View allAll Photos Tagged Moderne
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Architetto: Stephan Braunfels
www.pinakothek.de/pinakothek-der-moderne/
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Blumenladen Mehrower Allee, Wohngebiet 3, Berlin-Marzahn, dahinter Plattenbau-Typ WBS-70/11, Wilfried Stallknecht, Achim Felz, 1980er Jahre
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 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
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.
=]
Op 3 maart 2019 was er in de Linaeusstraat een explosie voor de deur van een Coffeeshop- iets wat toen nog zeer uitzonderlijk was. Lijn 19 moest daardoor uitwijken naar het eindpunt Flevopark. In de stromende regen werd de 824 van de lijn vastgelegd naast een tweetal Combino's van lijn 14. Niet alleen de Trapkarren, maar ook lijn 14 aan dit eindpunt: je zal er vergeefs naar zoeken....
Alle tram eindpunten van Amsterdam zie je HIER:
Moderne Cinema, Winton, Bournemouth. Opened in October 1935 and operated as a cinema until May 1983, the Moderne Cinema was designed by Edward G de Wilde Holding with 1,500 seats in stalls and balcony levels. After closure, it became a bingo hall until February 2008. By 2009 it was being converted into a church.
Winton, Bournemouth, Dorset, South Coast, England - former Moderne Cinema / Bournemouth Community Church, Wimbourne Road
June 2022
I'm standing at the corner of Wilshire and Ridgeley Drive on a quiet Sunday morning. The photo looks east. We're taking the long way from the Westside to the Coliseum and a Rams-Saints game. We would always stop at Du-par's bakery here for a few donuts and pastries to take with us for the game (Roger Owens, the famous "Peanut Man" who tossed bags behind his back across ten rows at the Coliseum, didn't offer anything like Du-par's stuff.)
Even at this age it was not lost on me what I was being surrounded by. To the east, behind the cigarette billboard, is the Moderne 1931 Dominguez-Wilshire building; promiment at center is the 1929 Desmonds tower, which also incorporated the Silverwoods store. Those two retail names were prominent on the Southern California retail scene through the eighties. The same mostly goes for Phelps Meager, the bricked building to the west. A real mid-century-modern gem is at the right: the 1949 Stiles Clements-designed Mullen Bluett building, by this time a Harris & Frank clothing-store branch. This building was deemed expendable and demolished in 2006 in favor of the usual "mixed-use post-modern" development.
The Miracle Mile, Wilshire from Fairfax to La Brea Avenues, took its shape and style in the middle third of the twentieth century. Originally it was thought by many Angelenos to be a gamble for retailers to set up shop this far from downtown, where mostly all commerce took place. But Los Angeles was a small town then, and it grew, and grew, and so Wilshire became Los Angeles's most fashionable shopping area. By 1973 its prominence had given way to the Westside , the San Fernando Valley, Orange County, and other areas as the Southland exploded in growth. Many of the Miracle Mile's buildings remain and many have vanished, but a loyal core of people still celebrate what was.
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.