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Wendy's #472 (2,606 square feet)
14496 Warwick Boulevard, Newport Crossing, Newport News, VA
Built and opened in 1976, renovated in fall 2011
Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.
The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.
The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.
The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.
The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.
The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.
The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.
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.
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.
Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.
Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.
Sagplassen i Ogndal var opprinnelig en husmannsplass, seinere småbruk. Abandoned small farm, Steinkjer, Norway 2009.
Company: First Greater Manchester
Service: 41 to Sale Metrolink Station
Model: Alexander Dennis Enviro 400
Digital photograph of the art painting Interior with Portraits by Thomas Le Clear, 1865, oil on canvas, Smithsonian National Portrait Gallery.
Check out the Top 5 Fall 2015 Interior Design Trends! Saturated hues and more! www.decorilla.com/online-decorating/fall-2015-design-trends/
Best Interior Design Home
Best Interior Design Home, 1280 x 858, 184 KB, www.playbuzz.com/annasz10/what-is-your-interior-design
This photostream is a collection of my favorite pics If anyone wants to chat about interior design, you can reach me via my Houzz page - ift.tt/IrzZEF
Primera sala. Abu Simbel, Egypt.
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La parte interior del templo tiene una distribución similar a la mayoría de los templos del antiguo Egipto, con salas de tamaño menor a medida que nos acercamos al santuario.
La primera sala contiene ocho estatuas de Ramsés elevado a la categoría de dios, tomando la forma de Osiris. Estas estatuas están adosadas a las columnas. En las paredes se pueden ver grabados que representan escenas de las victorias egipcias en Libia, Siria y Nubia.
El santuario contiene tres estatuas de los dioses Ra, Ptah, Amón y una de Ramsés, todas en posición sedente. El templo está construido de forma que durante los días 20 de febrero y 20 de octubre, los rayos solares penetran hasta el santuario, situado al fondo del templo, e iluminan las caras de Amón, Ra, y Ramsés, quedando sólo la cara del dios Ptah en penumbra, pues era considerado el dios de la oscuridad. Se cree que estas fechas corresponden respectivamente a los días del cumpleaños del rey y al de su coronación, aunque no existen datos que lo corroboren.
Tras el desplazamiento del templo, el fenómeno solar ocurre dos días más tarde de la fecha original: 22 de febrero
El Panteón ha aparecido dos veces en las propuestas de la selectividad andaluza, en concreto en dos de las propuestas del curso 2002-2003. Como nuestros registros de exámenes de los primeros cursos no son todo lo completos que debieran, no podemos asegurar si apareció en las pruebas de septiembre de 2003, o quedó como examen de reserva, que es lo mismo que inédito.
A efectos estadísticos, las propuestas en las que encontramos esta imagen fueron la siguiente:
- Prueba de Selectividad de Historia del Arte nº 2 del curso 2002-2003.
- Prueba de Selectividad de Historia del Arte nº 4 del curso 2002-2003.
La obra se clasifica dentro del legado del arte romano. Para los amantes de etiquetas más precisas señalemos que habría que encuadrarlo en el arte de Alto Imperio.
En cada una de dos las propuestas reseñadas se ha escogido una perspectiva distinta del interior del monumento. La de la propuesta nº 2 reproduce el interior del monumento desde el altar mayor hasta la cúpula; la propuesta nº 4 (que reproducimos) muestra la exedra del altar mayor, algunas capillas laterales y parte de la cúpula.
Esta obra de arte aparece en el libro de Don Jesús Palomero Páramo, pero como la imagen sólo resulta similar, habrá que convenir que aparece en el citado manual porque se trata de un monumento ineludible en la historia de los estilos, no para adelantar lo que va a figurar o no en la selectividad.
En el mismo y nebuloso campo de la adivinación de la PAU andaluza se encuentra aquella conseja que aseguraba que en todos los años caían cinco obras en los exámenes, a saber: Mezquita, Alhambra, Partenon, Panteón y Santa Sofía. Nos consta que este vaticinio todavía se creía en el 2006. Para aquel entonces Santa Sofía había figurado lo justo y lo preciso y el templo de todos los dioses ni eso. Pero en estas premoniciones y quinielas todo el mundo asegura que se la ha oído a alguien que está en el secreto de sorteo o que conoce a otro alguien que... , pero nadie se molesta en comprobar que efectivamente se cumplan, pese a que el repertorio de propuestas resulta bastante accesible.
