Looking Upward

Sun (Auckland), Volume III, Issue 777, 25 September 1929, Page 14

Looking Upward

IMPORTANCE OF CEILINGS Harmony Is Most Essential FREQUENTLY the ceiling- designs receive but little thought from people planning a new home, particularly if it be a small one. In many eases, the heavy hand of circumstance, or “How much money li,ave we left?” is responsible for this. But, the beauty, or otherwise, of ceilings will do much to reflect individuality, and convey a sense of dignity and good taste, or of mediocrity. An important point to keep in mind, when considering the ceilings for a new home, is that they are only a part of an harmonious scheme, states William Scurry, writing in the “Australian Home Beautiful.”

The need for harmony in all the components of the home has so often been stressed that it may seem superfluous to discuss it again, but a wellconsidered effect is so often spoilt by an incongruous ceiling, that it is well to mention it first, and remember it all through. This does not mean that we must slavishly follow the style of but one period, but let each part he so chosen that the finished room is at peace with itself. Ceilings fall broadly into two classes. The first is plain; it has no modelled embellishment or enrichment. The second Is frequently referred to in advertisements, as “embossed” or “ornamental,” but enriched is the term used by craftsmen, and is suitable, for, thus applied, it has a depth of meaning. PLAIN CEILINGS The genius we have called plain offers a wide and varied field, though the term used does not imply as much. It includes the Sahara of flat surface produced by the old lath and plaster ceilings, the solid honesty of beam work, and the multitudinous effects to be produced by panelling with mouldings leading us on to the intricate and expensive geometrical and strapwork designs of the Elizabethan era. The ancestors of beamed ceilings are to he found in the spacious farm kitchens, public rooms of taverns, and ground floors of cottages and such buildings, which make the old world countries a treasure ground of beautiful interiors for those who care to look for them. There, the beams have a duty to perform, and are solid, rugged fellows of such stuff as oak, fit for the task of carrying the floor above, without needing supports, which would cause inconvenience in the room. So, bearing this in mind, a beam ceiling, to be successful must be in a room of sufficient dimensions to allow beams heavy enough to appear capable of bearing weight. Timbers of this size would tend, in a small room, to lower the ceiling and create an impression that tile place was out of proportion. Besides, they are illogical, as a small room does not need beams, the walls carry the load.

Many and satisfying are the effects to be produced by the use of mouldings of wood or fibrous plaster, to divide the ceiling surface, resulting in the panelled ceiling. The figures formed by these mouldings need not always be rectangles, though use for a definite purpose has given rise to the habit of making them so. Materials made in sheets, such as fibrous plaster, wall boards of wood pulp and such materials, and ply woods, are suitable, from a point of view of convenience and economy, for ceiling work, and the use of the cover-mould, that is, a slat or moulding to cover the joints, frequently results in rectangular panels. Geometrical designs, in great variety, can be employed with this material, but be careful that a tendency to sheer cleverness and intricacy does not overwhelm you. Rectangular panels of greater length than width can be used in the same way as beams, to give a feeling of increased width or length.' Here It is well to remark, that, if you employ an ellipse insist that it be struck true. In this field of panelled ceilings there is something to suit almost every situation, right on to the heavily moulded. Intricate geometricals of Stuart times. A simple and frequently very effective way of applying ornament in relief to a ceiling is by the use of enriched hands, or mouldings. The number of delightful effects to be produced from such a medium is without end. Height above floor level, and size of room, play an important part in the selection of motifs- for such designs. Heavily enriched bands of fruit and flowers, modelled in almost full relief, reminiscent of the carving of Gibbons, are beautiful when used sparingly, and in conjunction with a lighter intersecting moulding, on a lofty ceiling. One such design I saw in a small bungalow sitting room was a calamity, though its components were the work of a craftsman. The satisfactory way to examine a featu.V which is to form part of a ceiling is to lay on a bench, hold a mil-row high above it, and look at the reflection.