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Incinerator Spittelau. Its peculiarity lies in the facade, artistically designed by Friedensreich Hundertwasser
19. Bezirk
The Way of Human Rights (German: Straße der Menschenrechte) is a monumental outdoor sculpture in Nuremberg, Germany.
It was opened on 24 October 1993. It is sited on the street between the new and old buildings of the Germanisches Nationalmuseum, connecting Kornmarkt street and the medieval city wall.
In 1988, a twelve-person jury from the Germanisches Nationalmuseum held a design competition to decide on the artistic design of the Kartäusergasse street in Nuremberg. The winner was a proposal by Israeli artist Dani Karavan consisting of a gate, 27 round pillars made of white concrete, two pillars buried in the ground showing only a round plate, and one columnar oak, for a total of 30 pillars. Engraved in each pillar is one article of the Universal Declaration of Human Rights in German and another language. The pillars are 8 metres in height, 80 cm in diameter, and spaced regularly at 5 metres along an axis. The north gate mirrors the medieval city gate located at the south end of the street.
The site of project has a layered history, including the remnants of a monastery, the medieval city wall, buildings designed by Sep Ruf in the 1950s and 1960s, and a glass-enclosed entrance designed by the firm ME DI UM in 1993.
This sculpture is part of Nuremberg's efforts to shake off its Nazi-era reputation as the "City of the Party Rallies" and reinvent itself as a "City of Peace and Human Rights". In 2001, Nuremberg was honored for this attempt at transformation with the UNESCO Prize for Human Rights Education, the Way of Human Rights being specifically cited. The monument is intended as both a repudiation of past crimes and a permanent reminder that human rights are still regularly violated. Nuremberg's prize for human rights, the Nuremberg International Human Rights Award, is awarded on the site every two years. (Wikipedia)
© 2014 Ursula Sander - All rights reserved.
The Stingray Fountain in downtown George Town, Cayman Islands. It is located in front of Bayshore Mall located on South Church Street.
The 1.5 ton, bronze and stainless steel sculpture is 12 feet tall. It depicts three artistically designed stingrays flying out of the water.
It was created in 2005 by Dale Evers.
Lotus Flower Lamp: Illuminate Your Space with Elegance and Serenity
Transform your home into a sanctuary of beauty and tranquility with our exquisite Lotus Flower Lamp. Inspired by the natural grace of the lotus flower, this lamp blends artistic design with soft, ambient lighting to create a serene atmosphere in any room.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include the Great West Window.
The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
People love vintage cars, particularly those around a century old, because they represent a unique blend of historical significance, craftsmanship, and a raw, unfiltered driving experience. Unlike modern cars that prioritize efficiency and digital features, these older vehicles offer a tangible connection to the past, serving as rolling pieces of history that tell a story about their era. The appeal extends beyond simple aesthetics, encompassing a deeper appreciation for their mechanical nature, artistic design, and the nostalgia they evoke.
One of the most compelling reasons for their appeal is the historical significance they embody. A 100-year-old car, such as a Ford Model T from the 1920s, is more than just a vehicle; it's a testament to the birth of mass-produced personal transportation. These cars provide a tangible link to a different time, reflecting the design trends, technological limitations, and societal values of their era. Owning or even seeing one allows people to appreciate the vast progress in automotive engineering and to connect with the ingenuity of a bygone age. They are often seen as cultural artifacts that represent a period of major change and innovation.
Another key factor is the craftsmanship and unique design. The cars of the early 20th century were often built with a level of manual labor and attention to detail that is rare in today's automated production lines. Each car had its own character, with hand-formed body panels, intricate chrome work, and interiors made from genuine materials. The absence of modern safety and aerodynamic regulations allowed designers to create cars with bold, artistic, and often flamboyant aesthetics that stand in stark contrast to the standardized, streamlined designs of many contemporary cars. This unique, handcrafted quality makes each vintage car a work of art.
Finally, people are drawn to the pure, visceral driving experience. A vintage car from 100 years ago lacks all the electronic aids, power steering, and safety features we now take for granted. This means the driver has a direct, physical connection to the vehicle and the road. The experience is challenging and requires skill, from manually adjusting the timing and fuel mixture to wrestling with a non-synchromesh transmission. For enthusiasts, this hands-on engagement is deeply satisfying and provides a sense of accomplishment that is often missing from modern, technology-heavy vehicles. It’s a journey that is as much about the process of driving as it is about reaching a destination.
