View allAll Photos Tagged Artistic-Design,
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.
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
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]
This oblique view was taken on the Aqueduct's western side, in the Plaza de Azoguejo, looking southeast.
There was a time in my life when I lived and traveled on landscapes replete with ancient Roman works. But nothing ever quite produced the visceral impact on me that the Segovia Aqueduct did.
From a practical standpoint, it was just built to be the most reliable means of supplying water to one of the empire's smaller and most far-flung outposts. And yet it's one of the Mediteranean world's most staggering demonstrations of civil engineering.
And, in terms of the shudder of astonishment it provides anyone still capable of wonder, it's a masterpiece of artistic design as well. The American poet Walt Whitman wrote, "All architecture is what you do to it when you look upon it." What I do to this miraculous bridge of stone is thank it for giving me a flush of pride in what our own murderous hominid species can actually do in a positive sense.
Of course most of the visual punch the Aqueduct delivers is due to its masonry. Giant ashlar blocks of Guadarrama Granite stand there, and have stood there for nineteen centuries, without any mortar holding them together.
The igneous intrusive rock on display here takes its name from the mountain range (Sierra de Quadarrama) that flanks Segovia to its east. The granite dates to the very late Carboniferous period (ca. 300 Ma), and comes from a mass of magma that was emplaced in the upper crust during the Variscan (Hercynian) Orogeny and the assembly of the supercontinent Pangaea.
I'll discuss the local bedrock geology and how the Roman engineers dealt with in photos to follow. But one last thing to note here: if you look closely, you'll see that many ashlar units have small but discernable circular holes in them. These indentations were where the massive blocks were held in pincerlike grips while they were hoisted into position by cranes. That's pretty fancy technology for a culture that had no electrical or steam power—just human and animal muscle aided by the clever use of rudimentary force-multiplying machines.
Oh. I lied. There's one more talking point, too. See the Seventies-era cars parked right along the foot of the Aqueduct's piers? That practice is no longer allowed—to preserve the structure from unnecessary traffic vibrations and from the direct effects of automotive exhaust.
To see the other photos and descriptions in this series, visit my Architectural Geology of Segovia album.
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]
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.
This window is last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
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.
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.
This window is third of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
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.
TfL for Lahdun and Da Yoof Centah have worked together to produce an Underground livery that represents a new demographic of Tube customers in Lahdun.
Inspired by the recent changes to the iBus system, this fresh livery rich in urban Lahdun themes is being trialed on the Central line's '92 stock.
With each car carrying a unique artistic design, the entire Undergound fleet is expected to be converted in 2020. An ambitious target, but TfL for Lahdun say it's realistic because the livery is applied using spray paint in the depot, while the staff aren't looking.
What do you think?
- Unique model paying tribute to Peyo's Smurfs
- New and unregistered
- Manufactured in Europe
- Accommodates two adults plus luggage
- Up to 177 kilometres range
Bonhams : The Zoute Sale
Important Collectors' Motor Cars
The Zoute Grand Prix Gallery
Estimated : € 18.000 - 24.000
Sold for € 18.400
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
An urban icon signed by a master's hand - that of Peyo, creator of the beloved Smurfs - this is a brand new car offered by the importer of Microlino in Belgium . When Swiss engineering meets the graphic poetry of Belgian comics, the result is as surprising as it is exceptional: a Microlino fully customized in the spirit of Peyo's universe.
Inspired by the iconic microcars of the 1950s and first seen at the Geneva Motor Show in 2016, the Microlino embodies a modern and sustainable vision of urban mobility: compact, electric, elegant, and eco-conscious. Designed by Swiss company Micro Mobility Systems and exclusively distributed in Belgium by D'Ieteren, the Microlino stands out with its rounded silhouette, signature front-opening door, and a range of up to 228 kilometres depending on the battery. Manufactured in Europe with a steel chassis and aluminium body, this retro-designed city car - valued at €25,000 - offers a driving experience that is as unique as it is efficient. Available as either a light or heavy quadricycle, the Microlino can be charged with either a household or Type 2 connector. The 12.5kW (17hp) electric motor is mounted at the rear and there is a choice of batteries in three different capacities giving ranges of 91km, 177km, and 228km respectively. The Microlino seats two adults and has 230 litres of luggage space. Top speed is 90km/h.
For this exclusive edition, the Microlino becomes a canvas for the timeless universe of Peyo. This unique model pays tribute to the Smurfs through an artistic design blending humour, tenderness, and nostalgia. A true one-of-a-kind work of art on wheels, it symbolizes the meeting point between popular imagination and technological innovation.
