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George Val Myer's deco Broadcasting House contrasting with John Nash's Regency church, All Souls. Behind it is the Egton Wing of Broadcasting House (initially designed by MacCormac Jamieson Prichard), with a blue glow beaming up into the sky.
I do enjoy capturing the streaks of light of passing traffic.
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.
Christmas Tree and ceiling detail of Omaha Union Station (now the Durham Museum).
Omaha Union Station (1931) was one of the first Art Deco train stations in the United States. Listed on the National Register of Historic Places in 1971, the Station was designated a National Historic Landmark in 2016 (the designation noted that the Station "is one of the most distinctive and complete examples of Art Deco architecture in the nation. . . [and] outstandingly expresses the style’s innovative and diverse surface ornamentation inspired by the machine age.") See here for more on the station's architecture and history.
Omaha Union Station closed for rail service in the 1970s when a new Amtrak station opened nearby. The Station now houses the Durham Museum. As noted on the museum's website, the Durham showcases everything from "permanent exhibits highlighting the history of Omaha and its surrounding regions, to impressive traveling exhibitions from our national partners such as the Smithsonian Institution, the National Archives, the Library of Congress and the Field Museum."
An art deco building built on the site of the Adelphi Terrace, neo-classical buildings from the late c18th.
The New Adelphi was designed by Collcutt & Hamp.
The buildings are in the Adelphi district.
Designed by Robert Atkinson (1883-1952) in the Art Deco style.
Found in Swiss Cottage
The building is decorated with stylised representations of tools and fittings
Potter County was organized in 1876, and named Robert Potter, who moved from North Carolina to Texas, settling in the Marshall area, in 1835 after assaulting (evidently castrating?!) two men whom he accused of having an affair with his wife.
A former member of the North Carolina House of Commons, he continued his political career in Texas, and was a signer of the Texas Constitution and served as the Secretary of the Navy for the Republic of Texas. He was rather dramatically killed during a feud known as the Regulator-Moderator War, or the Shelby County War, in 1842.
The county seat of Amarillo was originally name Oneida. It was founded in April of 1887 by J. I. Berry on a section along the right-of-way of the Fort Worth and Denver City Railroad, and was named the county seat after an election in August of 1887.
In 1888, Henry B. Sanborn and Joseph F. Glidden began purchasing land to the east of Berry's land, eventually convincing townspeople to move to their preferred location.
By the late 1890s, Amarillo was one of the busiest cattle shipping sites in the US.
The 1932 Art Deco courthouse, which is seven stories high, is the county's fifth courthouse, and cost $420,000 ($9,245,756 in today's money) to build. The original county library building is also on the grounds.
Former Coca-Cola Bottling Plant on Massachusetts Avenue, Indianapolis, March 2014 photo. More Mass. Ave. photos on my main website: davelandweb.com/indy/#mass
Gorgeous and stunning murals by Wm. de Leftwich-Dodge
more examples of his work and bio info at: en.wikipedia.org/wiki/William_de_Leftwich_Dodge
More info on all of Leftwich-Dodge's murals at: www.buffaloah.com/a/niagSq/65/murals/index.html
The system of interlocking "Akoustolith" tiles forming a continuous curved vault surface was installed by the Raphael Guastavino Co. of New York City.
There are thousands of individual tiles in the vaults. The tiles are decorated with painted panels of designs derived from Native American signs and symbols.
An interesting brochure issued by Tube Producst Ltd. (incorporating H. Joyce & Co. Ltd.) from their Popes Lane works in Oldbury, a town that was postally in Birmingham, Warwickshire, but actually in Worcestershire. Tube Products Ltd. had been formed in 1929 by Tube Investments, the conglomerate set up in 1919 to bring together four companies, Accles and Pollock, Simplex Conduits, Credenda Conduits and Tubes Limited. The aim was ally companies who both produced and manipulated steel tubes and the TI Group, as they became, prospered and grew over the coming decades.
The basis of Tube Products was the expolitation of certain patents regarding the electrical resistance welding of tubes to manufacture a diverse range of products that included bike and car components, boiler and transformer tubes and other engineering, appliance and architectural uses. They were "patentees, manufacturers and manipulators of electrically welded and weldless steel tubes". The brochure is undated but given the range described mid-1930s seems a good guess. Tube Investments and Tube Products play a role in the development of 1930s "deco" design as the chrome plates tubing they produced found favour as the material for 'modern' furniture, such as chairs and tables, as well as light and shop fittings as seen here.
These tube products found ready use with companies such as Best & Lloyd, the Birmingham based lighting manufacturers and P.E.L. Furniture, the TI subsidiary, whose stacking chairs became internationally known.
I've scanned the majority of pages from the booklet. The utility of bending tubes is seen here notably in the components of bicycle or bike frames. Opposite is a fine view of a manicure table in the Gentlemen's Hairdressing Saloon at one of London's Art Deco temples, the Lyon's owned Strand Palace Hotel.
“Ibex House is probably the largest surviving example of Streamline Moderne, a short-lived form of Art Deco seen in the mid to late 1930s, mostly used in London by an entire generation of Odeon cinemas, but most famously by the Daily Express Building.
“Upon completion Ibex House boasted the longest continuous glass curtain walls in the United Kingdom along its H plan footprint.
“Also cladding Ibex House are horizontal cream ceramic bands of buff, and strips of black faience running upwards adding a vertical element, plus curving corners characteristic of Streamline Moderne.
“Of particular note is the curving glass staircase set on the southern side of the building that continues to project out past the upper set backs of the building. It serves not only to provide access up through the centre of the building, but unlike the identical north one, also helps work as an informal viewing area for the buildings occupants looking south towards the Tower of London and Tower Bridge.
“When it opened in 1937, rents for Ibex House were six shillings per square foot.”
Source: Skyscraper News