Note: This image is an AI image. The position indicated on the map is incorrect.
‘Matchstick Men’ is a sculpture of matches that is designed and created by a German artist Wolfgang Stiller. The statue was inspired by the matchstick was charred and had a head of a man engraved on the head matchstick.
#Art-Gallery, #Artistic-Design, #Germany, #Sculpture, #Wolfgang-Stiller
Photo with editing done. A Steven Chateauneuf Creation. PLEASE do NOT post this image on other websites without my permission.
The Adelaide Railway Station phone booths date back to 1926 – the romantic days of steam – when plans to construct the most magnificent railway station in the Commonwealth came to fruition and Adelaide became the epicentre of train travel in South Australia.
The station’s palatial dimensions and lavish amenities were designed with the highest levels of passenger comfort and convenience in mind and captured the extravagance and optimism of the outgoing era
The provision of public telephone booths was considered essential for a building of such state pride, especially for long distance travellers. During the twenties and thirties, the main concourse also boasted dining rooms, a cigar store, a wine saloon, a lolly shop, a barber, a beauty parlour, hot showers, and handsome blackwood stalls selling fresh fruit, novels and hot soup.
Combined these services were considered a revelation in luxury and operating efficiency.
Now, nearly 100 years on, these once essential building amenities will be transformed to showcase South Australian artists, through a series of exhibitions curated by JamFactory.
JamFactory
For almost 50 years, JamFactory has been supporting and promoting innovative and outstanding craft and design through its studios, galleries and shops.
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
The interior design of these new buses, assigned initially for Service 22, is eloquent and blending. All the colours match and there's continuity throughout the vehicle.
It's much nicer I feel to have an ambience like this, away from the myriad of pop-art we had for so many years - with blue, red and yellow goodness knows what else that didn't really do much for artistic design.
That vertical handle at the foot of the stairs is very welcome!
This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.
The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]
“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design
@Lady Lever Art Gallery
(b London, 12 May 1828; d Birchington, nr. Margate, Kent, 9 Apr. 1882). English painter and poet. He came from a remarkable and talented family: his father was an exiled Italian patriot and Dante scholar, his sister the poet Christina Rossetti, and his brother the critic William Michael Rossetti. Growing up in modest circumstances but a strongly literary environment, he at first found it hard to decide whether he should devote himself to poetry or painting. Although painting became his profession (following the advice given to him by the poet and critic Leigh Hunt: ‘If you paint as well as you write, you may be a rich man’), he continued to write poetry and make translations from the Italian, and he has a secure place in literary history.
"The new construction of the church building of St. Mary's Church was ordered at the end of the 17th century by Prince Wilhelm von Anhalt-Bernburg-Harzgerode. The nave was previously as wide as the tower and was doubled, so the tower is no longer in the symmetrical axis of the nave. If you enter the church, you will be greeted by true baroque splendor. Three galleries were decorated with small carvings and decorated with 72 emblemata. After the restoration of the emblemata, a wealth of images came to light. Most of the pictures tell a biblical story. But to the left of the pulpit there are two local representations: the pit "Albertine, treasure trove with Göpel and field rods", next to it "Silver smelting in the Selketal with shaft and driving furnace".
The princely chair built for Prince Wilhelm takes up the entire width of the east side and is crowned with the picture of the prince and his two wives. Under the tower is a vault. The prince and his first wife Elisabeth Albertine are buried here in magnificent baroque coffins.
The church survived the two world wars of the 20th century relatively unscathed. However, the bells fell victim to metal taxes. Only the Seiger bell, cast in 1486 and recast in 1725, found its way back to Harzgerode thanks to a happy coincidence. In the 1980s, a comprehensive renovation of the church began." (www.harzgerode.de/verzeichnis/visitenkarte.php?mandat=154...)
The part in the middle of the picture is this:
"A patronal lodge – regionally deviating also patronal chair, prince’s chair or count’s chair – is a lodge in churches, usually closed off with windows, which served the noble lord for his visits to the church.
