View allAll Photos Tagged plaster
Or walls have been replastered, the drying plaster now looks like Winston Churchill sitting towards!
Getting down to the last few rooms. The walls have been scraped and cleaned down to the original plaster. Now its time for repair and restoration. My plan is to leave the plaster above the mantle in the original state, no paint , just the warm patina of the old plaster. Maybe just a bit of glaze to give a nice glow.
It was the end of his day. The sound of chainsaws was so overwhelmingly loud but this guy takes it day after day (with earplugs though!).
On the very top of the hill overlooking the ruins of the ancient city of Kamiros Rhodes in a reservoir system with two main cisterns. These are retangular and lined with plaster. Terracotta pipes and two apertures with stone covers on the bottom served to carry the water to the town below. It had a capacity of almost 158,500 gallons of water which was sufficient to serve 300 to 400 families. Here is the other cistern.
On our last morning in Riga. Latvia, I took a photo walk early in the day to capture more of the buildings
I was delighted to come across the Art Nouveau building at Smilšu iela 2 in Riva, Latvia.
ABOUT THE BUILDING
One web site has this to say about it:
The author of the project is K. Pēkšēns. Building built in 1902.
The building is one of the architectural masterpieces of Riga Art Nouveau, based on a rebuilt older building.
Different materials of different tonality have been used in the decoration of the building, but the variety of art nouveau ornamentals and sculptural formations is felt in the artistic composition. The edges of each second and third floor windows are different.
The Herma under the bay is considered to be the most beautiful woman's image in the Riga Art Nouveau building plaster.
The spacious show-windows on the ground floor were built in 1909, following the project of architect P. Mandelshatta.
www.citariga.lv/lat/rigas-apskates-vietas/jugendstils-rig...
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This is another description:
In Riga, Smilšu str. 2, a living house built in 1902, architect Konstantīns Pēkšēns.
The spacious show-windows on the first floor were created in 1909, following the project of architect Paul Mandelshatta.
One of the best examples of Riga Art Nouveau architecture. Its façade finish uses both red brick and plaster and colored tiles.
In the center of the building there is a two-story bay in the center of the building, supported by a caryatid and an atlas figure, as well as an oak with strong roots.
The caryatid under the bay is the most beautiful image of a woman in the Riga Art Nouveau architecture.
The peacock figure is located in the center of the bay. It is one of the symbols of beauty and self-confidence of the Art Nouveau, while the wingheaded woman's head is at the top - a symbol of the sun.
The bay's corner pilasters are decorated with owls and squirrels, as well as the owner's initials and building's date.
The façade of the building is embellished with various ornamental tufts and sculptural forms of Art Nouveau, but the mansard windows are decorated with a stylized sun motif.
translate.googleusercontent.com/translate_c?depth=1&h...
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ABOUT THE ARCHITECT
Konstantīns Pēkšēns
Born3 March 1859
Ņuki, Mazsalaca parish, Russian Empire
(now Latvia)
Died23 June 1928 (aged 69)
Weimar Republic, Bad Kissingen
NationalityLatvian
EducationRiga Polytechnic Institute
Known forArchitecture
MovementArt Nouveau
Patron(s)Jānis Baumanis
Konstantīns Pēkšēns (born 3 March 1859, Mazsalaca parish, Russian Empire — died 23 June 1928, Bad Kissingen, Weimar Republic) is one of the most prominent Latvian architects of all times.
After Jānis Baumanis he is the epitome of the second generation of Latvian architects. Many Latvian cities and towns take pride in buildings designed by Pēkšēns, but Riga alone can boast more than 250 multi-storey brick buildings and a great number of wooden houses erected following his designs.
Pēkšēns was born in the Nuķi estate near Mazsalaca but in 1896 his family moved to Riga. 1875, Pēkšēns began studies at Riga Polytechnical Institute — at first in the Engineering Department, but from 1880 in the Department of Architecture. He took an active part in social life of students, was founding member of Selonija, a fraternity of Latvian students, participated much in sports. He graduated from the institute in 1885 and spent some time working for the construction office of Jānis Baumanis, in 1886 Pēkšēns opened his own practice.
In 1889 he was among those who re-established Riga Architects Society that had disintegrated earlier. Pēkšēns also sat in the councils of a number of credit institutions and banks, and acted as a spokesman for the Riga Latvian Society.
Since 1909 he was a member of the Riga City Council, but after World War I was actively involved in several technical commissions under the Riga City Executive Board. Pēkšēns also participated in the publishing of several Latvian newspapers.
