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The Teatro-Cine Torcal at Calle Cantareros 8 was constructed between 1933 and 1934 to the design of architect Antonio Sánchez Esteve. The project was overseen by architect Daniel Rubio Sánchez and surveyor Juan Burgos Fernández. Its Art Deco style features a symmetrical façade with angular forms, protruding lateral bodies and horizontal parallel bands. Its structure combines load-bearing walls with metal beam slabs, reflecting the shift towards modern construction techniques. Inside, the theater contains a main hall without balconies, comprising a stalls area and an amphitheater, adorned with typical Art Deco elements such as cylindrical balusters and stylized cactus silhouettes in side niches. Indirect lighting with color changes created an immersive and dynamic atmosphere.
The initiative for its construction came from the Antequera Cinema joint-stock company, established in 1932 by citizens eager to provide the city with a modern cultural venue. It was inaugurated in January 1934 with the screening of the film El hombre león. Today, the Teatro-Cine Torcal is municipally owned and currently closed and apparently under renovation.
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.
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.
The Gaumont State Cinema.
Designed by George Coles and opened in 1937. This Art Deco Italian Renaissance style cinema also had performances from big names in the day before becoming a bingo hall between the 1980s until 2007. It is now a church.
Pettibone Creek Hydroelectric Station - Designed by Albert Kahn.
Originally built by Henry Ford as part of his vision for Village Industries.
www.milfordpowerhouse.com/1/165/village_industries.asp
www.milfordpowerhouse.com/1/165/virtual_tour_of_milford_p...
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.
Former New Zealand Railways Road Services (NZRRS) depot and garage, Cumberland Street, Dunedin. This triangular (or: wedge-shaped) Art Deco structure was built in 1939. The architect was James Hodge White (1896-1970),
This building is now part of the Toitū Otago Settlers Museum, and houses transportation exhibits, including vintage automobiles (and a Dunedin trolleybus).
2023 December 5.
aka, the French Institute of London
The institute opened in 1910, initially in Marble Arch House (nr. Connaught Place) before settling in this purpose-built site in 1939.
The building was designed by French architect Patrice Bonnet (1879-1964), and opened by President Albert Lebrun and HRH Princess Mary.
Front façade Omaha Union Station.
Omaha Union Station (1931) was one of the first Art Deco train stations in the United States. It closed for rail service in the 1970s and now houses the Durham Museum.
@ Parkview Square, Singapore.
[Blogged @ Too Many Thoughts: A crash-course tour of Singapore in less than 12 hours]
February 4, 2012 - Designed by architect Louis Hay for Gerhard Husheer, the founder of the National Tobacco Company. Built in 1933 and was inspired by Chicago architect Louis Sullivan's work. Combines Art Deco and Art Nouveau styles. Napier, NZ.
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.
Along the entablature which links the original Stock Exchange building to the Stock Exchange Tower (in shade L) are several art deco medallions designed by the sculptors Ralph Stackpole.
A hint of the streamline moderne, currently under construction - Princes Park, Prince of Wales Road, Camden
Architect: Malcolm Last
Developer: Union Developments
7 storeys high, holding 55 apartments, scheduled for completion in 2014
Newark Penn Station
Waiting Room
Newark, N.J.
Photo by Daniel Wright
[CC BY-NC-ND 2.0]
From Flickr Set:
Seeing Brian Jonestown Massacre at the historic Wiltern Theatre (an Art Deco landmark building from 1931) in Koreatown in Los Angeles, CA
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.
Modern facade decor by Okuda San Miguel.(Spain)
Art Deco architecture
The Frontón México was covered with a special white vinyl so he could paint on it without touching the original 1929 walls, since the building is listed as a property of artistic value by the National Institute of Fine Arts and Literature (INBAL).
aka Frontón México Centro de Entretenimiento