The patronal boxes were often accessible via a separate entrance, so that the landlord or castle owner did not have to enter the church together with the common people or their servants. The lodges represent the status of the patron lord. They are often mounted so high that they are higher than the pulpit of the church in question. They are mostly glazed, which is also related to their ability to be heated - compared to the otherwise mostly unheated churches. In terms of artistic design, too, they usually do not take a back seat to the design of the altar and pulpit." (Wikipedia)
"Der Neubau des Kirchengebäudes der St-Marien-Kirche wurde am Ende des 17 Jhd. durch den Fürsten Wilhelm von Anhalt-Bernburg-Harzgerode angeordnet. Das Kirchenschiff hatte vorher die Breite des Turmes und wurde auf das doppelte erweitert, dadurch steht der Turm jetzt nicht mehr in der Symmetrieachse des Kirchenschiffes. Kommt man in die Kirche rein so springt Ihnen eine wahre Barockpracht entgegen. Drei Emporen wurden mit kleinen Schnitzverzierungen versehen und umlaufend mit 72 Emblemata geschmückt. Nach der Restaurierung der Emblemata kam eine Bilderpracht zum Vorschein. Die meisten Bilder erzählen eine biblische Geschichte. Aber links neben der Kanzel befinden sich zwei örtliche Darstellungen: Die Grube "Albertine, Fundgrube mit Göpel und Feldgestänge", daneben "Silberverhüttung im Selketal mit Schacht- und Treibofen".
Der für Fürst Wilhelm gebaute Fürstenstuhl nimmt die ganze Breite der Ostseite ein und ist mit dem Bilde des Fürsten und seiner beiden Gemahlinnen gekrönt. Unter dem Turm ist ein Gewölbe. Hier sind der Fürst und seine erste Gemahlin Elisabeth Albertine in barocken Prunksärgen beigesetzt.
Die beiden Weltkriege des 20. Jhd. überstand der Kirchenbau relativ unbeschadet. Die Glocken fielen allerdings den Metallabgaben zum Opfer. Nur die Seigerglocke, 1486 gegossen und 1725 umgegossen, fand Dank glücklicher Fügung zurück nach Harzgerode. In den 80er Jahren begann eine umfassende Sanierung der Kirche." (www.harzgerode.de/verzeichnis/visitenkarte.php?mandat=154...)
In der Mitte des Bildes sieht man das hier:
"Als Patronatsloge – regional abweichend auch Patronatsstuhl, Fürstenstuhl oder Grafenstuhl – bezeichnet man eine meist mit Fenstern abgeschlossene Loge in Kirchen, die dem adligen Grundherrn für seine Besuche in dem Gotteshaus diente.
Die Patronatslogen waren oft über einen eigenen Eingang erreichbar, damit der Grundherr oder Schlossbesitzer die Kirche nicht zusammen mit dem einfachen Volk oder seinen Bediensteten betreten musste. Die Logen repräsentieren den Stand des Patronatsherrn. Sie sind häufig so hoch angebracht, dass sie sich höher als die Kanzel der jeweiligen Kirche befinden. Sie sind zumeist verglast, was auch im Zusammenhang mit ihrer Beheizbarkeit steht – gegenüber den sonst meist unbeheizbaren Kirchen. Auch in der künstlerischen Ausgestaltung treten sie meist nicht gegenüber der Gestaltung von Altar und Kanzel zurück." (Wikipedia)
November 3, 2019 - The Broad Museum with a Skyscraper Building in Downtown Los Angeles, CA. For the Tuttle Cameras 12 Week Photo Challenge, Week 4, our Challenge is to photograph Abstract Shapes. I chose to photograph The Broad Museum for this week's Photo Challenge. I love the modern artistic design of the exterior of The Broad Musuem in Downtown Los Angeles! It makes a nice contrast to the Skyscraper Building in the background! #tuttlecameras @tuttlecameras #tuttletribe #tuttletribe12weekchallenge
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Click at Mylapore Kolam Festival,2016.
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Seen photographed at Navenby on an afternoon service to Grantham is Scania Enviro 400 15656. The overall vinyl application, advertising "Love our country" Keep Britain Tidy campaign, was applied to the offside only. The nearside of the vehicle had an equally attractive and artistic design raising awareness to the threat of plastic to our Marine life. It was first used like this in March 2017 and could be seen operating from various depots throughout the region during the year.
