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The closest hotel to the Grotto, the Grand Hotel Moderne is the ideal base for pilgrims looking to be as close as possible to the most important spiritual sights of Lourdes. Located among Lourdes' prime attractions, the hotel is within easy walking distance of:
Our Lady of Lourdes Shrine “the Grotto” (less than 50 meters...)
the Sanctuaries
the evening’s rosary and candlelight procession
the baths of healing waters
Basilique du Rosaire et de l'Immaculée Conception, Basilique St-Pie-X
Such is the privileged location of Grand Hotel Moderne, many of the hotel's balconies overlook the nightly candlelight procession, allowing guests to enjoy the sights and sounds of the evening's celebration without leaving the comfort of the hotel.
Nutana is dotted with these small gems. This house is built in the Streamline Moderne style, a 1940s offshoot of Art Deco. The flat roof, gentle curves and geometric shapes typify this type of architecture.
Explore #404 on Friday, December 5, 2008.
Über die modernen Triebzüge kann man sagen was man will, aber die Szenerie in Balduinstein ist noch genau wie früher
Various Art Deco/Moderne bits in London.
Claridges
www.claridges.co.uk/?infinity={io-query:infinity}&gclid=CNynyIyRoMoCFRThGwodZ-gDKA
Auf einem Rasengleis fährt die Straßenbahn durch den Otto-Dullenkopf-Park, während sich im Hintergrund die Bürogebäude der Ludwig-Erhard-Allee türmen. All dies würde erst nach dem Abbau des alten Güterbahnhofs Ende der 90er gebaut.
German postcard in the Moderne Künstler series by MMB, no. 459. Photo: F.J. Wesselsky.
German film actor Ludwig Trautmann (1885-1957) was the first German film star. Between 1912 and 1955, he appeared in 69 films, and also wrote, produced, and directed several films. In the Nazi period, he was prosecuted because of 'homosexual acts'.
Ludwig Trautmann was born in Dachsbach, Germany, in 1885. He learned for salesman but in 1901 he made his stage debut. He later worked for theatres in Bochum, Konstanz und Hermannstadt. A cinema owner in Baden-Baden introduced him to film. In 1912 he signed a contract with the Bioskop-Filmgesellschaft (Bioskop Film Studio). It was the first film contract ever signed in Germany. Trautmann appeared in such short silent films as Madeleine (Emil Albes, 1912) and Die schwarze Natter/The Black Adder (Franz Hofer, 1913). He soon became known as detective Brown in short silent films directed by Harry Piel, starting with Der Triumph des Todes/The Triumph of Death (Harry Piel, 1912) and Schatten der Nacht/Shadows of the Night (Harry Piel, 1913). In Austria he played a priest in Der Pfarrer von Kirchfeld/The Priest from Kirchfeld (Jacob Fleck, Luise Fleck, 1914) starring Max Neufeld. He appeared opposite Henny Porten in Gretchen Wendland (Curt A. Stark, 1914), Das Ende vom Liede/The End of the Song (Rudolf Biebrach, 1915) and Die Ehe der Luise Rohrbach/The Marriage of Luise Rohrbach (Rudolf Biebrach, 1917), also with Emil Jannings. In 1916 he appeared opposite the other superstar of the silent German cinema, Asta Nielsen in Dora Brandes (Magnus Stifter, 1916) and Das Liebes-ABC/The ABC of Love (Magnus Stifter, 1916). Ludwig Trautmann had become a very successful film actor. He was the darling of the women and at the height of his career, he bought a castle with 22 rooms for the in those days the outrageous sum of DM 480.000.--. He was in a position to found his own film company, and during World War I, he directed, produced, and wrote several films. Among these films are Das Geheimnis der Villa Dox/The Secret of Villa Dox (Ludwig Trautmann, 1916) and Filmelend: Das Glashausmädchen/Film Misery – The Glass House Girl (Ludwig Trautmann, 1919).