All proceeds from the sale will go directly to the Heads Up Fund for Brain Tumour Research based in Ghent, Belgium, which actively supports research into brain tumours, particularly among young people. Through this charitable initiative, the Zoute Grand Prix, Bonhams, D'Ieteren, and the Smurfs come together to show that art, mobility, and social commitment can move forward hand in hand.
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]
Speinshart is one of the monasteries founded in the 12th century that were so important for the development of the Upper Palatinate.
The diverse Baroque richness of the monastery church is also beautifully expressed in the richly decorated arcantus carvings of the pews.
The artistic design of the seat bolsters, with their cherubs, birds, and flowers amidst the arcantus leaves, is particularly magnificent and brings much joy to admiring the Baroque carving.
Nicht weit von meiner Wohnung auf dem Gelände eines großen Audi - Händlers fand ich dieses einmal ganz anders künstlerisch gestaltete Automobil vom Typ Audi Q2. Quasi mein Beitrag zur Internationalen Automobil Ausstellung (IAA).
Not far from my apartment on the site of a large Audi dealer, I found this once differently artistically designed automobile of the type Audi Q2. Quasi my contribution to the International Motor Show (IAA).
Since 2009, artistically designed stained-glass windows by Sigmar Polke have decorated the Grossmünster church. This well-known German artist crafted seven windows in the nave from agate. He cut this semi-precious stone into thin slices that would let light pass through them and give the appearance of brightly glowing walls. The brilliantly colorful result was then expanded with five figurative glass windows.
Filigree (also less commonly spelled filagree, and formerly written filigrann or filigrene) is a delicate kind of jewellery metalwork, usually of gold and silver, made with tiny beads or twisted threads, or both in combination, soldered together or to the surface of an object of the same metal and arranged in artistic motifs. It often suggests lace and remains popular in Indian and other Asian metalwork. It was popular as well in Italian and French metalwork from 1660 to the late 19th century. It should not be confused with ajoure jewellery work, the ajoure technique consisting of drilling holes in objects made of sheet metal.
The English word filigree is shortened from the earlier use of filigreen which derives from Latin "filum" meaning thread and "granum" grain, in the sense of small bead. The Latin words gave filigrana in Italian which itself became filigrane in 17th-century French
History
Though filigree has become a special branch of jewellery in modern times, it was historically part of the ordinary work of the jeweler. Indeed, all the jewelry of the Etruscans and Greeks (other than that intended for the grave, and therefore of an unsubstantial character) was made by soldering together and so building up the gold rather than by chiselling or engraving the material.
Ancient work
Archaeological finds in ancient Mesopotamia indicate that filigree was incorporated into jewelry since 3,000 BC. Specific to the city of Midyat in Mardin Province in upper Mesopotamia, a form of filigree using silver and gold wires, known as "telkari", was developed in the 15th Century. To this day, expert craftsmen in this region continue to produce fine pieces of telkari.
The Egyptian jewelers employed wire, both to lay down on a background and to plait or otherwise arranged jour. But, with the exception of chains, it cannot be said that filigree work was much practiced by them. Their strength lay rather in their cloisonné work and their molded ornaments. Many examples, however, remain of round plaited gold chains of fine wire, such as those that are still made by the filigree workers of India, and known as trichinopoly chains. From some of these are hung smaller chains of finer wire with minute fishes and other pendants fastened to them.
In ornaments derived from Phoenician sites, such as Cyprus and Sardinia, patterns of gold wire are laid down with great delicacy on a gold ground, but the art was advanced to its highest perfection in the Greek and Etruscan filigree of the 6th to the 3rd centuries BC. A number of earrings and other personal ornaments found in central Italy are preserved in the Louvre and in the British Museum. Almost all of them are made of filigree work. Some earrings are in the form of flowers of geometric design, bordered by one or more rims each made up of minute volutes of gold wire, and this kind of ornament is varied by slight differences in the way of disposing the number or arrangement of the volutes. But the feathers and petals of modern Italian filigree are not seen in these ancient designs. Instances occur, but only rarely, in which filigree devices in wire are self-supporting and not applied to metal plates.
