View allAll Photos Tagged Artistic-Design,
This Sliders Sunday set is based around a wobbly camera image of a formal flower bed, taken last month in the Great Court of Magdalene College in Cambridge.
It started with a plain edit version for my 100x Wobbly Camera project. I then processed in Topaz Studio using one of my presets that employs a variant of the Remix filter to give a stained glass window effect. I was quite surprised at quite how well the edge-detect of the filter put back in the blurred tulip forms.
From there I created a selection of windows using Affinity Photo’s mirror distort filter, another favourite.
Anyway, it all made for a quick bit of fun. I hope you like some of them. I’ll post a link to the in-camera version in the first comment. The commentary is the same for each.
Thank you for taking the time to look. I hope you enjoy the image. Happy 100x and Sliders Sunday :)
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft or filling. (Weft is an old English word meaning "that which is woven"; compare leave and left.) The method in which these threads are inter-woven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band which meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques without looms.
The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one colour or a simple pattern), or can be woven in decorative or artistic design.
The Weaving Shed is on the ground floor of the Silk Mill.
The weaving takes place on 19th and early 20th century power looms. There are two types; tappet (weaving pattern decided from below) and dobby (weaving pattern decided from above).
The looms were made by William Smith & Bros. Ltd of Heywood, Lancashire. They were powered by the water wheel until the late 1020s, but electricity was introduced by James Hide in the late 1920s.
Whitchurch Silk Mill is a watermill on the River Test, located in the town of Whitchurch, Hampshire, England. It is a Grade II* listed building.
The mill was constructed in 1800 by Henry Hayter on a plot of land called Frog Island. The mill is probably on the same site as one of the four mills recorded in the Domesday Book. Originally it was a fulling mill (part of the finishing process of cloth weaving). Some years later, in 1817, it was bought by William Madick who changed its operation to throw silk. In 1844 it was acquired by Alexander Bannerman and John Spencer, merchants of Manchester. William Chappell, the manager of the mill, purchased it from them in 1846. At this time the mill employed 108 staff, including 39 children under the age of 13. By 1866 the mill had passed into the ownership of the Hide family with whom it remained until the death of James Hide in 1955. It ultimately passed to Ede and Ravenscroft who operated it up to 1985, producing legal and academic gowns. It was then acquired by the Hampshire Buildings Preservation Trust who, after renovation works, opened it to the public in 1990.
In December 2012, the Trustees recommenced silk production.
This combined locomotive and carriage was built in 1862 for the Viceroy of Egypt, Said Pasha, for his private use.
The inside of the carriage was luxuriously upholstered in silk. The decorations were in black, white and gold, designed by Digby Wyatt, specialist in Arabic design. The dome, safety valve covers, handrail fittings, lamps etc. were all gilded. There was a communicating door between the carriage and the locomotive's footplate, so that His Highness could step out and drive himself when he felt disposed, the handles being made of silver.
From Wikipedia:
"The Egyptian connections to Robert Stephenson were very considerable and a wealth of consequential artefacts are in Cairo Railway Museum. This includes what could well be the single most extravagant piece built by the Robert Stephenson Works. This is works number 1295 of 1862 whose artistic design was by Matthew Digby Wyatt. This 2-2-4T for the Egyptian Railways survives with all its fantastical marquetry in the Egyptian Railway Museum at Cairo. It is called the Khedive's Train."
South Beach Blackpool. This bench is artistically designed to rotate, and face away from the due wind direction.
Designed by Adrianne Khan, Hot Springs, Arkansas
Central Arkansas Iris Society 50th Annual Show, Grace Lutheran Church, Little Rock
Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Das Erdgeschoss des Gebäudes durchziehen tonnengewölbte Passagengänge, zum Teil noch mit geprägter Kupferdecke. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden. In diesem, dem Hof B, sind auf Meißner Fliesen nach einem Entwurf des Leipziger Malers Heinz-Jürgen Böhme (* 1952) großformatig die Vorgängerbauten in der Nikolaistraße und der Reichsstraße dargestellt. Darüber erhebt sich auf über 20.000 farbigen keramischen Platten über mehrere Stockwerke der Wandfries von Moritz Götze (* 1964) „Der Morgen, der Mittag, der Abend“.
de.wikipedia.org/wiki/Specks_Hof
Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is an example of Leipzig's trade fair and commercial buildings built at the beginning of the 20th century. Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is exemplary of Leipzig's trade fair and commercial buildings, which were built at the beginning of the 20th century. The ground floor of the building is characterised by barrel-vaulted passageways, some of which still have embossed copper ceilings. The corridors are interrupted by three glass-roofed atriums, which were artistically designed. In this one, Courtyard B, the predecessor buildings in Nikolaistraße and Reichsstraße are depicted in large format on Meissen porcelain tiles based on a design by the Leipzig painter Heinz-Jürgen Böhme (* 1952). Above this, the wall frieze by Moritz Götze (* 1964) "Der Morgen, der Mittag, der Abend" (Morning, Noon, Evening) rises up on over 20,000 coloured ceramic tiles over several storeys.