Arik-Brauer-Haus, 6, Gumpendorfer Straße 134-136, Wallgasse 13
Das städtische Wohnhaus wurde, wie das Hundertwasserhaus, von einem bekannten Wiener Künstler, Arik Brauer, gestaltet. Die Planung führte im Auftrag der MA 19 (der städtischen Architekturabteilung) Peter Pelikan durch, der bereits mit Hundertwasser gearbeitet hatte. Das Modell wurde der Öffentlichkeit am 27. Jänner 1987 präsentiert, das Haus 1991 bis 1994 errichtet und im April 1994 von Bürgermeister Helmut Zilk eröffnet.
Das fünfstöckige Wohnhaus (33 Wohnungen, drei Geschäftslokale) besitzt einen Innenhof mit Teich und Kleintiergehege; es ist an der Fassade von zwei großen Fliesenbildern geschmückt, die Stiegenhausfenster sind in Hinterglasmalerei ausgeführt.
Das Haus befindet sich unweit der U-Bahn-Station Gumpendorfer Straße der Linie U6 und nahe dem Raimundtheater.
Rizhskaya metro station of the large ring line of the Moscow metro (line 11/11A) is a three-vaulted, deep pylon
The decoration of the Rizhskaya metro station on the Moscow metro's Big Circle Line is made in high-tech style
The architectural and artistic design of the station was selected at an open international competition held from November 15, 2016 to June 16, 2017. On March 22, 2017, at a jury meeting, 3 finalist works were selected, and the winner was determined by voting by Muscovites on the Active Citizen portal. It was a project by the architectural bureau “Blank Architects”.
For several centuries, Riga Square played the role of “entrance gate to the city.” The architects used the idea of a “portal to the city” as the basis for the design of the station. The fundamental architectural element expressing the idea of a “gate” was the arch, which accentuates the entrance to the ground pavilion and is present as a repeating element in the design of the platform part. The walls are decorated with smooth gray concrete without unnecessary decorative elements. The laconic design does not look boring due to the brightly colored marble flooring and built-in floor lighting.
in my opinion, the design of the Rizhskaya metro station of the Bolshaya koltsevaya metro line (line 11/11 A) refers to the TV series Santa Barbara
from the Rizhskaya metro station of the large ring line of the Moscow metro (line 11/11A) you can transfer to the Rizhskaya metro station (6 lines of the Moscow metro)
exit to the city: to Prospekt Mira, Suschevsky Val street, to the Riga station, to ground transport stops
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Maharajas’ Express, India - World’s Leading Luxury Train
Welcome aboard the Maharajas' Express, bestowed the "World’s Leading Luxury Train"award at the World Travel Awards for two consecutive years in 2012 & 2013. The Maharajas’ Express has redefined the luxury travel experience by offering guests the opportunity to explore fabled destinations providing a glimpse of rich cultural heritage of Incredible India which will leave you with fond memories of this train journey to be cherished.
Maharajas' Express - The Finest Luxury Train
The Maharajas' Express, offers five aptly crafted itineraries to provide the train travelers an experience to make them feel no less than royalty, exploring the mystique of this incredible culture and more from the luxury and comfort of spacious cabins of the train. Out of the five exclusive itineraries promoted by Maharajas' Express train, three itineraries are of 8Days/7Nights viz. The Indian Splendour, The Heritage of India and The Indian Panoramapassing through the rich and panoramic landscape and showcasing the beauty of destinations like Jaipur, Ranthambore, Fatehpur Sikri, Agra, Gwalior, Khajuraho, Varanasi and Lucknow. The other two itineraries of 4Days/3Nights viz. Gems of India & Treasures of India introduce the travelers of this Indian Luxury Train to the wondrous circuit of 'Golden Triangle' consisting of Delhi-Agra-Ranthambore-Jaipur.
Maharajas Express allows the travelers to soak in and witness the magnificent landscapes consisting of palaces, forts & natural green fields from the artistically designed and professionally managed luxury train. Maharajas Express Rail journey also endows an opportunity to the tourists to unwind themselves while appreciating the beautiful cave paintings at Ajanta, palaces at shimmering Lake City of Udaipur, majestic fort at Jodhpur, fun filled sundowner on the sand dunes at Bikaner, sight of legendary tigers at Ranthambore and above all, one of the Seven Wonders of World 'The Taj Mahal'.
This Indian Luxury train recreates the lifestyle of a royal era. It is the best luxury train in Indiawith experiences unsurpassable and unforgettable. The various testimonials given by tourists onboard this rail journey justify it beyond doubt.
It's an outstanding effort from Indian Railways, to provide 5-Star hospitality to elite guests on wheels.
