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The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
the former Pacific Telephone and Telegraph Company Building
seen from the Salesforce rooftop part
San Francisco
▪ built 192x
▪ designed by architect Timothy Pflueger
▪ Alexander Aimwell Cantin, associated architect
▪ 26 floors
▪ Lingren & Swinerton, building contractor
20231110_193749
The Beehive main entrance on the eastern side. Photoshop curves adjustment emphasising the otherworldly spaceship shape, looking like it had just landed. The modern lamp posts have been removed. An incredibly advanced building for 1936. Stairs down to the underground walkway from the railway station can be seen behind the people. Skylight windows above the inner circulating area.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Looking up that the lights in the lobby of the Carbide & Carbon Building, 230 North Michigan Avenue in Chicago, Illinois. The building is now the Hard Rock Hotel Chicago.
More information about the building is here:
Art Deco building in Miami Beach #artdeco #artdecoarchitecture #cavalier #cavaliermiami #cavaliersouthbeach #cavaliersouthfl #ocean #oceandrive #oceandrivemiami #miami #miamibeach #miamibeacharchitecture #miamibeacharchitecturaldistrict #travel #travelstoke #southbeach #southbeachmiami #florida #unitedstates #america #fl #miamibeachflorida
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Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Title
South Facades, Boylston Street, Shreve, Crump, and Low
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: between 1954-1959
Location
Creation location: Boston (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 29.11
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_000489
DSpace_Handle
Constructed in 1930; abandoned 1991 - Art-deco architecture, for many years the tallest building in Arkansas
Looking down, and west 42nd St.,...from Tudor City Place
The Chrysler Building sits between 42nd & 43rd Streets, along Lexington Avenue.
Iconography!
tamron 28mm f/2.5 BBAR MC
m42 adapter
Adaptall~2 : Pentax Mount
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
For me, to be taken straight back to 1931 is for my head to suddenly fill with black-and-white imagery of people suffering an economic depression! Was that the architect's intention.
-----------------------
In downtown Fort Worth, Texas, on February 12th, 2023, the former Texas and Pacific Railroad Infreight Warehouse (built 1930-1931; designed by Wyatt C. Hedrick; part of the Texas and Pacific Terminal Complex, 78002983 on the National Register of Historic Places) at the southwest corner of West Lancaster Avenue and Jennings Avenue.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Fort Worth (7013934)
• Tarrant (county) (1002939)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• architectural ornament (300378995)
• Art Deco (300021426)
• beige (color) (300266234)
• brick (clay material) (300010463)
• brickwork (works by material) (300015333)
• historic buildings (300008063)
• intersections (300003871)
• oblique views (300015503)
• towers (building divisions) (300003615)
• traffic signals (300003915)
• warehouses (300007722)
• zigzags (300165028)
Wikidata items:
• 12 February 2023 (Q69306707)
• 1930s in architecture (Q16482516)
• 1931 in architecture (Q2811536)
• Dallas-Fort Worth (Q179295)
• Downtown Fort Worth (Q5303439)
• February 12 (Q2336)
• February 2023 (Q61312937)
• National Register of Historic Places (Q3719)
• North Texas (Q3493922)
• signalized intersection (Q2940218)
• streetcorner (Q17106091)
• Texas and Pacific Railroad Infreight Warehouse (Q117081551)
• Texas and Pacific Railway (Q2407682)
• Texas and Pacific Terminal Complex (Q117081140)
• vacant building (Q56056305)
Library of Congress Subject Headings:
• Buildings—Texas (sh85017805)
Union List of Artist Names IDs:
• Hedrick, Wyatt C. (American architect, active in Texas, 1888-1964) (500082151)
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
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Originally built as changing rooms for people bathing in Lake Ontario. The lake proved too cold so in 1925 a swimming pool, nicknamed "The Tank" was added. Architect: Alfred Chapman.
In the foreground, the Thompson Building. 20 E. 5th (5th and Boston), 1921 by Frank Olston of Atkinson and Olston.
In the background, Philtower:
Location: 427 S. Boston Ave.
(Downtown)
Architect: Edwin Buehler Delk and
Keene and Simpson
Completed: 1927
National Register Listed: Yes
Perhaps more than any other building in Tulsa, the Philtower Building is believed by many to have figured in the major decisions affecting the oil and gas industry in the United States. This was particularly true through the 1950's, when many of the most influential of the industry's leaders were either tenants in or visitors to the Philtower.
