View allAll Photos Tagged ArtDecoArchitecture
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It 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.
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 is one. 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.
I hope that it shall stand long enough to celebrate its 500th anniversary in 2430. And beyond.
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In downtown Flint, Michigan, on December 9th, 2018, the Mott Foundation Building, formerly the Union Industrial Bank Building, designed by Smith, Hinchman & Grylls, said to have been built from 1929 to 1930, as viewed from the southwest corner of East 2nd Street and Harrison Street.
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Getty Thesaurus of Geographic Names terms:
• Flint (7013765)
• Genesee (county) (1002406)
Art & Architecture Thesaurus terms:
• Art Deco (300021426)
• limestone (300011286)
• office towers (300007046)
Wikidata items:
• 9 December 2018 (Q45921992)
• 1920s architecture (Q7160080)
• Buildings and structures completed in 1930 (Q8318699)
• Central Michigan (Q2945568)
• Charles Stewart Mott Foundation (Q5082688)
• December 9 (Q2304)
• December 2018 (Q31179612)
Library of Congress Subject Headings:
• Art deco (Architecture) (sh85007995)
Union List of Artist Names IDs:
• Smith, Hinchman & Grylls Associates (American architect, contemporary) (500235914)
The National Hotel in ground outdoor swimming pool photographed at night.
The National Hotel
1677 Collins Avenue
Miami Beach, FL 33139
(305) 532-2311
Photo
Miami Beach Florida
11-24-2010
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.
The Kansas City Power and Light Building (also called the KCP&L Building and the Power and Light Building) is a landmark skyscraper located in Downtown Kansas City, Missouri. Construction was completed in 1931, as a way to promote new jobs in Downtown, and since then, the Art Deco Kansas City Power and Light Building has been a prominent part of the Kansas City skyline.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It 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.
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 is one. 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.
Decorative mosaic panels reflect the local industry, coal mining and the miners who extracted the coal. They were the work of Auguste Labouret (1871-1964). Labouret was principally a stained glass artist but he often worked on railway stations, among others, Saint Quentin (also designed by Cassan), Lyon and Saint-Lazare.
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.
This one's in Fort Worth. The building's detailing is said here to have been "influenced by the Art Deco and Spanish Renaissance Revival idioms." Okay!
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In downtown Fort Worth, Texas, on February 12th, 2023, the Electric Building (built from 1927 to 1929, designed by Wyatt C. Hedrick, 95000048 on the National Register of Historic Places, converted to apartments in 1996) at the northeast corner of West 7th Street and Lamar Street.
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Getty Thesaurus of Geographic Names terms:
• Fort Worth (7013934)
• Tarrant (county) (1002939)
Art & Architecture Thesaurus terms:
• apartment houses (300005707)
• architectural ornament (300378995)
• Art Deco (300021426)
• brick (clay material) (300010463)
• buff (color) (300263546)
• central business districts (300000868)
• commercial buildings (300005147)
• fire escapes (300003262)
• historic buildings (300008063)
• light brown (300127503)
• office buildings (300007043)
• repurposing (300417716)
• skyscrapers (300004809)
• Spanish Renaissance Revival (300444326)
Wikidata items:
• 12 February 2023 (Q69306707)
• 1920s in architecture (Q11185486)
• 1929 in architecture (Q2744495)
• Art Deco architecture (Q12720942)
• Dallas-Fort Worth (Q179295)
• Downtown Fort Worth (Q5303439)
• Electric Building (Q1325835)
• February 12 (Q2336)
• February 2023 (Q61312937)
• National Register of Historic Places (Q3719)
• North Texas (Q3493922)
Library of Congress Subject Headings:
• Dwellings—Texas (sh87003845)
• High-rise apartment buildings (sh85060689)
• Office buildings—Texas (sh86003312)
• Skyscrapers—Texas (sh86007406)
Union List of Artist Names IDs:
• Hedrick, Wyatt C. (American architect, active in Texas, 1888-1964) (500082151)
The depression had ended and people in the U.S. were out building skyscrapers again I guess.
Try not to be such a comfortable aesthete as to forget to associate the building with the distinctive political and social oppression of its time. Anyone with the means to cause a large commercial building to be erected in Georgia in the 1940s should not be presumed to be basically decent, right?
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In downtown Macon, Georgia, on January 5th, 2018, the Willie C. Hill Government Center Annex, built in 1941 as the Bankers Insurance Building and later known as the Southern Trust Building, at the southeast corner of 1st Street and Cherry Street.
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Getty Thesaurus of Geographic Names terms:
• Bibb (county) (2000302)
• Macon (7013980)
Art & Architecture Thesaurus terms:
• Art Deco (300021426)
• office towers (300007046)
• public buildings (governmental buildings) (300008059)
Wikidata items:
• 5 January 2018 (Q45919525)
• 1940s architecture (Q7160086)
• Buildings and structures completed in 1941 (Q8318716)
• January 5 (Q2202)
• January 2018 (Q23994856)
• Downtown Macon (Q5303494)
• Macon Historic District (Q28153341)
Library of Congress Subject Headings:
• County government (sh85033484)
• Insurance companies (sh85067049)
as seen from People's Square
Shanghai
~~~~~~~~~~~~~~~~~~
Park Hotel Shanghai (tallest building in Asia 1934 - 1952), designed by the Czechoslovakian / Hungarian architect László Hudec a.k.a. Ladislav Hudec.
03.21 3743
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It 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.
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 is one. 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.
Constructed in 1930; abandoned 1991 - Art-deco architecture, for many years the tallest building in Arkansas
Old Lead Light Window In Art Deco Style Of The Era And Area.
Napier / Hawke’s Bay / New Zealand
Ahuriri / Te Matau a Māui / Aotearoa
Here's the front of the elegant South Staffordshire Waterworks Company pumping station at the small village of Slitting Mill, near Hednesford {pronounced 'hensford'} and Rugeley {pronounced either 'roo je ley' or the old version - 'rudgeley')
N.B. A slitting mill cut iron bars into thin rods from which nails were made.
Three museums and an Omnimax theater housed in a train station built in 1931.
This is the entrance to the Museum of Natural History and Science. Notice above the museum sign is the original train station sign that reads Incoming Trains and Motor coaches.
A closer look at the main entrance to this delightful, stylish pumping station, in woodland in a small village close to Rugeley and Hednesford {'hensford'}, both former coal mining towns. The nearby Museum of Cannock Chase is an excellent way to while away a couple of hours - especially if the weather is manky! We went in a prolonged downpour of rain another time!
N.B. A slitting mill cut iron bars into thin rods from which nails were made.