His broad professional experience allowed him to make a considerable contribution at the debate on how to restore the damages of World War I. Pēkšēns company of plumbing works was well known as the largest local enterprise dealing with the assembly of central heating systems in Riga prior to the war. This company remained in operation until 1940.
At the beginning of the 20th century Pēkšēns also acted as a jury member in several large-scale competitions, while in some other competitions his designs received the highest evaluation. For example, he won the competition for a residential house for workers in 1907, together with Eižens Laube, the Riga Merchants Credit Society Bank at 14, Tērbatas Street (1909), together with Arthur Moedlinger, and Ozoliņš' apartment building at 88, Brīvības Street (1910) together with Ernest Pole.
All those associates of Pēkšēns, just like Aleksandrs Vanags, August Malvess, and others who later became well known in Riga in their own right, accumulated their professional experience while working in the construction and technical office of the master.
In 1928 in an attempt to improve his seriously deteriorating health Pēkšēns went to Bad Kissingen in Germany, but the trip was to no avail. The sad news of his death reached his native country on the night of the Līgo festival. The master was buried at the Forest Cemetery in Riga.
During the golden age of Art Nouveau of the early 20th century several buildings with a fascinating abundance and variety of decorative motifs typical for this new style were designed by Pēkšēns. Examples are the houses at 6, Strēlnieku Street, 13, Kaļķu Street and 2, Smilšu Street built in 1902.
The peculiarity of the latter lies in the fact that an every single window decoration is different, and under the bay windows are hermas—supports as sculpted upper bodies. One of these sculptures was given the title Miss Riga from among the stone females displayed on the facades of the buildings in Riga.
The most characteristic feature of Pēkšēns creative work, is the respective reserve and deep logic of architectural forms arising out of the Art Nouveau artistic principle, namely, the beauty of a building should not depend on outside applications, but derive from a practical and utilitarian layout.
Most of Pēkšēns buildings are defined by a clear arrangement of volumes corresponding to the layout of interior spaces, careful choice of building materials and decor governed by the basic architectural form.
Such rational Art Nouveau evidence is present in the buildings at 46, Brīvības Street (1907) and 14, Tērbatas Street (1909), apartment houses at 14, Ausekļa Street (1909), 1 and 44, Avotu Street (both 1904) and 66, Avotu Street (1912), 5, Krišjāņa Barona Street (1909), 45, Baznīcas Street (1909), 148 and 172, Brīvības Street (1912 and 1911), 5, Hospitāļu Street (1904), 6, Marijas Street (1904), 5, Noliktavas Street (1904), 3, 9 and 13, Rūpniecības Street (1908, 1910 and 1909), 32, Skolas Street (1904), 31, Slokas Street (1908), 9/11, Tērbatas Street (1912), 4 and 10, Vīlandes Street (both 1908), 12 and 14, Vīlandes Street (both 1909) and 16, Vīlandes Street (1910), — it is impossible to list them all.
Some designs by Pēkšēns contain romanticised reminiscences of historical motifs, others stand out by a vertical compositional arrangement that became especially characteristic of Riga's Art Nouveau movement around 1910. Nevertheless, all the buildings are united by strong forms, elegance, and overall reserve in decorations perceivable only in close-up.
The National Romantic style had a special role within Riga's Art Nouveau style, and Pēkšēns was one of the originators of this stylistic trend.
One of the first National Romantic buildings in Riga was the apartment house at 4, Lāčplēša Street (1905). It was followed by apartment buildings at 40, Krišjāņa Barona Street, 192, Brīvības Street, 1a, Sapieru Street (1907) and 46, Ģertrūdes Street (1908) designed in this idiom as interpreted by Pēkšēns.
Today it is difficult to say how much of the architecture of those buildings was created by the master himself and what was contributed by his young associates. It is known with certainty that six very interesting buildings at 23, Tallinas Street, 12, Alberta Street, 26, Aleksandra Čaka Street, 10, Kronvalda Boulevard, as well as 15/17, Tērbatas Street and 33/35, Tērbatas Street, are the result of creative cooperation with Eižens Laube.
Although the construction designs bear the signature by Pēkšēns, the author of the artistic ideas here was Laube. At the same time, the facade of the house at 192, Brīvības Street, contains patterns of expressions characteristic to buildings designed by August Malvess.
en.wikipedia.org/wiki/Konstant%C4%ABns_P%C4%93k%C5%A1%C4%...
戸袋の鏝絵は鳥か魚か不明ですが素晴らしい！今はカフェだが元は和装小物の店だったらしい。
Plasterers use trowels to create reliefs of pictures or words on the plaster walls.
My ankle is broken and I've had an operation on it a month ago now, still in plaster and a bit fed up so decided to decorate it with my crochet flowers. Note the colour purple/green, I can choose every time they change the plaster so thought of Wimbledon. which I've been following last couple of weeks.