Click at Mylapore Kolam Festival,2016.
Kolam aka Rangoli is an artistic creation with rice flour that is made outside the front entrance of the house. It is usually done by the women folk of the house early in the morning, every day.
These designs are believed to produce positive cosmic forces which will improve the lot of people who dwell in the house. We can also interpret it in the modern context as a sign of welcome to all people who come to the house. They denote a prayer “ let there be happiness & cheerfulness when anybody steps into the house.” If there is an artistic design, nobody will dirty the place also ! It is supposed to prevent undesirable elements from entering the house.
Besides giving aesthetic beauty at the entrance, the kolam also provides a physical exercise for the women, early in the morning. The bending and drawing the kolam gives a good exercise to the waist and hips, thereby strengthening them and giving them flexibility.
The kolam is also supposed to honour, Lakshmi Devi, the Hindu Goddess of wealth & prosperity & to invite her blessings into the home. It is the best artistic outlet for a woman to start the day auspiciously.
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
original work "Light pipes" from Rölli Ridanpää & Tero Laine
"Domus 360° - Four Homes" from Tarja Ervasti
Light Pipes depicts the urban landscape – the light and the interaction between people represent the city’s diverse opportunities. The interactive installation comprises copper pipes and valves that adjust the brightness of the lamps.
The installation is based on interaction: twelve viewers at a time can adjust the valves. By working together they can dim the city or make it shine in full brightness.
Light Pipes asks how individuals and communities can influence large entities. Who controls my city? Can we together influence the conditions in which we live?
In co-operation with: Tricton Customworks, Granlund Oy
Source: www.luxhelsinki.fi/en/installation/rolli-ridanpaa-tero-la...
For the first time in the history of Lux Helsinki all four sides of Helsinki Cathedral will become part of one light installation: Domus 360° – Four Homes can be experienced from all four directions, both near and far. The brightly illuminated dome will be visible from far away, while up close the installation can be admired from Senate Square, Unioninkatu, Kirkkokatu and the upper level of the cathedral. The installation is inspired by the idea of the home and the structures that people base their existence on – their spiritual homes.
Each side of the cathedral will have its own motif and style. The eastern side will present a family of three created out of light sculptures, the northern side will represent the natural elements, the western side will play with architectural forms, and the southern side will describe eternity and the themes of heaven and space. All four sides are connected by a common colour scheme reflecting the passing of the day from morning to night.
The overall experience created by the light installation is augmented by specially composed music. The installation runs non-stop in approximately seven-minute cycles.
Artistic design: Tarja Ervasti
Music: Willie Budsko
source : www.luxhelsinki.fi/en/installation/tarja-ervasti-domus-36...
The Marxistskaya metro station of the Moscow metro was opened on December 31, 1979. The Marxistskaya metro station is a three-span column of deep laying (60 meters)
artistic design
The arches of the station are supported by arcades of graceful columns extending upwards. The columns of the station hall and the entablatures are lined with red and pink marble, they have a characteristic longitudinal notch on the side of the platforms, which makes them appear double. The track walls are decorated with light marble in yellowish, cream and beige tones and black gabbro. Florentine mosaics made of narrow arrow-shaped strips of marble, mainly red and pink shades, follow this background. Above the aisles in the end walls there are panels of ideological content, made in the technique of Florentine mosaic (artist M. N. Alekseev).
On the gray granite carpet of the station, red eight-pointed carnation stars made of red granite between the columns and two eight-pointed stars made of granite of two different shades of red inscribed into each other along the axis of the distribution hall stand out vividly. The underground hall is illuminated by lamps representing spirals of vertically arranged fluorescent lamps, which symbolize one of the laws of Marxism — "spiral development". The staircase of the transition to the Tagansko-Krasnopresnenskaya line is decorated with grids in the form of sickles and hammers
Marxistskaya metro station is located in the center of Moscow in the Tagansky district of Moscow
from Marxistskaya station you can go to Taganskaya metro station (lines 5 and 7)
exit to the city: to Taganskaya Square on Marxitskaya Street
to the Taganka theater to the Zvezdochka shopping center
Squaring the Circle (The Story of Hipgnosis) | Official Red Band Trailer | Utopia
www.youtube.com/watch?v=-OYQNAk_krQ
During the 1960s and 70s some of the most innovative photography was appearing on vinyl album covers. Much of it was the responsibility of two men: Storm Thorgerson and Aubrey “Po” Powell. They met at Cambridge and took a liking to each other’s creativity immediately. They were friends of David Gilmour and Roger Waters and this led to a longstanding relationship with Pink Floyd. Floyd fans all know the sad story of Syd Barrett (an early member of the band whose mind was destroyed by LSD). Rumour has it that one day Syd paid a visit and scrawled the word “hipgnosis” on the wall.
