. Later in her reign, Queen Victoria returned many items such as chandeliers, wall paintings and fixtures. During this period the Royal Pavilion was also used as a venue for events and functions such as fetes, bazaars, balls and conferences.
In World War I it was converted into a military hospital.
In 1920 a programme of restoration began, and Queen Mary returned more items. After a break during WW II, restoration work began again and continues to this day.
A most splendid afternoon with the usual company to see this manor house dripping with history and sadness.
Our Daily Challenge 13-19 March : Lampshade
This ostentatious affair is at Bentley's Golf Club which is a great place to have lunch.
I actually managed to drag my sorry ass out of bed early this morning to get to this place. (Mornings aint really my thing)
This used to be an old water works about five minutes down the road from where I live. In fact its been a few things, but limited planning permission has meant the owner has had no luck selling it, and its fallen to rack n ruin.
I've driven past on my way to work every day promising myself that I would get up in this morning light and have a poke around.
Well, today was that day.
Not that theres a lot left really but smashed glass and broken lightfittings :(
No images to be used without permission
(Not that you would)
Website ¦ Twitter ¦ Facebook ¦ Getty
¦ Instagram : ChrisDale79
Hit 'L' to view on large.
This building is just one of a large complex of buildings which were built in the 1930's as National Socialistic Political Educational Institution during the Third Reich period in Nazi Germany.
After the fall of the Third Reich it has been in use as a school, to house a Ministery and boarding school.
The Chocolate Milk Germany UE Tour. All win no fail and some epic locations with host, sunny weather, many miles travelled and much chocolate milk consumed.
My blog:
timster1973.wordpress.com
Also on Facebook
www.Facebook.com/TimKniftonPhotography
online store: www.artfinder.com/tim-knifton
Holy Trinity Church, Winchester
Holy Trinity is a Commissioners' church, one of many built with money voted by Parliament as a result of the Church Building Acts of 1818 and 1824. The Second Parliamentary Grant, provided by the Church Building Act 1824, gave £300 towards the building of Holy Trinity Church.
By the middle of the 19th Century, the population of Winchester was growing rapidly, and Holy Trinity Church, built in 1853-4 by Henry Woodyer, was the second church to be built in the city within ten years The new church was built on a plot named Whitebread Mead and was overlooked to the west by the building and grounds of the County Hospital in Parchment Street. Very soon, a row of terrace houses and the parish school would be erected and named after the church.
Work on the site started in February 1852 and the church was consecrated in July 1854. The cost of the site was £900 and of the building £4500, raised by subscription. The church seated 900, 600 of which were free. The endowment of £333 6s 8d was paid by the first incumbent, the Rev GA Seymour. The living was a perpetual curacy in the gift of the Bishop of Winchester of the value of £100 per annum.
Henry Woodyer (1815-96), the architect, having considerable private means, was a 'gentleman-architect' who based himself at Grafham, Surrey. He was pupil of the great church architect William Butterfield and established a strong reputation himself for his church work. The greatest concentration of his work is in Surrey and the adjacent counties. His masterpiece is often considered to be Dorking parish church.
Situated on the corner of North Walls and Middle Brook Street the church has a continuous seven-bay clerestoried nave, with north and south lean-to aisles, and chancel. The building is constructed of flint with freestone dressings and slate roofs. The flintwork incorporates what seems to be 12th centaury arch-moulding, and various moulded fragments which would appear to be from the 13th and 14th centenaries, but documentary evidence suggests that they may have been supplied by a manufactory. The Timber roofs are covered externally with slates.
The church, built in the Decorated style is set in a walled churchyard with a lime avenue leading to the west porch. The north side has a buttressed aisle extending the full length of nave and chancel with two-light Decorated style windows and a clerestory of three-light windows with more elaborate tracery to the two chancel bays.
There is a Priest's door (blocked) in the easternmost bay, and another doorway in the penultimate westernmost bay. The south side is similar but with a larger moulded doorway with shafts with bell capitals and, the easternmost bay is occupied by a long two-phase vestry block at right angles. This has an axial stack, cusped lancets under decorative stone arches in the walls and a five-light plate-traceried south window.
The east wall of the chancel has a gabled buttresses and a large five-light east window with geometric Decorated tracery, framed by a steep ashlar gable with blind tracery. The west end of the nave has a four-light geometric Decorated window above a deep, two-bay 1890s porch with a covered west gable and square-headed windows with reticulated tracery, the western pair blind. There is a timber-framed fleche at the junction between the nave and the chancel with a copper-covered spire with lunettes.