1st April 2018 Using up old plaster........ I left the nose on the plaster bandage mould too thin and it dented once the heavy plaster had been poured in!
Kadriorg Palace, ca. 1727
Tallinn, Estonia
It would be interesting to know how much attention the early-18th-century visitors paid to the decorative scheme of the Great Hall.
Did some of them, the courtiers, nobility and foreign dignitaries who were accustomed to extravagant ornamentation in the royal areas of Baroque palaces elsewhere, simply take a quick look around and say to themselves "OK, the general surroundings suit my status, so being seen here will enhance my standing in society." (That would have been the correct response, since this was an imperial palace, after all.)
Was anyone so taken by the exquisite confections on the walls and ceilings that they made a slow circuit of the room to take it all in, assuming the crowd at the reception wasn't too dense?
What about the owners, the Emperor Peter the Great and his empress Екатери́на (Yekaterína)? How much thought did they give to the dense symbology contained within the decorative scheme, assuming they were even aware of it?
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Kadriorg Palace (Estonian: Kadrioru loss, German: Schloss Katharinental) is a Petrine Baroque palace built for Catherine I of Russia by Peter the Great in Tallinn, Estonia.
Both the Estonian and the German name for the palace means "Catherine's valley".
It was built after the Great Northern War for Nicola Michetti's designs by Gaetano Chiaveri and Mikhail Zemtsov.
The palace currently houses the Kadriorg Art Museum, a branch of the Art Museum of Estonia, displaying foreign art from the 16th to 20th centuries.
The KUMU branch of the museum, showing Estonian art from the 18th century onwards is located nearby in the park.
After the successful siege of Tallinn during the final phase of the Great Northern War in 1710 czar Peter the Great of Russia bought a small Dutch-style manor house at Lasnamäe for his wife Catherine. The house today is the result of a drastic renovation ordered by Nicholas I of Russia in 1827.
However, plans for a larger palace in the area soon developed and construction of a new palace, Kadriorg, was started on 25 July 1718.
Peter and Catherine visited the unfinished residence on several occasions, but after the emperor's death in 1725 Catherine showed no interest in the seaside property. The great hall with Catherine's initials and profuse stucco decor (attributed to Heinrich von Bergen) survives, while many other interiors have been altered.
Cast by Leonardo Bistolfi for a monument to Senator Rosazzi, 1909. Buenos Aires: Museo Nacional de Bellas artes
" .. makes a great paper-weight." Tomitheos
Copyright © 2012 Tomitheos Photography - All Rights Reserved
Another 3-dimensional piece that showcases the ability to recreate a form as well as change it's size. The base stands in as my wood-shop certification.
1940's Plaster Art lamp, the light bulb is under the satin skirt,, just below the waist!!!! She stands about 36" tall
Girl with pink plaster I meet today in Colonia Roma, Mexico DF. Nice Girl and Nice case of Pink :) Testing new Cyber-shot 10.1 mega pixels camera.
It’s 6:52AM on the morning of April 17, 2024, and the crew has just gotten underway heading up to Fish Creek quarry on the first run of the day for “the railroad.”
Today, Tessa made a cast of Jesika's rather pregnant belly while I loitered and documented.
Tomorrow, we will decorate it at Jes's Blessingway, which is Navajo for baby shower.
Winter Gardens Theatre, Morecambe. Added to the Winter Gardens Ballroom in 1897, designed by Mangnall & Littlewood with fibrous plaster by Dean & Co. and tiling by Burmantoft's. It has also been known as the Victoria Pavillion, King's Pavilion and the People's Palace. Seating 2,500 on three levels, with standing room for many more, the auditorium is vast, with excellent acoustics. It was a dual-purpose concert hall and music hall/theatre, catering for classical music festivals (Elgar premiered works here, and the Halle Orchestra were frequent visitors) together with big name variety (Julie Andrews, Chung Ling Soo). Its fortunes declined with the resort, and it closed in 1977, the Ballroom was demolished in 1982 - as the theatre was built as an extension to this, many of its key services depended on the ballroom and were lost). A preservation group was established and eventually ownership of the building passed to them, allowing a restoration to begin. The structure is now sound, water-tight (mostly) and more recent works have begun to improve the auditorium, with the repair of damaged plasterwork undertaken by Hayles & Howe. The original seating, sold off in the 1980s, has been bought back and will soon be installed in the dress circle.
Grade 2* listed. Photographed on a Frank Matcham Society Visit.
Morecambe, Lancashire, North West England - Winter Gardens Theatre, Marine Road Central
September 2022