This stunning image showcases Casa Batlló, an architectural gem designed by the renowned Catalan architect Antoni Gaudí, located in the heart of Barcelona, Spain. The building’s façade is a riot of color and texture, featuring a mosaic of broken ceramic tiles, organic shapes, and wave-like elements. The unique design reflects Gaudí’s imaginative vision, blending elements of modernism and natural forms. Casa Batlló is a UNESCO World Heritage Site and one of Barcelona’s most iconic landmarks, drawing visitors from around the world.
walked along on a splendid day
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.[1] The pillars are 8 metres in height, 80 cm in diameter, and spaced regularly at 5 metres along an axis.[2] 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.[3]
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".[4] In 2001, Nuremberg was honored for this attempt at transformation with the UNESCO Prize for Human Rights Education[5], 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
-wiki-
The Mikado California Poppy flower grows everywhere in this state. Incredible symmetry, beautiful, artistic design, the colors and the engineering that the Creator put into this gorgeous flower must be photographed by any photographer who loves their craft!
I photographed this flower with a Minolta x-370 film SLR camera, with a 50mm Rokkor f/1.7 lens using Kodak UltraMax 400 color film. After getting the negatives back from the lab, I scanned the negative into my Mac using my Epson V600 film scanner.
This rare press-out Little Red Riding Hood postcard was created by English children's artist Linda Edgerton. This is one from a set of six Little Red Riding Hood postcards published by A. Vivian Mansell & Company in London in 1920.
Linda Edgerton's postcards are extremely rare because they were perforated ready for pushing out by little hands, and very few have survived their owner's enthusiasm. In scene number three, Little Red Riding Hood gathers flowers for her Grandmama in the forest glade, whilst the naughty wolf scampers off to Grandmama's house, which can just be seen in the distance. The card reads at the bottom:
"Little Red Riding Hood picking flowers to take to her Grandmama."
"Press card at back then bend at dotted lines to stand up."
Linda Edgerton (1890 - 1983) was born in Wednesbury, Staffordshire to engineering inventor William and fine artist Emma. When Linda's father died in 1917, she and her mother moved in with her newly married elder sister in Sutton in Surrey. There Linda attended Sutton School of Art part-time, however she was majority self-taught. She loved painting nursery rhymes and faerie tales, and submitted samples to various publishers including Raphael Tuck and Sons and A. Vivian Mansell. In the post Great War period, Linda's naive and simplistic style appealed to war weary parents who wanted the bright world of faerie tales to engage and delight their children, and her work appeared in colour in and cut-out books and on postcards. She also made prototypes of the toys she painted in her illustrations (including the teddy seen in this one). She also designed ads for Robinson's who sold Groat and Barley for weaned babies. In 1924, Linda Edgerton's work was chosen by the Shelley China Company for a series of nurseryware which is highly sought after today. After Linda's mother died, the successful artist turned her back on commercial art and retired from her career of twenty five years. She ceased to be an artist in 1938 and joined St Catherine's Convent in High Wycombe, Buckinghamshire. She remained there until her death forty-five years later.
@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.
Baraban + design studio has designed a residential house in Kiev, Ukraine. This private home named “Residence BO” which was completed in 2014. This house has a very unique interior design and artistic.
Original description by Baraban+ design studio:
“Residence is made in style of I... freshomedaily.com/?p=47671
#Artistic-Design, #Kiev, #Private-Residence, #Rural-Interior-Design, #Ukraine, #Unique-Interior
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.
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.
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.
‘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
Lothian's new Fleet of the Future was initially introduced on Service 22 in December 2016 and a promotion campaign helped to inform passengers of the arrival of twenty-five new state-of-the-art buses along this route diagram.
Housed at Longstone it wouldn't be long until the new boys starter to wander onto other routes from that shed and so now it is quite common to see 461-465 on any of the routes from this depot, and even one (464) had a few hours on Service 36!
Here is Volvo B5TL / Wright Gemini 3, number 452 (SJ66 LPO) on a 34 at Ocean Terminal and note the blank advert board on the near-side. For their first month the new fleet promoted Service 22 but now fee earning adverts are being applied.
I miss David Cook's artistic design creations where several flagship routes were given personal identities - historic icons and scenic drawings pertaining to specific locations along the route. This idea connected passengers with transport and it gave a sense of local belonging. Some services had colour branding to identify more easily your bus as it approached: red sides and roof-tops for Service 26, orange for the 29 and pink for the 22.
Edinburgh's branding of routes is over for the time being and the revised Weinrot und Weiss livery introduced in 2010 is now simplified and more classical again in appearance.
Everything's beginning to look the same, as it did in the 1970's and '80's! There's a Latin proverb 'Times change and we change with them', but also we know that history repeats itself over and over!
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]
Photo with editing done. A Steven Chateauneuf Creation. PLEASE do NOT post this image on other websites without my permission.
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.
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
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.
"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)
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]
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
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.
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London | Architecture | Night Photography | London Underground
No. 1 London Bridge Architecture in Black and White
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