Inside the church the open roof is richly painted throughout and has elaborate two-tier roof trusses with arch-braced tie beams supporting a moulded braced post with a plainer braced post above the collar. The roof has two tiers of purlins and windbraces.
The chancel roof is boarded with moulded ribs and painted panels. An east end truss against the chancel wall has a slightly different design and frames the east wall paintings with a central figure forming a series of transverse arches down each aisle. The roof-cladding of the two chapels is decorated in bordered oblongs containing various motifs and devices, including the sacred monogram IHS (Iesus Hominem Salvator).
In addition to the ceiling, some of the pillars and most of the walls were formerly decorated. In particular, the walls of the aisles were adorned with Joseph A Pippet's late 19th Centaury Stations of the Cross, noted by Pevsner. However, these were painted on dry plaster in the 1880's and deteriorated fairly rapidly over the succeeding years until, in the early 1970s, they were over-painted along with most of the wall paintings.
Pippert's work has been replaced by a modern set of framed stations. The painting of Christ in Majesty, far above the high alter, escaped over-painting, though further down the east wall the paintings of Moses and Elias were obliterated. However, both are gradually re-appearing through the paint.
The arcades have octagonal piers with moulded capitals and arches with unusual detail above the capitals. During the 1880s the open timber chancel screen (surmounted by a cross only, the figures were added later), the octagonal timber pulpit with open traceried sides on a wineglass base on timber shafts and the choir screens were erected. The aisle screens at the entrance to the chapels are more recent, the ornamentations being larger than those on the choir screens and less deeply carved.
The chancel is paved in black and white whereas the nave has a woodblock floor. The sanctuary has a timber dado across the east wall with a memorial date of 1933. The choir stalls are low, with chamfered corners and a frieze of blind quatrefoils across the backs; the frontals are also decorated with a heavy frieze of blind tracery.
The octagonal stone font, with its boldly-carved sides with interlaces and a flamboyant motif also dates from the 1880s. It stands on an octagonal step, the sides of which are carved with quatrefoils. There are two different types of nave benches, the earlier ones with deep concave profiles and chamfered tops.
The stained glass, which contains much delicate detail and outstanding quality colouring, is by Clayton and Bell, and was installed in the late 1860s. It comprises a series of Old Testament themes on the north side beginning with the Expulsion from the Garden of Eden, at the west end. and a series of New Testament themes on the south side, including the Parable of the Good Samaritan, in the Sacred heart Chapel, and the Parable of the Publican and Sinner, at the west end of the south wall.
The Lady Chapel was re-ordered by Ninian Comper in the late 1940s, using red hangings and frontal. The reredos is a Nativity with the Agnus Dei and the pelican, both emblems of sacrifice, in the medallions on either side. The candlesticks and candelabra are also by Comper. In the alcove, formerly a doorway rests the statue of Our Lady of Walsingham and on the pillar opposite hangs an oil of the Madonna and child. The east window depicts, beneath the crucifix, the risen Christ making himself known to his fellow-travellers at supper, following the walk to Emmaus.
Within the church, there are many interesting memorial tables, pictures and statues, not least among these, an unpainted stone statue of Our Lady and Child, at the entrance to the Lady Chapel, and inside the west door, a water colour by A. Ernest Monk (after Prosser) of Holy Trinity in 1860. The hanging copper light fittings are also of interest.
The church was opened in 1854. Next to it, on the corner of North Walls and Upper Brook Street is a vicarage, also designed by Woodyer, which was built in 1864, however subsequent alterations have rather spoiled the buildings appearance. On the 14th of January 1974 the building was granted a Grade II listing.
The main entrance of the Victoria & Albert Museum features the 30 foot V&A Chandelier designed by glass artist Dale Chihuly and completed in 2000.
DALE CHIHULY Born in 1941 in Tacoma, Washington, Dale Chihuly was introduced to glass while studying interior design at the University of Washington. After graduating in 1965, Chihuly enrolled in the first glass program in the country, at the University of Wisconsin. He continued his studies at the Rhode Island School of Design (RISD), where he later established the glass program and taught for more than a decade.