The museum of the Hermitage at Saint Petersburg contains an amazingly rich collection of Scythian jewelry from the tombs of the Crimea. Many bracelets and necklaces in that collection are made of twisted wire, some in as many as seven rows of plaiting, with clasps in the shape of heads of animals of beaten work. Others are strings of large beads of gold, decorated with volutes, knots and other patterns of wire soldered over the surfaces. In the British Museum a sceptre, probably that of a Greek priestess, is covered with plaited and netted gold wipe, finished with a sort of Corinthian capital and a boss of green glass
Asia
It is probable that in India and various parts of central Asia filigree has been worked from the most remote period without any change in the designs. Whether the Asiatic jewellers were influenced by the Greeks who settled on that continent, or merely trained under traditions held in common with them, it is certain that the Indian filigree workers retain the same patterns as those of the ancient Greeks and work them in the same way, down to the present day. Wandering workmen are given so much gold, coined or rough, which is weighed, heated in a pan of charcoal, beaten into wire, and then worked in the courtyard or verandah of the employer's house according to the designs of the artist, who weighs the complete work on restoring it and is paid at a specified rate for his labour. Very fine grains or beads and spines of gold, scarcely thicker than coarse hair, projecting from plates of gold are methods of ornamentation still used.
Cuttack, of the eastern Indian state Odisha, features traditional filigree work. It known as tarakasi in the Oriya language and most filigree work revolves around images of deities. Due to lack of patronage and modern design ideas, it is a dying art. Also noted is silver filigree of Karimnagar in Telangana state.
Threaded silver works date back to 3000 BC in the Near East. The cities of Mardin and Beypazari in Turkey are famous for its many workshops and stores in traditional historic bazaars.
Medieval Europe
Passing to later times, there are in many collections of medieval jewel work reliquaries, covers for Gospel books, etc., made either in Constantinople from the 6th to the 12th centuries, or in monasteries in Europe, in which studied and imitated Byzantine goldsmiths' work. These objects, besides being enriched with precious stones, polished, but not cut into facets, and with enamels, are often decorated with filigree. Large surfaces of gold are sometimes covered with scrolls of filigree soldered on, and corner pieces of the borders of book covers, or the panels of reliquaries, are frequently made up of complicated pieces of plaited work alternating with spaces encrusted with enamel. Byzantine filigree work occasionally has small stones set amongst the curves or knots. Examples of such decoration can be seen in the Victoria and Albert, and British Museums. Examples include the Cross of Lothair in Aachen.
In the north of Europe, the Saxons, Britons and Celts were from an early period skillful in several kinds of goldsmiths' work. Admirable examples of filigree patterns laid down in wire on gold, from Anglo-Saxon tombs, may be seen in the British Museum, notably a brooch from Dover, and a sword-hilt from Cumberland. The Staffordshire Hoard of Anglo-Saxon gold and silver (estimated 700 CE) discovered in a field in Staffordshire, England, on 5 July 2009 contains numerous examples of very fine filigree described by archaeologist Kevin Leahy as "incredible".
Irish filigree work of the Insular period is more thoughtful in design and more extremely varied in pattern. The Royal Irish Academy in Dublin contains a number of reliquaries and personal jewels, of which filigree is the general and most remarkable ornament. The Tara brooch has been copied and imitated, and the shape and decoration of it are well known. Instead of fine curls or volutes of gold thread, the Irish filigree is varied by numerous designs by which one thread can be traced through curious knots and complications, which, disposed over large surfaces, balance one another, but always with special varieties and arrangements difficult to trace with the eye. The long thread appears and disappears without breach of continuity, the two ends generally worked into the head and the tail of a serpent or a monster.
The reliquary containing the "Bell of Saint Patrick" is covered with knotted work in many varieties. A two-handled chalice, called the "Ardagh Chalice" found near Limerick in 1868, is ornamented with work of this kind of extraordinary fineness. Twelve plaques on a band round the body of the vase, plaques on each handle and round the foot of the vase have a series of different designs of characteristic patterns, in fine filigree wire work wrought on the front of the repoussé ground.
Much of the medieval jewel work all over Europe down to the 15th century, on reliquaries, crosses, croziers, and other ecclesiastical goldsmiths' work, is set off with bosses and borders of filigree. Filigree work in silver was practised by the Moors of Spain during the Middle Ages with great skill, and was introduced by them and established all over the Iberian Peninsula, hence it was carried to the Spanish colonies in America. The Portuguese filigree work of the 17th and 18th centuries is of extraordinary complexity, and silver filigree jewelry of delicate and artistic design is still made in considerable quantities throughout the country.
The manufacture spread over the Balearic Islands, and among the populations that border the Mediterranean. It is still made all over Italy, and in Portugal, Malta, Macedonia, Albania, the Ionian Islands and many other parts of Greece. That of the Greeks is sometimes on a large scale, with several thicknesses of wires alternating with larger and smaller bosses and beads, sometimes set with turquoises, and mounted on convex plates, making rich ornamental headpieces, belts, and breast ornaments. Filigree silver buttons of wire-work and small bosses are worn by the peasants in most of the countries that produce this kind of jewelry.