Powell and Thorgerson had just started a business partnership in creative design and were looking for a name: Hipgnosis was just perfect. Hip for “cool”, gnosis for “knowledge”. Po Powell was the photographer and Storm the design genius. For more than a decade their partnership produced some of the most memorable images of the times for some of the greatest rock musicians: Floyd of course, Led Zeppelin, Paul McCartney, Peter Gabriel, 10CC and even the Sex Pistols.
In this day of Photoshopping with generative AI we don’t realise how good these design artists had to be. Everything was pieced together manually (think of those brilliant Terry Gilliam cartoons that featured in every episode of Monty Python’s Flying Circus – no CGI for 40 years – thank God). The advent of the CD marked the death knell for creative album covers and then with streaming the game was over completely.
The brilliant music educator and historian Rick Beato says that today very few people can name all the members of even the most popular bands because they do not have liner notes to read. But in the days of vinyl album covers you would not only know all the band, but the session musicians who played on the albums and a whole lot more. Albums were often themed and the artwork was built around that.
What are some of the most memorable album covers in modern music history? If I say Pink Floyd’s Dark Side of the Moon almost all of you will picture it instantly. How about the burning man on Wish You Were Here (the tribute to Syd Barrett)? Was there a more striking album cover than the children crawling up the Giant’s Causeway in Northern Ireland on Led Zeppelin’s Houses of the Holy? What about my personal favourite from Pink Floyd’s Animals of the old Battersea Power Station with a floating giant pink pig in the air? Or Paul McCartney’s Band on the Run with its group of celebrities as escaped criminals? All of these were created by Hipgnosis, and many many more.
So this full length documentary film by Dutchman Anton Corbijn is a glorious romp down memory lane, reminding us older folks of our youth, but bringing to the fore the creative work that has so easily been overlooked in this day when humans are progressively ceding their creative instincts to the machine. Yes, just another “brick in the wall” that we are building between ourselves and the true human soul.
If you want inspiration for your photography or artistic design, watch this film!
Mark Kermode reviews Squaring the Circle (The Story of Hipgnosis)
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]
ABSTRACT PHOTO: Created from a photo of a wooden door and door frame on an angle. I took the original unedited photo two days ago on "February 15, 2025".
Adelaide Railway Station
This grand landmark structure has greeted railway passengers arriving in the city for more than 80 years. The Adelaide Railway Station marks a period of transformation in the state’s railway system. It was a celebrated achievement at the time, but it was also mired in controversy.
In the early 1920s South Australia’s railway system was in a dismal state. The state government brought out Ohio-born William Alfred Webb from the United States to make improvements.
As the new Railway Commissioner, Webb made major changes. He built stronger bridges and bought bigger locomotives. He also decentralised railway administration, giving greater control to divisional superintendents. Within a few years, he had revolutionised the state’s railways.
Unfortunately, Webb did not foresee that automobiles would soon outpace rail.
Although mainly positive, Webb’s program and the building of the railway station came with a big price tag. The Railway Commissioner was heavily criticised and was the subject of debate in Parliament. His spending contributed to the near bankruptcy of the State Government by 1929. As the Great Depression set in, Webb returned to the US with a tarnished reputation. [Ref: Adelaide City Explorer]
THE RAILWAY STATION BUILDING
Foundation Stone Laying. Mr Gunn's Final Official Act
A noteworthy ceremony in the history of the State will take place at 11 am today, when the retiring Premier (Hon J Gunn) will lay the foundation stone of the new railway station at North Terrace.
Invitations for the occasion have been sent to members of the Ministry, members of both Houses of Parliament, and other representative citizens. It is also expected that the public generally will attend in large numbers. The Premier, who has authorized the whole of the detailed expenditure, in the work to date, and manifested a keen interest in its progress will, by this act, fittingly celebrate in a public way the termination of his position as Minister of Railways. The stone is to be set in the main portion of the facade, near the entrance to the ramp.