In 1968, after receiving a Fulbright Fellowship, he went to work at the Venini glass factory in Venice. There he observed the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly cofounded Pilchuck Glass School in Washington State. With this international glass center, Chihuly has led the avant-garde in the development of glass as a fine art.
His work is included in more than 200 hundred museum collections worldwide. He has been the recipient of many awards, including ten honorary doctorates and two fellowships from the National Endowment for the Arts.
Chihuly has created more than a dozen well-known series of works, among them Cylinders and Baskets in the 1970s; Seaforms, Macchia, Venetians, and Persians in the 1980s; Niijima Floats and Chandeliers in the 1990s; and Fiori in the 2000s. He is also celebrated for large architectural installations. In 1986, he was honored with a solo exhibition, Dale Chihuly objets de verre, at the Musée des Arts Décoratifs, Palais du Louvre, in Paris. In 1995, he began Chihuly Over Venice, for which he created sculptures at glass factories in Finland, Ireland, and Mexico, then installed them over the canals and piazzas of Venice.
In 1999, Chihuly mounted a challenging exhibition, Chihuly in the Light of Jerusalem; more than 1 million visitors attended the Tower of David Museum to view his installations. In 2001, the Victoria and Albert Museum in London curated the exhibition Chihuly at the V&A. Chihuly’s lifelong affinity for glasshouses has grown into a series of exhibitions within botanical settings. His Garden Cycle began in 2001 at the Garfield Park Conservatory in Chicago. Chihuly exhibited at the Royal Botanic Gardens, Kew, near London, in 2005. Other major exhibition venues include the de Young Museum in San Francisco, in 2008, and the Museum of Fine Arts, Boston, in 2011
I went out to buy a bed this morning, and whilst testing out one of the many prospective mattresses, I happened to look up and spot this light fixture!
The salesman was a bit perplexed at what I was doing, but was happy that I eventually bought a bed!
I can't believe how quickly the first month of my project 365 has passed!
Sorry for posting and running, I'll catch up with everyone tomorrow! :)
~FlickrIT~ | ~Lightbox~
It looks like a cubic ice but has warm golden light on the black table.
Taken at a cafe in Stockholm downtown.
The Block Lamp is a lightfitting designed by Finnish designer Harri Koskinen, and produced by Design House Stockholm. It is a seemingly simple design of a lightbulb held inside two shaped pieces of clear glass. After designing the lamp in 1996, Koskinen first went to Iittala, who turned him down. The Block Lamp has been part of MoMA's permanent collection since 2000, and has been showered with design awards. From Wikipedia.
Format: Photograph
Notes: Find more detailed information about this photographic collection: acms.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=395435
Search for more great images in the State Library's collections: acms.sl.nsw.gov.au/search/SimpleSearch.aspx
From the collection of the State Library of New South Wales www.sl.nsw.gov.au
From the Illustrated Catalogue of Goods Manufactured and Sold by O'Brien, Thomas & Comp'y, London. 1893.
I like the colour, abstraction and randomness of William Eggleston's photography. When I saw this hanging light it reminded me of Eggleston's famous shot of the red ceiling and naked light bulb. The colours were manipulated in post-production but I hope I captured something of the original Eggleston style.
From a very lavish production, printed of course by the CWS's own Printing Works at Reddish, is a description of the new flagship department store for the Crawley Co-operative Society that was opened in 1959. The elevations and facade are very much of their day, quite 'Festival of Britain in style, and the store was a prominent feature of the planned New Town's centre. The interiors are so contemporary and I can only say what a great shame nothing, to my knowledge, of this era of retail and shop design, has survived in the UK.
The book describes the many new shops, stores, factories and offices for the CWS and the various Societies were designed by the CWS's own Architects Department in the day when the Society basically made and did everything its members could need.
Array of strip lights suspended over the entrance to Gravity Max Westfield Stratford, which describes itself as a 67,000 sq.ft. urban theme park. London Borough of Newham.
(CC BY-NC-ND - credit: Images George Rex)
This fabulous chandelier dominates the first floor Office space at the Casa Batllo by Antoni Gaudi. Ironically the much larger room next door is by quite small lights integrated into the structure, an upload to follow later.
Young & Marten, builders' merchants of Stratford, London.. The 'Tariff No. 23' is essentially a selection of stock articles, an abridgement (207 pages) of the firm's general catalogue with updates. These tariffs were issued approximately once a year.