Ludwig Trautmann worked in the early 1920s with director Siegfried Dessauer on such films as Frauen…/Women… (Siegfried Dessauer, 1920) and Die goldene Mauer/The Golden Wall (Siegfried Dessauer, 1921) with Mabel May-Yong. He had a small part in the epic Marie Antoinette - Das Leben einer Königin/Marie Antoinette, the Life of a Queen (Rudolf Meinert, 1922) starring Italian diva Diana Karenne and filmed on location in Paris, but the film offers became scarce. Between 1925 and 1932, Trautmann did not appear in the cinema, but then he reappeared in supporting roles in films like Die elf Schill'schen Offiziere/The eleven Officers of Major Von Schill (Rudolf Meinert, 1932) with Hertha Thiele, and Trenck - Der Roman einer großen Liebe (Ernst Neubach, Heinz Paul, 1932) starring Hans Stüwe. He also appeared in the Ufa production Ein Mann will nach Deutschland/A Man Wants to Get to Germany (Paul Wegener, 1934) with Karl Ludwig Diehl and had a bit part in Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) based on the famous play by Oscar Wilde. Between July and October 1935, Trautmann was imprisoned for homosexual acts. (Homosexual acts between males were a crime at the time in Germany and many other countries. Trautmann was imprisoned because of paragraph 175, a notorious provision of the German Criminal Code dating from 1871. The Nazis broadened the law in 1935; in the prosecutions that followed, thousands died in concentration camps. Between 1871 and 1994 around 140,000 men were convicted under the law).
After he was released from prison, Ludwig Trautmann was banned from the Reichstheaterkammer and the Reichsfilmkammer, so it was impossible for him to work as an actor in Nazi-Germany anymore. He left for France, but in 1939 he returned to Germany. In 1940 he was again imprisoned for six months because of his homosexuality. After the war, Ludwig Trautmann worked for the Volksbühne Berlin. He produced the documentary Eine Fröhliche Fahrt in die Vergangenheit/A cheerful trip in the past (1949). In 1951 he was a member of the jury at the 1st Berlin International Film Festival. He also played a few more film roles. He had bit parts in the comedies Postlagernd Turteltaube/Poste Restante Turtledove (Gerhard T. Buchholz, 1952), and in Briefträger Müller/Mailman Mueller (Hohn Reinhardt, 1953) starring Heinz Rühmann. His last film was the DEFA production Robert Mayer - der Arzt aus Heilbronn/Robert Mayer, the Doctor from Heilbronn (Helmut Spiess, 1955). In 1957 and after a long illness, Ludwig Trautmann died in a Berlin hospital. He was 71.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
The Moderne is a 30 story high-rise apartment and condominium building in downtown Milwaukee, WI. At 348 feet, as of 2019 it is the 11th tallest building in Milwaukee.
This is another "Streamline Moderne" house in Saskatoon built during the 1940s. This one has the characteristic flat roof, cubist shape and porthole windows.
Het is al weer 10 jaar geleden dat de laatste klassieke hogevloertrams, de "Blokkendozen" 9/10G hun rondjes draaiden op het Amsterdamse tramnet.
Naast de tegenwoordige museumwagen 794 reed de 801 met 809 en 813 nog tot laat in 2015 ritten op de lijnen 3,7,12 en 14.
Hier werd hij vastgelegd in de eindlus Flevopark.
Deze foto verscheen- in licht gewijzigde vorm-eerder in DIT album:
23.06.2017 - WAZ/NRZ Duisburg Nord - Gregor Herberhold
Kunst-Aktion
Marten Dalimot sorgt für Farbtupfer in Duisburg-Laar
Der Graffiti-Künstler hat elf Stromkästen bemalt. Die Anregung kam vom Runden Tisch. Der konnte die Stadtwerke schnell von der Idee überzeugen.
Da sich in Sachen Wohnumfeldbesserung in Laar bislang nicht allzu viel getan hat – wir berichteten – hat der Runde Tisch Laar selbst die Initiative ergriffen. „Wir wollen ein bisschen Farbe nach Laar bringen“, sagen Sigrid Goetting-Schlitt und Martina Löcker, beide Sprecherinnen der vor zwölf Jahren gegründeten Bürgerinitiative.
