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Decorative Vertical Blinds





decorative vertical blinds






    vertical blinds
  • A window blind is a type of window covering which is made with slats of fabric, wood, plastic or metal that adjust by rotating from an open position to a closed position by allowing slats to overlap. A roller blind does not have slats but comprises a single piece of material.

  • UpWindow treatment featuring vertical vanes that can be swiveled open and closed or opened in either a split or one-way stack.

  • Strips of fabric [louvres] suspended vertically from a headrail. Immensely practical blind which comes into it's own on larger sizes





    decorative
  • Relating to decoration

  • Serving to make something look more attractive; ornamental

  • (decoratively) in a decorative manner; "used decoratively at Christmas"

  • (decorativeness) an appearance that serves to decorate and make something more attractive

  • cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"











Frescoes, athedral, Ani, eastern Turkey




Frescoes, athedral, Ani, eastern Turkey





In 450 (AD 1001) of the Armenians, at the time of Sarkis, honoured by God and Katholikos, spiritual lord of the Armenians, and during the glorious reign of Gagik, shahanshah of the Armenians and of the Georgians, I Katranideh, Queen of the Armenians, daughter of Vasak, King of Siunik, entrusted myself to the mercy of God and, by order of my husband Gagik shahanshah, built this holy cathedral, which the great Smbat had founded... Part of a 21 line inscription on the southern facade of the Cathedral.
Near the southern edge of the city stands the imposing Cathedral. This is the largest and most important building in Ani, and a structure of world architectural importance.
According to various historical sources and inscriptions, it is known that building work started in the year 989 under King Smbat II (977-89) and was completed, after a halt in construction, by the year 1001 (or 1010 depending on the reading of the inscription) by order of Queen Katranideh (Catherine), the wife of King Gagik Bagratuni, Smbat's successor. The cathedral was the work of Trdat, one of the most celebrated architects of medieval Armenia.
During the siege of 1064 the Cathedral held a symbolic importance. As the victorious Turks looted the city, one of them climbed the roof of the cathedral and tore down the large cross that rose from the top of the dome's conical roof. (It is said that this cross was later sealed under the threshold of a mosque so that it could be continuously tramped upon.) The Cathedral was then converted to a mosque and renamed the Fethiye Camisi, the Victory Mosque.
It was returned to Christian usage in 1124, and inscriptions tell of restoration work carried out in the early 13th century. The devastating earthquake of 1319 brought down the dome and may have marked the end of the building's formal religious use.
The Architecture
Like most Armenian buildings, the cathedral is built entirely from stone - a facing of extremely well cut and finished polychrome masonry hides a rubble concrete core. The plan is in the form of a domed basilica. This is a pattern found in Armenia since the seventh century. However, Trdat's design takes this old form to new heights of sophistication and originality.
The Exterior
The loss of the central dome has given the building a cube-like form it originally did not have. The cupola collapsed in an earthquake in 1319 and the rest of the drum is said to have collapsed during another in 1832. The gaping hole in the north-west corner was caused by the 1988 earthquake, which also caused a serious rent in the south-west corner; by 1998 parts of the roof here had started to fall. Blasting explosions from the quarry opposite the cathedral during 2000/2001 caused further damage: the crack in the south-west corner deepened and widened considerably, and the west facade started to bulge out from its original position. There is now a risk of the complete collapse of the west facade.
A decorative blind arcade on slim columns runs around the whole of the exterior, into which are inserted tall slender windows with frames of finely carved fretwork. There are also small porthole windows below the gables of each transept.
There are entrance doorways in the north, south and west walls - these traditionally were for the patriarch, the king and the people respectively. Standing out in front of each doorway was originally a vaulted porch now mostly destroyed, probably a canopy resting on free-standing pillars.
The distinctive triangular niches cut into the north, south and east facades, together with the positioning of the windows, indicate the location of the transepts and apse within. These niches also break up the plain surface of the facades, and give an increased sense of height and solidity to the walls (which are actually very thin). Structurally, the niches also act like a sort of splayed buttress. There are no niches on the western facade because a greater thickness of wall is needed here to counteract the thrust of the large arched vault inside.
The Interior
The inside of the cathedral is tall, and rather dark - and would have been even more so when the central dome was in place. This is not a flaw, but an intention.
Since the apse and side-chambers account for about a quarter of the interior space, the vaults east of the dome are short, considerably shorter than those west of the dome. Four massive clustered piers in the rectangular nave support both the dome and the arches supporting the roof. The barrel vaults along the east-west and north-south axes are almost as high as the base of the drum, and are expressed outside in the two intersecting pitched roofs.
The spacious apse is accommodated beneath the easterly roof and revealed on the outside facade only in the form of a window between two deep niches. The chancel within the apse is elevated from the rest of the floor and has a row of ten semicircular niches containing seats. It is flanked by two-storied chambers whose upper floors are reache