Silver filigree brooches and buttons are also made in Denmark, Norway, and Sweden. Little chains and pendants are added to much of this northern work.
Some very curious filigree work was brought to Great Britain from Abyssinia after the Battle of Magdala: armguards, slippers, and cups, some of which are now in the Victoria and Albert Museum. They are made of thin plates of silver, over which the wirework is soldered. The filigree is subdivided by narrow borders of simple pattern, and the intervening spaces are made up of many patterns, some with grains set at intervals.
Methods of fabrication and uses
The art may be said to consist in curling, twisting and plaiting fine pliable threads of metal, and uniting them at their points of contact with each other, and with the ground, by means of flux such as borax, by the help of the blowpipe. When granulated motifs are desired, small beads are made traditionally by using precious metal wire or fine sheet to start with, which is cut up in small pieces mixed with flux and placed in the small holes of a pitted block of charcoal (or any other suitable refractory material) and are then melted with a blowpipe (or today with a blowtorch), after which the bits of wire curl up and take a natural spherical like shape to end up in minuscule grains which slightly differ one from the other.[9][10] Small grains or beads of the same metals are often set in the eyes of volutes, on the junctions, or at intervals at which they will set off the wirework effectively. The more delicate work is generally protected by framework of stouter wire.
Brooches, crosses, earrings, buttons and other personal ornaments of modern filigree are generally surrounded and subdivided by bands of square or flat metal, giving consistency to the filling up, which would not otherwise keep its proper shape.
Filigree jewelry design, and its twisting and soldering techniques, have an application in other metal-work such as wrought iron hanging wall brackets and silertoned doors.
Granulated work
A few words must be added as to the granulated work. Such decoration consists of minute beads, globules of gold, soldered to form patterns on a metal surface. Granulation was employed by Mesopotamian craftsmen. Sumerians are thought to be the first to practice this technique of metalwork. Its use is rare in Egypt. It occurs in Cyprus at an early period, as for instance on a gold pendant in the British Museum from Enkomi in Cyprus (10th century BC). The pendant is in the form of a pomegranate, and has upon it a pattern of triangles, formed by more than 3,000 minute globules separately soldered on. It also occurs on ornaments of the 7th century BC from Camirus in Rhodes. But these globules are large, compared with those found on Etruscan jewelry. Fortunato Pio Castellani, who had made the antique jewelry of the Etruscans and Greeks his special study, with the intention of reproducing the ancient models, found it for a long time impossible to revive this particular process of delicate soldering. He overcame the difficulty at last, by the discovery of a traditional school of craftsmen at Sant'Angelo in Vado, by whose help his well-known reproductions were completed. (Wikipedia)
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Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, aniversary, new baby, shower, Groom's,ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
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]
Photography: Fraser Nelson
Artistic Design: Ashley Jephcott
Make-up: Adam Lum
Hair: Darby Nelson
Model: Michelle Hadbavny
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]
Im Kreuzgang befinden sich Gedenksteine und Grabplatten, die vom Spätmittelalter bis in die Zeit des Klassizismus reichen. Als man den Kreuzgang von 1961 bis 1967 renovierte, brachte man Grabplatten, die noch gut erhalten waren, in den Wänden an, um eine weitere Zerstörung zu verhindern. Die anderen beließ man auf dem Boden. Bei dieser Renovierung fand man im Südflügel des Ganges auch Reste spätmittelalterlicher gotischer Bemalungen.
Es handelt sich bei den Platten um Augsburger Patriziergrabstätten, deren künstlerische Gestaltung vor allem zwischen dem 15. und dem 18. Jahrhundert beeindruckend reichhaltig ist.
www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna
In the cloister there are memorial stones and tomb slabs dating from the late Middle Ages to the Neoclassical period. When the cloister was renovated between 1961 and 1967, gravestones, which were still in good condition, were placed in the walls to prevent further destruction. The others were left on the floor. During this renovation, remains of late medieval Gothic paintings were also found in the south wing of the corridor.
