Chandelier and ceiling rose, Glynllifon In the United Kingdom and Australia, a ceiling rose is a decorative element affixed to the ceiling from which a chandelier or light fitting is often suspended. They are typically round in shape and display a variety of ornamental designs. In modern British wiring setups, light fittings usually use loop-in ceiling roses, which also include the functionality of a junction box.
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The ground floor of the Main wing consists of three living rooms and a later kitchen fitout to the rear room on the eastern side. Entry from the original front door leads directly into the main front room with no entry hall or vestibule. The eastern front room at ground floor retains its original timber cornice and ceiling rose. These features (the front door case, cornice and ceiling rose) all dating from 1832–33, are considered to be rare.
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The waiting area is at the western end of the building, and has previously been the location of the signal box. The interior of the waiting area is original, with a ripple iron ceiling with metal ceiling rose, moulded plaster chair rail, and a chimney breast (fireplace removed). The Station Master's office also has original internal fitout, with a ripple iron ceiling with metal ceiling rose and a moulded plaster chair rail, and chimney breast (no fireplace). Internal doors are original timber 4-panel doors.
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All interior timber work and joinery is varnished. Walls and ceilings are lined with hardset plaster with deep moulded cornices. A single decorative plaster ceiling rose is located in the banking chamber. Floors are generally covered with recent carpet.
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Here you see one of the many original fireplaces. Second bedroom: Notice the original cast iron ceiling rose and tongue and grooved ceiling. The crocheted bedspread was made by Mr Fuller's mother. The three door cedar wardrobe is mid-Victorian.
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There are plaster ceilings to the other offices with coved cornices and a ceiling rose in the eastern front office. Lighting is both suspended and attached fluorescent tubing. Architraves partitions are later, with some original architraves on original openings. Skirting is later, plain, brown and narrow.
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Over the former loggia area the ceiling is a flat board-lined ceiling. The ceiling then rises much higher over the main public space and beyond, with fibre or plasterboard linings, the original ceiling rose ventilators. The cornices are curved metal, probably corrugated galvanised and painted iron.
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The coved ceiling was ornamented with panels, each decorated with a flower. The centre of the ceiling rose into a large lantern with glass sides. There were no side windows. The interior was described in Britton's Illustrations of the Public Buildings of London as having "more the air of a lecture room than a church".
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The room has a skylight with clerestory windows. The skylight is lined with timber panels and has a circular ventilated opening, with decorative fretwork. The ornate plaster ceiling is decorated with panels and a ceiling rose. Other meeting rooms on the first floor are similar to those on the ground floor with plaster cornice detail and timber architraves.
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The Mayor's office is located at the southern end of the floor. A bay window faces the east and a timber fireplace is located along the southern end of the wall. The plaster ceiling has moulded designs around the light fittings. The adjoining office has a timber ceiling with a plaster ceiling rose, surrounded by a ventilation grate.
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Tall narrow windows with awning sashes and semicircular heads punctuate the walls on both sides. The coffered ceiling is of wide beaded board with beaded timber-clad beams between, and a curved perimeter of narrow horizontal boards. There is a pressed metal ceiling rose in every second coffer. The hall contains a gallery to the western end over the entry foyer.
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There is a timber floor to the hall, and a timber stage to the northern end. The ceiling is divided into six bays by curved and moulded timber brackets, joined by tie rods across the room. A pressed metal ceiling rose is centred within each bay. The ceiling also is lined with beaded boards, running diagonally where the ceiling rakes up to the collar tie.
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The Upper Circle is accessed via a door to a stairwell to the left of the main Bath Street entrance. The Gallery is accessed via a staircase at the back of the building with its own entrance on Elmbank Street. The auditorium seats 1,785. The ceiling panelling fans out from a single centre ceiling rose - each panel originally contained painted scenes, although they are currently plain.
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The fireplace is no longer operable and accommodates a contemporary stove within the north end. The kitchen fit-out is recent including the plasterboard lining. The laundry ceiling is lined with timber boards and has a decorative metal ceiling rose; the laundry walls are unlined. A modern beer garden sheltered by a low pitched skillion roof stands to the northwest of the kitchen/laundry.