Walmart #3265 (201,289 square feet)
2601 George Washington Memorial Highway, Sherwood Shops, Yorktown, VA
Opened July 17th, 2002, renovated in summer 2008
Red Sands sea forts abandoned in the middle of the Thames Estuary. Designed by Guy Maunsell, they were military bases in WW2 used to shoot down aircraft and stop mining in the channel.
Presented for the first time at the 2014 Geneva Motor Show, the Alfa Romeo 4C Spider has been voted "Most Beautiful Car 2014" – in the "Sports Cars and Convertibles" category - by readers of the Austrian edition of Auto Bild. The captivating convertible saw off more than 13 rivals, coming in ahead of the new Jaguar F-Type Coupé and the Ford Mustang (in the same category, but lower down in the rankings, were the new Lamborghini Huracán, the Porsche 911 Targa and the Audi TT).
At the end of March, Auto Bild Austria asked its readers to choose, from all new models released during the preceding 12 months, the one with the most appealing design. More than 80 cars – divided into 5 categories – were put on a shortlist which was published by the magazine and became the basis for the vote. The selection was carried out entirely by the readers, with no magazine editors or automotive sector experts involved.
The highly esteemed Design Award was established by Auto Bild magazine in 2006 and a vote is now held in 20 European countries every spring. The award is assigned on the basis of the design of newly launched models and has become a permanent fixture in the annual schedule for the automotive industry. The results for all other European markets will become available starting from 30 May.
Alfa Romeo 4C Spider
Spiders have always occupied a prime place in Alfa Romeo's heritage because they are the freest and most emotion-driven expression of motoring. The same spirit is expressed by the Alfa Romeo 4C Spider, the natural evolution of the Alfa Romeo Spider versions that have always delivered great excitement, ensured outstanding driving satisfaction and combined a line which is the stuff of dreams with the performance of powerful, flexible engines.
Designed by the Alfa Romeo Style Centre, the mid-engined 2 seater with rear-wheel drive confirms the brand's excellence in this sector as demonstrated by some of its recognizable Spiders, among the most beautiful in the history of the motor world, such as the Giulietta Spider from the 1950s or the mythical Duetto made famous by the film, The Graduate (1967), up to the captivating Alfa Romeo 8C Spider. And now it is the Alfa Romeo 4C Spider's turn to take to the stand by projecting the technological and emotional values that are part of Alfa Romeo's heritage into the future.
The preview of the Alfa Romeo 4C Spider in Geneva was characterised by an exclusive three-layer glossy white livery which, with its depth and iridescence, shaped the car, highlighting the sculpted, finely modelled surfaces. Over this unmistakably elegant Italian 'attire' are the specific carbon roll-bar cover and the carbon windscreen ring, which combines the concepts of lightness and resistance, in line with Alfa Romeo's exclusive synthesis of 'functional beauty'. The search for brand-new stylistic solutions can also be seen in the new clamshell headlights, the distinctive differentiated diameter alloy wheels (18" at the front and 19" at the rear) and the large Pirelli tyres.
The elemental design and essential materials also distinguish the interior, which is all designed and built for maximum driving satisfaction. Specifically, the carbon fibre in the interior immediately stands out, used to make the central cell, which has been left in full view to enhance the sense of uniqueness, of technology and light weight. Additionally, to further enhance the unique quality of the spider version, Alfa Romeo's designers have chosen a particular leather upholstery that results from the finest tradition of Italian craftsmanship.
The car is equipped with the new "4-cylinder" 1750 Turbo Petrol with innovative aluminium block – permitting a saving of 22 kg – and specific intake and exhaust systems which have been optimised to enhance the sports appeal of the car even further. In addition, it boasts cutting-edge technical solutions including direct fuel injection, dual continuous variable valve timing, a turbocharger and a revolutionary scavenging control system that gets rid of any turbo lag.
The 1750 Turbo Petrol engine is teamed with the innovative Alfa TCT automatic twin dry clutch transmission, which is a genuine benchmark in its segment due to its limited weight and extreme speed of activation. The gears can also be changed in sequential mode using the "shift paddles" located behind the steering wheel.