The building also has architectural signifcance. It represents the late Gothic Revival style embellished with Art Deco details. Among its notable features are its sloping, unusually colorful tiled roof; two gargoyles above the Boston Avenue entrance; a magnificent first-floor lobby with unique chandeliers; and a broad second-floor mall. The generous use of mahogany throughout the building is also striking. Another interesting feature is the carefully preserved office occupied by Waite Phillips. Its beamed ceiling extends upward in an A-frame manner to a height of twenty feet. It boasts richly paneled walls, a small fireplace framed in blue tile, and a private bathroom.
The Philtower was considered strategic in both time and location. It was to have been the link in architectural magnificence between the then-proposed Union Train Station at the north end of Boston, and the soaring Boston Avenue Methodist Church on the south. The building stands much as when it opened in 1928. Its strikingly colorful, sloping, shing-tiled roof still spots the blue night with checkers of yellow.
One of the entrances to the Pavilion on the Tulsa State Fairgrounds in Tulsa Oklahoma. It was bulit in 1931 and it is famous for its art deco architecture.
By Paul Manship (1885-1966)
From Lower Plaza, Rockefeller Center
The Rockefeller Center was sponsored by, and named after, John D Rockefeller Jr. (1874-1960). The development consists of 14 Art Deco buildings, designed by Raymond Mathewson Hood (1881-1934) and constructed between 1930-39, plus 4 International-Style buildings built in the 1960-70s.
The only project employed 40,000 people, and cost an estimated $250m at the time (this included the acquiring the land and demolishing some existing buildings).
At lunchtime I went for a walk to explore my new work neighbourhood. I found part of Thorndon with interesting architecture.
Wednesday, 7th February 2018.
The old Firestone store, at Henderson and West 7th St in Fort Worth, was built in 1929. It was the art deco era, and was also along "Automobile Row" of the day.
The building is original, except for the paint and brick of the chrome pillars of the original design.
The building is now in use as an office and community center for the Firestone Apartments.
Arnos Grove tube station.
The station was designed by Charles Holden and opened September, 1932. For six months, Arnos Grove was the terminus of the Piccadilly Line.
"...Arnos Grove station announces its presence in clean-cut, crystal-clear architectural terms. A great glazed and corniced, brick, steel and glass drum sits on top of what is essentially a hollow box made of the same simple and unadorned materials...
...Homely yet magnificent, modest yet capacious, the design of Arnos Grove is a brilliant architectural tightrope act. In London, despite the bravura qualities of some of the stations built in the 1990s for the Jubilee line extension, its design has never been bettered.
When it opened, the station was truly what German art historians would describe as a gesamtkunstwerk, a total and entire work of art. Not only did lettering used throughout the station complement the architecture, so did its benches, lamps, ticket machines and, of course, Harry Beck's underground maps. Adverts on display inside and outside the ticket hall, and along the lengths of its platforms, might be designed by such distinguished graphic artists as Edward McKnight Kauffer, Hans Schleger and Man Ray. Trains that came to serve its platforms included the sleekly purposeful 1938 tube stock designed, at Acton Works, by a team led by W S Graff-Baker, the underground's chief mechanical engineer. By the 1950s, among the buses that met these trains were the RT double-deckers designed, at Chiswick Works, under the direction of Eric Ottaway, Frank Pick's technical officer (buses and coaches). In the 1960s, these superbly proportioned and beautifully engineered double-deckers were joined by the long-lived, and now much missed, Routemasters, the last buses designed and built in London for Londoners.
No detail was too insignificant for Holden, Pick and Arnos Grove station. From 1937, LPTB bus stops, at Arnos Grove as elsewhere, were standardised to a streamlined concrete design adorned with signs by Hans Schleger. Seat fabrics of tube trains and London buses - hardwearing, innovative moquettes - were styled by textile designers such as Enid Marx (1902-1998) and the American-born Marion Dorn (1896-1964). No wonder architectural historian Nikolaus Pevsner described Frank Pick's LPTB as "a civilising agent". No wonder many of us still look at Arnos Grove station today and think, why can't we ensure such high standards of integrated, imaginative, wholly convincing and well-crafted public design today?"
Jonathan Glancey, architecture critic for the Guardian