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The timber ceiling is in a concave form and is made up of three rows of six rectangular panels. All eighteen panels are rather simply ornamented, with a simple rectangular border and a ceiling rose at their centres. The ceiling roses in the centre row are larger and more elaborate than those in the side rows. From the centre of each circle hangs a lamp.
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Much of the interior has been ruined by the 1995 fire. A cantilevered stairway survives in the hall, with a moulded ceiling above. An ornately moulded ceiling rose is still present in the former drawing room, as is an elaborate fire surround with brass reliefs of a king and prince of Wales, assumed to be George III and his son, the future George IV.
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Ceiling rose, fireplaces, continental ceramic tileware immaculate. Although not of the very high quality of a few Sydney Gothic Revival houses, Nugal Hall is nevertheless impressive. It is of particular importance in Coogee/Randwick where increasing high rise development has deprived the area of much of its architectural history. On the western side of Nugal Hall is a single storey skillion-roofed addition with brick walls.
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Fixed timber vents are located on the lower third of the room on two sides and closable timber vents are located on the upper level. There is an ornate ceiling rose of pressed metal. The remainder of the rear rooms have been converted into guest rooms and some doors have been in-filled. Some of the smaller rooms have been converted into en-suites to service adjoining rooms.
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The masonry strongroom is located on the western side and has a steel door opening to the banking chamber. The rear kitchen area has a timber ceiling rose and fireplace surround. The central section at the rear, housing toilets and passageways, has a slightly lowered floor level and hardboard ceilings. A timber paling fence along the street boundary has an early corner post with turned capital at the eastern end.
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To the south of the foyer, the rooms are similar to those situated to the north, comprising simplicity in design and detail. The one exception is the largest meeting room on the ground floor, which is the original council chambers. The ornate plastered ceiling is decorated with moulded panels and a ceiling rose. The timber fireplace, with timber panels in the lintel, has a tiled register grate and decorative timber consoles.
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The three narrow rectangular openings to each long side each measure and house solid timber plank and rail windows. The building has a polished timber floor and a coved ceiling lined with painted, beaded tongue and groove timber boards and accommodates a decorative ceiling rose. An opening in the west wall accommodates an escape door. The exterior south and west walls have a cement slurry finish; the north exterior and the interior walls are painted.
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Ceiling rose ventilator, 2011 At a size of long, wide and high, the Hall provided space for seating 1,500. In 1913 the ceiling was plastered with a cornice and a "deep frieze of a delicate tint, and a picture moulding" around three sides of the Hall; this has now been replaced. The four main reinforced concrete roof beams create five ceiling bays, and in each bay are three plaster centrepieces representing vines and grapes. These are ventilator-covers.
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The interior features are lath and plaster ceilings with elaborate cornices and ceiling rose, plastered brick walls, large moulded timber skirting, marble fireplaces with cast iron inserts and four panelled doors. The stairs have turned timber balustrades and the floors are covered in carpet tiles. A two-storey brick addition is attached to the west rear side of the building, but is in poor structural condition. It was built mid-20th century and was renovated in 1974.
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The entrance vestibule is a double storey height volume with timber stairs climbing around its perimeter. The stairs have finely turned and carved balustrades, striped timbers to the soffits, and meet an arched window with coloured glass at the half landing. The vestibule also contains a brass and timber honour roll. The adjacent library has extensive timber shelving, and the meeting room opposite has external entrance doors with coloured glass and timber boarded ceilings with a star- shaped ceiling rose.
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The north-western corner store room has a square set plaster ceiling with moulded cornice and a small ceiling rose; there is a raked board and batten ceiling in the rear office infill. Lighting comprises attached and suspended fluorescent tubing and air-conditioning is limited to a wall-mounted unit in the mail room. Architraves appear to be original, in the northern half of the building in particular, being stained and possibly restored. Later architraves appear in the rear centre infills.
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An ornate rose timber ceiling rose in the original galleries were hidden by false ceilings constructed for air-conditioning in the 1980s. The rear of the building had few windows and replicas had to be made for windows facing Fort Canning and timber wood was imported from Indonesia. A 22-metre long and 11-metre high glass connector replaced a hard ceiling for visitors to view the museum's dome from the museum itself, whereas previously, one had to view the entire dome across Stamford Road.