Das ging schneller, als die beiden Damen geglaubt hatten. Man müsste die unattraktiven Stromkästen mit Kunstwerken versehen, dachten sich die Beiden – und sprachen im Februar dieses Jahres die Stadtwerke (Netze Duisburg) an.
Bürger wollten ein Zeichen setzen
Die ließen sich sofort überzeugen, waren bereit, ihre „Kästen“ für Graffiti-Aktionen zur Verfügung zu stellen und dem Runden Tisch zu helfen, „ein sichtbares Zeichen zu setzen“.
So machte sich Sigrid Goetting-Schlitt auf den Weg, suchte die unattraktivsten, schmuddeligsten Stromkästen. Und fand neun kleine Schränke und zwei große Stationen im Ortsteil.
Motive passen sich in die Umgenung ein
Schnell war man sich mit Netze Duisburg einig, freut sich die Laarerin: Der Graffiti-Künstler Marten Dalimot sollte den Auftrag bekommen, die Bauwerke zu verschönern.
Die Motive stellten die Mitglieder des Runden Tisches in Absprache mit Netze Duisburg und dem Künstler zusammen. „Wir haben uns immer an der Umgebung orientiert“, sagt Sigrid Goetting-Schlitt. Sprich: In Rheinnähe sind Schafe am Deich zu sehen, neben einem Wohnhaus ist die Mauer optisch „verlängert“ worden. Man entdeckt auch das Laarer Wappen, Blumen und die Industrielandschaft in der Nachbarschaft mit dem Kraftwerk Hermann Wenzel, an dem ein Papierschiffchen vorbeizieht.
Fotoschau Anfang Juli im Ewaldihaus an der Apostelstraße
Kaum waren die Motive ausgewählt und die Entwürfe gezeichnet, da legte Marten Dalimot auch schon los. Inzwischen sind alle Bilder fertig.
Dalimot reinigte die Flächen zunächst per Sandstrahl, grundierte sie und rückte dann mit rund 80 Farbdosen an. Kleinere Werke, wie sie auf den Schränken zu finden sind, entstehen in ein paar Stunden. Um die große Station an der Ecke Emscherhütten-/Florastraße rundum zu verzieren, brauchte es zwei ganze „Maltage“.
Komplettpaket: Fläche vorbereiten, Malen und Schutzanstrich
Hinzu kommen bei allen Werken Nachbereitungen, sprich: Die Kunst wird mit einem Schutzanstrich versehen, damit sie im Falle von Verunreinigungen durch Schmierfinken leicht zu reinigen ist. Schmierereien und Kritzeleien sind laut Marten Dalimot aber kein Problem: 90 Prozent seiner Werke – und davon gibt es viele in Duisburg – sind auch nach Jahren noch in tadellosem Zustand.
Am 5. Juli werden alle Werke in einer Fotoschau beim Runden Tisch im Ewaldi-haus, Apostelstraße, vorgestellt (18.30 Uhr). Gäste sind bei dem offenen Treffen willkommen.
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 Boulder County Courthouse, at 1325 Pearl Street along the Pearl Street Mall, was built in 1933 to the Art Deco/Art Moderne design of Glen H. Huntington. Considered ultra-modern for its time, it replaced a Second Empire courthouse erected in 1882, which burned downed the year beofre. Although hard-hit by the Depression, Boulder County was able to raise funds for this impressive structure, built exclusively by unemployed Boulderites during the early 1930s.
The Boulder County Courthouse Fountain, also designed by Huntington, was erected at this location in 1935 by the Boulder Lions club. Its smooth terra cotta cladding and strong vertical lines compliment the courthouse.
Pearl Street Mall is a four block pedestrain mall stretching along Pearl Street between 11th and 15th Streets, hosting a blend of locally-owned businesses, national chain stores and restaurants, and street buskers. The Pearl Street Mall was constructed starting in 1976 and officially dedicated on August 6, 1977. The design team consisted of three firms: CommArts, Inc., Everett Ziegel Associates, and Sasaki Associates.