Balcony Interior Quotes

Her lack of confidence in life, in realization, in the fulfillment of her desires, in the outcome of a dream, in the possibility of reality corresponding to her fantasy, speeded her bicycle with the incredible speed of anxiety, a speed beyond the human body, beyond human endurance. She arrived before him. Her fear was justified! She could not measure what the anxiety had done to her speed, the acceleration which had broken the equality of rhythm. She arrived as she had feared, at a desolate spot on the road, and the boy had become this invisible image which taunts the dreamer, a mirage that could not be made real. It had become reality eluding the dreamer, the wish unfulfilled. The boy may have arrived later. He may have fallen asleep and not come at all. He may have had a tire puncture. Nothing mattered. Nothing could prevent her from feeling that she was not Juliet waiting on the balcony, but Romeo who had to leap across space to join her. She had leaped, she had acted Romeo, and when woman leaped she leaped into a void.

In the courtyard there was an angel of black stone, and its angel head rose above giant elephant leaves; the stark glass angel eyes, bright as the bleached blue of sailor eyes, stared upward. One observed the angel from an intricate green balcony — mine, this balcony, for I lived beyond in three old white rooms, rooms with elaborate wedding-cake ceilings, wide sliding doors, tall French windows. On warm evenings, with these windows open, conversation was pleasant there, tuneful, for wind rustled the interior like fan-breeze made by ancient ladies. And on such warm evenings this town is quiet. Only voices: family talk weaving on an ivy-curtained porch; a barefoot woman humming as she rocks a sidewalk chair, lulling to sleep a baby she nurses quite publicly; the complaining foreign tongue of an irritated lady who, sitting on her balcony, plucks a fryer, the loosened feathers floating from her hands, slipping into air, sliding lazily downward.

The fortnight in Venice passed quickly and sweetly- perhaps too sweetly; I was drowning in honey, stingless. On some days life kept pace with the gondola, as we nosed through the side canals and the boatman uttered his plaintive musical bird-cry of warning; on other days with the speed-boat bouncing over the lagoon in a stream of sun-lit foam; it left a confused memory of fierce sunlight on the sands and cool, marble interiors; of water everywhere, lapping on smooth stone, reflected in a dapple of light on painted cielings; of a night at the Corombona palace such as Byron might have known, and another Byronic night fishing for scampi in the shallows of Chioggia, the phosphorescent wake of the little ship, the lantern swinging in the prow, and the net coming up full of weed and sand and floundering fishes; of melon and prosciutto on the balcony in the cool of the morning; of hot cheese sandwiches and champagne cocktails at Harrys Bar.

They turned a corner and there ahead of them was the end of the passage. Another short flight of steps led to a door just like the one hidden behind Ariana’s portrait. Neville pushed it open and climbed through. As Harry followed, he heard Neville call out to unseen people: “Look who it is! Didn’t I tell you?” As Harry emerged into the room beyond the passage, there were several screams and yells: “HARRY!” “It’s Potter, it’s POTTER!” “Ron!” “Hermione!” He had a confused impression of colored hangings, of lamps and many faces. The next moment, he, Ron, and Hermione were engulfed, hugged, pounded on the back, their hair ruffled, their hands shaken, by what seemed to be more than twenty people: They might just have won a Quidditch final. “Okay, okay, calm down!” Neville called, and as the crowd backed away, Harry was able to take in their surroundings. He did not recognize the room at all. It was enormous, and looked rather like the interior of a particularly sumptuous tree house, or perhaps a gigantic ship’s cabin. Multicolored hammocks were strung from the ceiling and from a balcony that ran around the dark wood-paneled and windowless walls, which were covered in bright tapestry hangings: Harry saw the gold Gryffindor lion, emblazoned on scarlet;

sofa. She looked around, her eyes taking in a wall of French doors that was visible on the ocean side. The room was huge, with ceilings that soared at least twenty feet high. An interior second-story balcony ran across one side of the room. Another wall held a collection of finely bound books. Comfortable furnishings were placed throughout.

Her eyes opened at the touch of light. It was slanting light, golden and shimmering with dust, the kind that filtered through the forests on Hy-Brasil in the late afternoon. And yet when she stepped forward, she found she was no longer amid the trees but inside, at the center of a circular tower that extended up for as far as her eyes could stretch. The walls were the white of polished marble, and the floor beneath her feet was polished wood partially covered by a thick red rug. There was a fireplace with two worn armchairs, and a desk fitted to the curve of the room and strewn with papers. Everything else, every inch of towering wall, was filled with bookshelves. They went all the way up to the high ceiling, at least seven stories, connected by ladders and balconies and ledges. The place had the old-paper smell of Rowan's study at the castle. Biddy stared, barely noticing as Hutchincroft jumped from her arms. "It's a library," she said out loud, in wonder. "It's a library inside a tree.

One and a half million Jewish men and women and children: How was anyone to understand a number like that? Andras knew it took three thousand to fill the seats of the Dohány Street Synagogue. To accommodate a million and a half, one would have had to replicate that building, its arches and domes, its Moorish interior, its balcony, its dark wooden pews and gilded art, five hundred times. And then to envision each of those five hundred synagogues filled to capacity, to envision each man and woman and child inside as a unique and irreplaceable human being, the way he imagined Mendel Horovitz or the Ivory Tower or his brother Mátyás, each of them with desires and fears, a mother and a father, a birthplace, a bed, a first love, a web of memories, a cache of secrets, a skin, a heart, an infinitely complicated brain - to imagine them that way, and then to imagine them dead, extinguished for all time - how could anyone begin to grasp it?

Out of all the palace's awe-inspiring interiors, the Round Library had always been Jasmine's favorite. A marble floor painted with a lotus-flower motif gave way to three tiers of balconies lined with books, stretching up to an arched ceiling where a bronze chandelier flooded the circular space with candlelight. Bound books had still been a novelty when the sultan was young, but in the intervening years, he'd amassed a collection of nearly three thousand titles from across the East. This was where Jasmine had come to fill in the gaps in her knowledge while her nonroyal peers were sent off to school. It was thanks to the books in this room that she'd learned to read and write in Greek and Latin along with Persian and Arabic, that she could look at an astrolabe and point out the different planets in the universe. It was where she'd fallen in love with studying maps and imagining other lands, far from here

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

It felt as if they were confined to the interior of a hotel with no exits, without even any balconies. The oppression of hotel life was growing; they had been inside now for four long months, but it was still less than half their trip.

The cab pulled up to our building on St. Louis between Decatur and Chartres Streets, a three-story cement stucco town house in the old creole style. It was painted pale pink and covered with delicate ironwork like a lace veil. It had an arched opening with a wrought-iron gate and an old metal lock. Inside, the ground-floor hallway had high, rounded ceilings and a dark caramel tiled floor leading to a garden in the back. It was drippy and heavy with the scent of jasmine, just like me. Wisteria rolled down from the top-floor balconies all the way to the garden below and curled around the legs of the iron tables and chairs like beautiful prison shackles. Everything about the building looked like it was from another century, and having never been to New Orleans I did not yet know that everything was.