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New small windows openings are also evident. The Station Master's residence is accessed via a concrete stair with half-arched string from the rear. Interior: The building generally retains its original floor layout with minor changes, and is currently undergoing significant restoration and repair works in particular to the residence. The station offices have been refurbished at some time however they still feature some original detailing such as timber board ceiling linings, ceiling rose to main office, lath & plaster ceilings with later ceiling panels.
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The street awning is supported by single cast iron columns and has a deep cast iron valance. The rear of the building has an open first floor verandah, with a toilet enclosure to either end, with timber posts and cast iron balustrade. The ground floor verandah has been enclosed to form kitchens and has metal flues which extend to above the roofline. Internally, the central shop features a ceiling rose, plaster cornices, a strong room at the rear and sash windows into the enclosed rear verandah.
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The threshold space between the Queen Street Mall and the entrance hall is single- height, approximately six metres wide and four-and-a-half metres deep. It has a patterned terrazzo floor, marble skirting, a large, classically styled cornice and a central ceiling rose with round light fitting. An alcove on one side features decorative plasterwork in a classical style around its border, as does the lintel forming the opening between it and the entrance hall. Recent features such as signage and television screens are not of cultural heritage significance.
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Behind the parapet walls, Ballroom and Vestibule have metal butterfly roofs falling to a shared central box gutter spilling into a large rainwater head located on the northern external wall. The truncated remains of a chimney on the south- eastern wall are visible from above. ;Ballroom interior The Ballroom interior consists of a large single space with a high, timbered and decorated ceiling including an ornate ceiling rose and highly ornate cornices. The walls are plastered and painted, with a simple picture rail and double-height skirting boards with moulded tops.
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The ceilings are of tongue and groove board, with a fretted ceiling rose to the Ante-Room. The ceiling to the Lodge Room is raked to the line of the collar-tie with moulded timber cornices at both junctions. The floor is also timber boards, with raised platforms to the perimeter for the seating. The furniture in the Lodge Room includes timber "thrones" denoting rank of office with desks, timber pews, lectern, bible pedestal, black and white linoleum floor centrepiece, triangular timber encased "G" suspended from the ceiling, and wall mounted tracing boards.
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Internally the building is arranged from a narrow hallway accessed from one of the principal entrances at the south- western end of the Richmond Street elevation, in which a timber stair runs to the first floor. The interior is generally timber boarded floors and plaster walls and ceilings. In the original banking chamber in the eastern corner of the building, which has its own entrance centrally located on the Richmond Street elevation and features elaborate plaster cornice and ceiling rose. Many rooms inside the former bank have pressed metal ceilings.
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All internal features of the Station Master's residence have been stripped-off with all structural elements essentially being exposed. The basement level features a series of semi-circular arches between the spaces, and timber beam and joist ceiling to ground floor supported with additional steel beams for structural stability, face brickwork to walls, kitchen fireplace, and exposed service pipes. The layout of the ground floor of the residence remains in its original configuration with some of the fireplace timber surrounds and custom orb metal ceiling and lath & plaster ceilings with ceiling rose surviving. All internal door and window joinery has been removed.
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The main stair appears to be original, with polished and painted, turned timber posts and balusters. The stair is fully carpeted, with carved timber brackets and original skirting that has been painted white. The first floor comprises the residence bedrooms and lounge room, fully carpeted excepting the tiled bathroom and toilet in the north western corner. Ceilings of the first floor include square set plaster in the western bedroom with a moulded ceiling rose, pressed metal in the lounge room, stair hall and landing, board and batten in the eastern bedroom and boarded ceilings in the hall, bathroom and toilet.
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What has been confusing to observers of the interior are two elements of Art Deco style, and embellishments to the panels on the balustrade-front of the dress circle, and on the false side-of-stage walls. It is contended that the Art Deco dado moulding and centre-piece of side false- wall panels (and as a ceiling rose in the lobby) were added after construction. Art Deco decoration did not become apparent in theatres in Australia until after the Great Depression (i.e. from 1933 onwards) yet this theatre was designed in late 1928 to early 1929, being completed in October that year.
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On the southeast is a large living room, divided by a large opening which originally housed folding cedar doors which have since been removed, with a fireplace at the southern end with marble surround and tiled inserts. Two bedrooms and a dressing room (originally Welsby's library) are located on the northwest. The building has vertically boarded walls, boarded ceilings with ceiling roses, panelled timber doors with fanlights, and timber skirtings, architraves and cornices. Internally, the rear section of the building has similar finishes, with a large central room with an internal stair to the laundry and garage below, a panel of hopper windows to the southwest with leadlight panels above, and a large ceiling rose.
