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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.
In 1937 Liverpool Corporation, who owned and managed the airport at Speke, issued an official handbook that was published on their behalf by local publishers Littlebury Bros.; this was the concern that printed many of the Council's publishing such as transport guides. In 1928 the Council determined that the city required an airport and so purchased the Speke Estate to the east of the city on the banks of the River Mersey. In 1932 an airport manager was appointed and existing buildings adapted; for example the old farmhouse became the 'station and control room'. By 1937 the first stage of the new Control Tower and associated terminal buildings were well underway and are seen in this handbook. The rest of the Speke Estate was earmarked for both municipal social housing and an industrial estate.
The first commercial flights to use Speke were Imperial Airways services to Croydon, commencing in 1930, along with Blackpool and West Coast Air Services flights to Blackpool. By 1934 other airlines were using Speke including Railway Air Services and KLM, the latter service Amsterdam via Doncaster. In 1936 the first Squadron of the Auxiliary Air Force (County of Lancaster Bomber Squadron 611) set up shop at Speke. The following year the Council leased part of the Estate to the Air Ministry for the construction of a 'shadow factory' as part of the rearmament drive and in war years this was used by Rootes to construct aircraft. During the Second World War the airport was requisitioned by the RAF and despite civilian flights resuming in 1945 the airport remained in Ministry hands until 1961 when Liverpool City Council regained control. Later developments saw the airport, now the John Lennon International Airport, continue to develop.
The Handbook contains information as to the airport, it's infrastructure and services and includes maps and plans as well as adverts for both airlines and concerns associated with air travel and flight. The cover is suitably 'moderne' in style, selling the idea of the new way to travel.
The map showing roads leading to the Airport was issued under the name of the Corporation's Land Steward and Surveyor, Albert D. Jenkins. It shows Hooton Aerodrome on the Wirral, Cheshire, side of the Mersey. The north arrow includes a fine representation of the famous 'Liver Bird" symbol of the city. There is also a sketch of the proposed terminal building and this was indeed completed and survives as a Listed Building.
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.
Saint Clothilde wife of Clovis I , king of the Franks , whom she convinced to convert to Christianity.
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.
Street view showing a photograph of Mick Jagger from opening night of the exhibit "We Shot Rock & Roll" at The Perfect Exposure Gallery in Los Angeles (famous, rare and unseen music photography exhibition and sale, February 5 - March 20).
Located in northeastern New Mexico, Colfax County is named for Schuyler Colfax, who was Vice President under Ulysses S. Grant.
New Mexico Territory had nine counties when it was established in 1852. In 1859, the eastern portion of Taos County was split off to become Mora County. On January 25, 1869, Colfax County was established from the northern portion of Mora County.
The original county seat of Colfax County was the goldmining town of Elizabethtown. In 1872, after the gold rush had died down, the county seat was moved to Cimarron. In 1881, the count seat was moved again, this time to Springer. After a bitter legislative fight, the set was moved to the coal mining town of Raton in 1897, where it remains today.
The 1936 WPA Art Deco courthouse in Raton is the second in Raton, and the (I'm guessing) fifth courthouse overall. The ones in Cimarron and Springer are still standing.
Some features of the current courthouse are the decorative panels of the brands of area ranches set around the entryway. There are also carved cattle heads and bas reliefs of farming and mining scenes.
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.
Atlas (1937)
Lee Lawrie (1877-1963)
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).
July 8, 2023 - The beautiful Art Deco Parque de estacionamento (parking garage) at R. de Passos Manuel 180 in Porto, Portugal
450 Sutter Street
Four Fifty Sutter Building
Timothy Pflueger, architect
San Francisco
December 2014
2014-DEC-L 045
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.
Gare de Lens - designed and built 1926-27 by architect, Urbain Cassan (1890 - 1979). The form is said to be inspired by the shape of a steam locomotive boiler, the rounded arches represent the wheels and the tower is the funnel. It takes a bit of imagination to see it, especially with all the clutter in front.
Looking out from inside Masks (Pentagon) by Thomas Houseago
Temporary installation (April-June 2015) as part of the Public Art Fund.
Outside 30 Rockefeller Plaza
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).
Spent Thanksgiving in my hometown. Brought my camera, but didn't get a chance to take many shots. Except for this one of (the beautiful pink marble art deco) Joslyn Art Museum in downtown Omaha. The high rise office building in the upper left background across the stree form the museum (,originally headquarters for Northern Natural Gas Co.) is listed on the National Register of Historic Places and is an excellent piece of modern architecture in the International Style.
Within Southgate Station
Southgate was designed by Charles Holden and opened March 1933.
The brick, concrete and glass building was designed in a Streamline Moderne style. The circular concrete roof is supported on a central column in the ticket hall.
Breaking up the facade of Gower Street in more ways than one, the London School of Hygiene and Tropical Medicine.
Founded in 1899, the school was based in other locations for its early life. In 1925 a competition was held, to design the Gower Street premises, this was won by Morley Horder and Verner Rees, and the building was opened in 1929.
Blackpool Tower 'emerging' from behind this magnificent Art Deco multistorey building, which now houses [at least on street level and 1st floor] a fast food joint.
Within Southgate Station
Southgate was designed by Charles Holden and opened March 1933.
The brick, concrete and glass building was designed in a Streamline Moderne style. The circular concrete roof is supported on a central column in the ticket hall.
Atlas (1937)
Lee Lawrie (1877-1963)
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).
Looking at Southgate Station.
Southgate was designed by Charles Holden and opened March 1933.
The brick, concrete and glass building was designed in a Streamline Moderne style. The circular concrete roof is supported on a central column in the ticket hall.
This building is now used for university student accommodation. It was once a Hotel, and maybe it's biggest claim to fame is that the Beatles stayed here in June 1964, you can read about it here Wellington – The Beatles. I have taken a photo from this spot before but a different version and subject, see woman & lizard
Heading to the Wiltern Theatre (an Art Deco landmark building) to see Mazzy Star, in Los Angeles, CA
Designed by architect Robert Swartburg, the Delano was built in 1947 by Rob and Rose Schwartz. The hotel was originally utilized for military housing. The then four-winged Art Deco tower of the Delano was the tallest building in Miami. The 1994 renovations were designed by Philippe Starck.[3] The hotel is named after US President Franklin Delano Roosevelt.