Odeon




Odeon





Holloway Road, London
It's only in a certain light, from a certain angle, that the beauty of the Holloway Odeon becomes apparent. It was built in 1937-8 as the Gaumont, by the Chicago architect C. Howard Crane.
The interior was rebuilt, after bomb damage during WW II.
It's a listed building. Extract from the listing below:

Buff, green, brown and black faience, with brown brick, roof of copper on the tower, but roofs over the auditorium and foyer block not seen. The building stands on a wedge-shaped site, and the description falls into four parts: a tower, rectangular in plan, on the corner of Holloway Road and Tufnell Park Road, faced with faience; a lower wing to the tower, also faced with faience, on Tufnell Park Road; a parade of shops in Holloway Road; and the main auditorium block, of brick.

EXTERIOR: Curving entrance on the corner of Tufnell Park Road and Holloway Road with a canopy over, which returns down Tufnell Park Road; tripartite window above the entrance with engaged fluted columns with palm leaf capitals and a frieze of scrolling ornament between the columns; there is a similar window on the Tufnell Park Road side of the tower, but on the Holloway Road side the window is single with the engaged columns in the reveals; original decorative metal glazing. Above this, panels edged by brown faience; the chamfered, slightly inset corners of the tower have windows with original metal glazing and vertical panels of arabesques above; frieze of three narrow recessed bands below parapet which is coped with black faience; attic comprising one low set-back with fluted frieze; second higher set-back with three blind windows to each side; entablature to top parapet; shallow hipped roof with flagpole. The lower, faience-covered wing in Tufnell Park Road has a vertical inset panel of arabesques flanked by fluted pilasters. The shops in Holloway Road are faced in faience and are interspersed with exits; frieze of green faience below the parapet and an open arcade with cornice over, fronting what was originally a terrace cafe. The shop fronts have been renewed and are not of special interest, although the overall composition of faience columns and terrace frieze is an important decorative scheme. The brick auditorium wing at the rear of the site has sparing use of faience decoration. The architectural interest of the site is concentrated in the foyer block and in the elevation to Holloway Road.

INTERIOR:Double-height galleried foyer, with a semi-circular end facing the entrance. Stair at the apsidal end with an octagonal newel-post and squat column-on-vase balusters; closed string decorated with Rinceau, brass handrails; at gallery level the walls are divided by Corinthian pilasters singly and in pairs to the sides, and Corinthian columns to the apsidal end, with bands of latticework and fluting between; valences to windows and other openings; two large panels of mirror-glass with Modern metal grills and another panel with glazing imitating the windows. Full entablature with triglyphs and paterae, modillion cornice with mutules; the plaster ceiling decoration follows a semi-circular pattern at the inner end having a broad band of fluting and a narrow band of ornament, cartouches and paterae. First floor crush hall with Corinthian pilasters, frieze of swags, fluted frieze and cornice; plaster ceiling decoration with ogee patterned ribs. The former caf area has been adapted as an extra screen, but the decorative scheme is thought to survive behind the partitioning. The auditorium has been subdivided into smaller cinemas and is not of special interest.

ANALYSIS:Originally, the Gaumont was one of the most spectacular of Britain s super-cinemas; while the auditorium has been lost, its external impact is still greater than almost any other cinema, an example of trans-Atlantic bravura. Prominent in the field in the USA, C. Howard Crane designed the stupendous Fox cinemas in Detroit and St. Louis and was also amongst the team of architects and designers responsible for the Radio City Music Hall in New York. Crane was only one of two leading American cinema architects to work in Britain; Thomas Lamb's Empire, Leicester Square, has, however, been gutted. Crane was also the architect of the Earl's Court Exhibition Hall. Included for the exceptional quality of the principal elevations and foyer areas.











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