View allAll Photos Tagged Moderne
Reichpietschufer, Berlin
Erbaut / Constructed 1930-1932
Architekt / Architect: Emil Fahrenkamp (1885-1966)
Nadat het oorspronkelijke DDm1, bestaande uit 5,6 en 7-rijtuigen versies in combinatie met lok16/1800 jarenlang buitendienst had gestaan, werd door materieeltekort besloten een deel weer in dienst te nemen. Voorzien van nieuwe draaistellen en een opgefrist interieur werden met een 1700 als trek-duwkracht in totaal 11 vierwagen stammen ( met nu vaste samenstelling) op de baan gebracht en als "treinstel", genummerd in de 7200.
Ze verschenen in de treinseries 3400 en (1)4500 in Noord Holland.
Op 13 oktober 2017 is de 7208 als leeg materieel onderweg naar Amsterdam en werd vastgelegd ter hoogte van Sloterdijk.
De inzet van dit materieel eindigde definitief op 15 december 2019.
Meer spoorse foto's zie je HIER:
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
The McGraw-Hill is a transitional building in terms of styling. Many aspects of the building suggest Streamline Moderne, the final phase of Art Deco. This 33 stories tall skyscraper was built in 1930, and is located at 330 West 42nd Street, between 8th and 9th Avenues. It is the first major building to be clad with machine-made blue-green terra cotta and glass cladding over a steel frame. Often referred to as the "jolly green giant", the McGraw-Hill dominated the skyline in its neighborhood for most of its life.
Architect Raymond Hood designed the building with numerous setbacks on the north and south sides. From those angles, the building appears as a slab. But from the east or west, the building appears as a stepped tower. Each floor of the north and south sides consists of 7 sets of four double-hung windows, separated by green painted metal strips. These window bands on each floor are separated by continuous courses of bluish-green terra cotta brick, which vary in size and tone to create an almost sparkling effect from street level. There use was considered a totally radical one at the time, said to have been chosen by John Herbert McGraw himself.
The top two stories have horizontal ribs that almost resemble wings, which form a simple, clean, yet distinctive crown. The form of the building also follows the usage of its interior - with the lower floors housing the company's printing plant, office floors occupying the tower above, and executive floors at the top.
As always, Hood combined the practical constraints of the 1916 setback law with his unique vision and created a masterpiece. The McGraw-Hill is two great buildings in one. From two sides it is a graceful Art Deco tower, from the other two sides, an International Style Slab.
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As a way of returning the extraordinary generosity and support you
have all shown me in this great community, whenever I upload a new
pic or series of shots this year, I'll provide a link to another flickr
photog whose work, personality, or spirit I feel you should discover.
Visit and introduce yourself. Make a friend. Share the love.
Open your eyes to Box Of Light today.
Love this Moderne sign on the long-shuttered Ellis Restaurant in downtown Chattanooga, Tennessee! Its current owner apparently does, too. Two frogs restored, three still to come, so they can hop over the sign promising "steaks, chops, charcoal broiler, live lobster, seafood, spaghetti!" www.timesfreepress.com/news/business/aroundregion/story/2...
L'ancien, pas forcément archaïque mais avec des formes et des volumes travaillés. Le moderne, parfois froid, rectiligne et pratique. Deux styles, que souvent on ne choisit pas et dont on apprécie les forces et s'arrange avec les faiblesses.
A l'abris du tumulte d'Oxford Street, cette dame qui semble coupée du monde, plongée dans son téléphone, s'offre une pause dans ce café à la fois cosy et design
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Architetto: Stephan Braunfels
www.pinakothek.de/pinakothek-der-moderne/
alessioneroni©
Si prega di non utilizzare le mie immagini su siti web, blog o altri mezzi senza il mio esplicito permesso. © Tutti i diritti riservati.
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Please don't use my images on websites, blogs or other media without my explicit permission. © All rights reserved .
Germany, Bavaria, Munich, Pinakothek der Moderne
The Pinakothek der Moderne is a modern art museum, situated in the city centre of Munich, Germany. Together with the Alte Pinakothek, the Neue Pinakothek and Museum Brandhorst it is part of Munich's "Kunstareal" (the "art district").
Chaillot | 11 Avenue du Président Wilson
Andy Warhol Unlimited exhibition
Musée d'Art Moderne (MAMVP)
Oct.2, 2015 - Feb.7, 2016
Here all of the Shadows collection, 1978-79.
German postcard in the Moderne Künstler series by MMB, no. 462. Photo: F.J. Wesselsky.
Ossi Oswalda (1895-1947) was one of the most popular comediennes of the German silent cinema.
For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.
Auswärtiges Amt, Berlin, Deutschland.
Ministère des affaires étrangères, Berlin, Allemagne.
Federal Foreign Office, Berlin, Germany
Explore, December 15 2012
Das Bild zeigt einen Ausschnitt eines höchst interessanten Gebäudes der Fachhochschule Trier. Moderne Architektur trifft auf moderne Kunst. Ich emfpand es interessanter, nur ein Ausschnitt als das gesamte Gebäude festzuhalten, da dies meiner Meinung das Muster besser darstellt. Aufgenommen mit einer Nikon D5100, Nikkor 55-200 VR.
The Frida theme for the We're Here group has stuck with me this week.
I was drawn to the idea of happy-seeming florals and bright colors paired with a darker, more sinister Frida.
Not that she wasn't edgy already, I just thought I'd just push her one step over.
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The design era between Art Deco, and Mid-century Modern; also known as Art Moderne...
As the Great Depression of the 1930s progressed, Americans saw a new aspect of Art Deco—i.e., streamlining, a concept first conceived by industrial designers who stripped Art Deco design of its ornament in favor of the aerodynamic pure-line concept of motion and speed developed from scientific thinking. Cylindrical forms and long horizontal windowing also may be influenced by constructivism. As a result an array of designers quickly ultra-modernized and streamlined the designs of everyday objects. Manufacturers of clocks, radios, telephones, cars, furniture, and many other household appliances embraced the concept.
-Wikipedia
Guest Room
Dresser, Zenith Radio and Stainless Steel Accessories