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A ‘house’ in front of the synagogue, three stories high, comprised a shop, a first-floor caretaker’s flat and a top-floor committee room. To the right of the shopfront, double iron gates opened outwards for two entrances, as a synagogue requires segregation of men and women: The women's door led directly to a staircase accessing the gallery, and the men's led to a corridor to the main floor of the synagogue behind. The synagogue itself was in a spacious, well-lit and ventilated, long room which could accommodate for 280 men below and 240 women in the three-sided gallery. On two tiers of paired Corinthian columns, the ceiling rose to a part-glazed seven-sided central vault.
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The ground-floor interior comprises three main areas, including the large retail area to the southern side, mail room/delivery area behind to the north and staff facilities, consisting of individual offices to the north and west and a tiled modern bathroom to the northeastern corner. Ceilings to the ground floor include plasterboard with a coved cornice to the mail room and offices and plaster to the stairwell and retail area, with moulded plaster cornices and an arch and ceiling rose to the stairwell entry. Air conditioning vents are located to the ceiling of the retail area, there is exposed ducting to the mail room and there are attached and suspended banks of fluorescent lights to the ground floor spaces. Flooring consists of carpeted and sheet vinyl.
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No. 75 Windmill Street is historically significant on a State level for being a very rare and relatively intact surviving example of a purpose built domestic form "town inn". Constructed in c.1832-33, it is the earliest surviving hotel building located in Millers Point, one of Australia's oldest urban precincts and also one of a small and rare group of colonial public house buildings located in the immediate locality. The building is aesthetically significant on a State level as a very good example of a relatively intact example of a Colonial Georgian style town building containing some features of outstanding significance due to their style and rarity, including the front door case, the front verandah (albeit with altered balustrade), the ceiling cornice and ceiling rose in Space 2 as well as the sandstock brickwork and painted signage known to exist on the front facade (albeit covered by lateraddition render).
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Although inn buildings of a domestic form are found throughout regional NSW, only No. 75 Windmill Street and Lilyvale, 176 Cumberland Street are known to be surviving examples of this particular form of public house in the City of Sydney. Their location in the heart of Sydney, Australia's first settlement and only urban centre existing in the 1830s makes these buildings of exceptional significance. No. 75 Windmill Street is the oldest surviving public house building located within Millers Point and its domestic form again makes this building of exceptional significance, given that all other surviving colonial public houses in Millers Point would be classified as "taverns" and are commercial style buildings. The place contains a number of features dating from 1832-33 including the front door case, the cornice and ceiling rose to Space 2 and the front verandah (albeit with later balustrade) which are rare, surviving, colonial architectural features.
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The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The form of the subject property is of aesthetic significance as a very good example of a relatively intact Colonial Georgian style town building, demonstrating the aesthetic characteristics of a colonial domestic form building, including the symmetrical facade, (original) exposed brick walling, stone lintels and sills, verandah with separate roof, lourvred shutters and classical detailing to front door case. The place is indicative of the pre-1900s architectural character of Millers Point and because of its age and rarity, the building has some value as a comparative example of 1830s building construction techniques. Constructed in 1832-33, the building contains some features of outstanding significance for their style and rarity, including the front door case, Space 2 ceiling cornice and ceiling rose and the front verandah (albeit with altered balustrade).
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By virtue of its having a central ceiling rose, fireplaces at each end and a continuous boarded floor, the room architecturally reads as a single space, and may derive from the English model of a large first floor reception room that can be adapted for day-to-day use. (This feature is found in a number of Maitland residences all built around the same time: Walli House, Roseneath, the Eckford house and outside Maitland most notably at Franklin House in northern Tasmania.) It has a cellar, an early kitchen (that appears to pre-date the house, 1826) with wood-fired bread oven (and original hand made door), and back-to-back fireplaces with the adjoining flagged-floor scullery. Most of the lath and plaster ceilings remain, with original hand run ceiling roses in both the first floor reception room and the downstairs drawing room, the latter also retaining its original hand-run cornice. The house has an unusual architectural feature in that the front section of the house sits deliberately at an angle to the street front (less than 90).
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