These slabss are Augsburg patrician gravestones, whose artistic design is impressively rich, especially between the 15th and 18th centuries.
www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna
Die Kirche wurde 1321 von Karmeliten erbaut . St. Anna vereinigt Baustile von der Gotik bis zum Klassizismus. Zwischen dem 7. und 20. Oktober 1518 wohnte Martin Luther in dem Kloster Sankt Anna. Am Rand eines Reichstages sollte sich Martin Luther einem Verhör durch den päpstlichen Legaten Kardinal Cajetan unterziehen. Weil es in Augsburg kein Kloster der Augustiner-Eremiten gab, zu denen Martin Luther damals noch zählte, lud ihn der Prior des Karmelitenklosters, Johannes Frosch, ein, bei ihm zu logieren. Die beiden Geistlichen kannten sich von der gemeinsamen Studienzeit in Erfurt. Schon im Sommer 1518 war in Rom der Ketzereiprozess über Martin Luther eröffnet worden, zu dem er auch vorgeladen war. Weil sich aber der Landesherr Luthers dafür einsetzte, brauchte sich Martin Luther nicht in Rom zu verantworten, sondern konnte nach Augsburg kommen, um sich dort den Befragungen zu stellen.
Kardinal Cajetan war bei den wichtigsten Parteigängern von Papst und Kaiser, den Fuggern, in der Maximilianstraße untergebracht. Dort fanden auch die Gespräche oder wenn man will Verhöre Martin Luthers am 12., 13. und 14. Oktober 1518 statt.
Leider brachten die Gespräche zwischen Martin Luther und Kardinal Cajetan kein Ergebnis. Und weil Martin Luther und seine Augsburger Parteigänger sich sorgten, dass es Martin Luther genauso wie Johannes Hus, der 100 Jahre früher als Ketzer verbrannt wurde, erginge, floh der Verhörte in der Nacht vom 20. auf den 21. Oktober 1518 heimlich aus Augsburg, wobei ihm seine Sympathisanten halfen.
Der Prior des Karmelitenklosters Johannes Frosch schloss sich später der Reformation an, trat 1523 von seinem Amt zurück und heiratete 1525. Zu Weihnachten des Jahres 1523 wurde in der Anna-Kirche die erste protestantische Liturgie gefeiert und das Abendmahl unter beiderlei Gestalt ausgeteilt. Der Bischof von Augsburg hatte dagegen keine Handhabe, weil die Klöster weder seiner noch der städtischen Jurisdiktion unterstanden. So konnte Johannes Frosch 1523 unter dem Schutz des Stadtrats auch eine evangelische Gottesdienstordnung einführen. Faktisch war durch die positive Haltung des Augsburger Bürgermeisters Ulrich Rehlinger und des Stadtrats damit die Reformation in Augsburg eingeführt.
Quelle: Wikipedia.de
The church was built in 1321 by Carmelites. St. Anna combines architectural styles from Gothic to Classicism. Between 7 and 20 October 1518 Martin Luther lived in the monastery of St. Anne. On the occasion of a Diet, Martin Luther was to be interrogated by the papal legate Cardinal Cajetan. Because there was no monastery of Augustinian hermits in Augsburg, to which Martin Luther still belonged at that time, the prior of the Carmelite monastery, Johannes Frosch, invited him to stay with him. The two clergymen knew each other from their time as students in Erfurt. In the summer of 1518, the heresy trial against Martin Luther had already been opened in Rome, and he was also summoned to attend. However, because Luther's sovereign was committed to the case, Martin Luther did not have to answer for his actions in Rome, but was allowed to come to Augsburg to face the questioning there.
Cardinal Cajetan was staying with the most important partisans of the Pope and Emperor, the Fuggers, in Maximilianstraße. This is also where the talks or, if you like, the interrogations of Martin Luther took place on 12, 13 and 14 October 1518.
Unfortunately, the talks between Martin Luther and Cardinal Cajetan did not yield any results. And because Martin Luther and his Augsburg partisans were worried that Martin Luther would suffer the same fate as Jan Hus, who had been burned as a heretic 100 years earlier, the interrogated man fled Augsburg secretly in the night from 20 to 21 October 1518, with the help of his sympathisers.
The prior of the Carmelite monastery, Johannes Frosch, later joined the Reformation, resigned from his office in 1523 and married in 1525. At Christmas 1523, the first Protestant liturgy was celebrated in the church of St. Anne, and the Lord's Supper was administered under both forms. The Bishop of Augsburg had no control over the monasteries because they were not under his or the city's jurisdiction. Thus, in 1523 Johannes Frosch was able to introduce a Protestant order of worship under the protection of the city council. In fact, the positive attitude of Augsburg's mayor Ulrich Rehlinger and the city council introduced the Reformation in Augsburg.
Source: Wikipedia.de
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.