The building was begun at the end of last year, and it is expected to be completed by July, 1928. In addition to the usual railway facilities, accommodation will be provided for the whole of the clerical staff in Adelaide, numbering approximately 400. The frontage to North terrace is 225 ft and to a new roadway on the east, 390 ft. The whole construction is to be of reinforced concrete and steel frame, with brick cement walls. The height for the present will be of four floors with flat roof, and allowance has been made in the design for the addition of three extra floors at a future date. The floor area of the building is 303,000 super feet. The main passenger concourse is 370 ft by 41 ft by 40 ft high, covering 16 railheads. The main waiting hall is in the form of a Maltese cross, measuring 120 ft each way, with a concrete dome in the centre, 45 ft diameter, of a height of 70 ft above the floor level, supported by eight Ionic columns each 30 ft high, the four annexes each being 45 ft by 38 ft by 25 ft high. Country and suburban ticket halls each 100 ft by 25 ft by 25 ft high are arranged on the street level, with ramp and stair approaches to the passenger concourse, which is 18 ft 6 in below. The area of the parcels and luggage offices is approximately 30,000 super feet. In the construction of the building 2,250,000 bricks will be used, 20,000 cubic yards of concrete, and 1,200 tons of structural steel. The whole of the exterior elevations, the passenger concourse, the main waiting room, and ticket halls, will be finished with white cement and brown sand. All windows, doors, and office partitions throughout will be of steel: thus the whole building will be entirely fireproof. Immediately under the main waiting hall on the platform level will be a large, public dining room, 90 ft each way, adjoining which is to be a quick-lunch cafe, 70 ft by 36 ft. A hot water heating system is to be installed throughout, and the building will be replete with the most modern appliances, including a vacuum cleaning plant and tube system. The total cost is approximately £400,000.
The cloak room is the first office to have permanent quarters in the new building, and it is located on the extreme northeastern corner, and a start has already been made in the demolition of the old office near the assembly platform. The counters of the new quarters are polished hardwood, and the racks are convenient and commodious, the windows forming an artistic design in Flemish leadlight. The work on the station is being carried out departmentally, and 140 men are employed thereon. Up-to-date appliances are in use, including air compressors, concrete mixers, and other mechanical devices. At one period it was thought that work would be delayed, owing to the acceptance of the tender for steel girders being hung up. but it was kept going by the substitution of concrete piers, which incidentally, occupy more room. The acting chief engineer of railways (Mr C B Anderson) has the direct supervision of the undertaking, and the superintending officer (Mr J G Carson), who was formerly in charge of the construction of the new railway bridge over the River Murray at Murray Bridge, has charge of the outside work. The plans were drawn by Messrs Garlick & Jackman, architects, and the details for departmental purposes have been worked out by Mr A M Bonython (structural draftsman). [Ref: Register 24-8-1926]
New Railway Station
It has been decided by the Railway Department officials that there will be no official opening of the new Adelaide Station.
Following a previous announcement that a limited number would be asked to make an inspection of the premises, Mr W A Webb (Railways Commissioner) was besieged with applications for invitations. [Ref: News 16-7-1928]
NEW RAILWAY STATION
An inspection of. the new Railway Station offices in Adelaide will be made this morning by citizens who have been invited to do so by the Minister of Railways (Hon R LButler). [Ref: Register 30-7-1928]
WEIGH BABY AT THE ADELAIDE RAILWAY STATION
In many countries in the world at the present time there are Baby Health Centres at large railway depots where mothers, arriving in a strange city with babies, or waiting to catch a train can take their infants to be weighed and get advice on all matters pertaining to feeding and general care from a competent certified nurse.
Fully appreciating the value of the splendid work done at railway stations by Baby Welfare institutions, the Commissioner of Railways (Mr W A Webb) has placed a room in the new Adelaide railway station at the disposal of the Mothers' and Babies' Health Association, better known under the old title of School for Mothers.
This centre will be opened on Monday, 16 July. A trained nurse will be in attendance each week day from 9.30 am, 1 pm and from 2.0, 4.30 pm.
The large comfortable room that is to be the centre of the nurse’s activities has an entrance off the main waiting room on a level with North Terrace.
Numerous signs boards are being erected by the railway authorities to direct mothers to this room.
Take your baby to be weighed and seek the nurse's advice when next you are at the Adelaide station. [Ref: Bunyip (Gawler) 13-7-1928]