View allAll Photos Tagged Moderne
An art deco garage in the town centre, still in use as a car showroom.
Or is it moderne? - perhaps too streamlined and not jazzy enough to be deco.
Les Arènes de Picasso / Noisy-Le-Grand / Manolo Nuñez Yanowsky
© 2013 thomas lewandovski - all rights reserved. www.lewandovski.com
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.
The Midland Hotel is a Streamline Moderne building in Morecambe, in Lancashire, England. It was built by the London, Midland and Scottish Railway (LMS), in 1933, to the designs of architect Oliver Hill, with sculpture by Eric Gill. It is a Grade II* listed building. The hotel has been restored by Urban Splash with architects Union North, Northwest Regional Development Agency and Lancaster City Council.
The hotel is designed in the Streamline Moderne style of Art Deco. Oliver Hill designed a three-storey curving building, with a central circular tower containing the entrance and a spiral staircase, and a circular cafe at the north end. The front of the hotel is decorated with two Art Deco seahorses, which can be viewed at close proximity from the hotel's rooftop terrace.
The hotel stands on the seafront with the convex side facing the sea, and the concave side facing the former Morecambe Promenade railway station – in homage to the railway company whose showcase hotel this was. Hill designed the hotel to complement the curve of the promenade, which allowed guests to view spectacular panoramas of the North West coast.
Courtesy: Wikipedia: Midland Hotel, Morecambe
© All rights reserved
St. Katharina | Gütenbach im Schwarzwald | 1965
Architekt: Oberbauamtmann Lothar Schmitt (Erzbischöfliches Bauamt Freiburg)
Modellbausatz: Moderne Kirche, B-235
Produktionszeitraum: 1965 bis 1980
Hersteller: Gebr. Faller GmbH
Maße: 14x 14 x 17,7 cm
Tusnelda, Tochter des Cheruskerfürsten Segestes und die Gemahlin des Cheruskerfürsten Arminius.
Lippisches Landesmuseum Detmold
A parade of 10 iconic figures from visual arts by Cledat and Petitpierre (France) march on at the Esplanade waterfront promenade.
En réalité le terrain à l'avant-plan est celui de la maison voisine car cette immense maison occupe tout le terrain... / In reality the land in the foreground is the neighbour's land; this big house is builded on a small lot...
Camera: Ciro-Flex, TLR 120
Film: Kodak T-Max 400 (TMY)
Dev.: Rodinal 1:100 stand alone 1hr
Merci beaucoup pour votre visite, les gentils commentaires et les favoris. / Many thanks for your visit, kind comments and favs
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In 1931 Sidney Myer (1878 – 1934) Russian émigré turned Melbourne businessman and philanthropist decided to reinvigorate his store the Myer Emporium by redeveloping his flagship Bourke Street store at 314-336 Bourke Street. Part of this included a new façade in the prevailing interwar style of the time – Art Deco and the addition of several more floors to what was already a very large department store. On the sixth floor a chic European style ballroom with soaring ceilings, sweeping stairs and parquet flooring was planned for use by the emporium’s patrons as a dining room by day and in which Myer could host Parisian fashion shows and hold exclusive Melbourne society events by night. The Myer Mural Hall, so called because of an impressive collection of ten murals by Australian artist Napier Waller, was the realisation of Sidney Myer’s dream.
The Mural Hall, a dining hall suitable for a sitting for one thousand people and a venue for fashion parades and performances, was completed in 1933 as part of the sixth floor which was set aside for dining. It is a large rectangular space with a decorative plaster ceiling and balconies and wall panels in a Streamline Moderne style. However, it is the decoration of ten murals by renowned artist Napier Waller (1893-1972) that are the Mural Hall’s claim to fame. The murals took a little over a year to complete and were painted at Napier Waller’s home at Fairy Hills in Ivanhoe before being transported to the department store where they were hung. Completed in 1934, just after Sidney Myer’s death, eight of the murals are almost floor to ceiling, whilst the remaining two are located over the two side entrances. All pay homage to the seasons and to women and their achievements through history in the areas of art, opera, literature, dance, sport and fashion.
The western wall features (running south to north) the full length murals; “Spring – The Dance Through the Centuries”, “Summer – Sports Through the Centuries”, “Autumn – Women in Literature” and the smaller mural “Modes of Transport by Land” above the door. The eastern wall features (running north to south) the full length murals; “Winter – Of Actresses and the Drama from Medieval Times to the Present”, “Pageant of Beautiful Women in History”, “Pageant of Women Famous in History”, “Revelation of Fashion” and the smaller mural “Modes of Transport by Sea” above the door.
At the north end of the hall, a pair of "mannequin stairs" lead down from two balconies and the change rooms to a common landing. A temporary catwalk or stage was installed at this landing level for fashion parades and performances. The balustrading of the stairs is formed from 'Staybrite' stainless steel in an abstract ribbon design and the handrail is polished timber. The original timber flooring was replaced by parquetry in 1960. The hall is lit by three large and elaborate chandeliers from the original decorative scheme which were designed to provide up to ten different lighting effects. The National Trust classified the Myer Mural Hall noting it as “one of the finest Art Deco interiors in Australia and… one of the most impressive with few parallels anywhere in the world”.
Napier Waller (1893 – 1972) was a noted Australian muralist, mosaicist and painter. He served in France from 1916, being so seriously wounded at Bullecourt that he lost his right arm. He was right-handed but learned to use his left hand while recuperating. Back in Australia, he established his reputation by exhibiting more paintings. He is perhaps best known for the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra, completed in 1958. However, Melbourne has been described as "a gallery of Napier Waller’s work". Pieces of Napier Waller’s works may be found in the Melbourne Town Hall (1927), the State Library of Victoria (1928), the T & G Life Building (1929), Newspaper House (1933), Florentino’s Restaurant (1934), the Wesley Church (1935) and the University of Melbourne (1940) as well as the Myer Mural Hall.
Un bel édifice moderne - A nice modern building
Coin/corner Boulevard Lebourgneuf et Henri Bourassa, Quebec, Canada 2017-2-12.
Various Art Deco/Moderne bits in London.
Claridges
www.claridges.co.uk/?infinity={io-query:infinity}&gclid=CNynyIyRoMoCFRThGwodZ-gDKA
Jackson, MS (est. 1821, pop. 165,000)
• streamline moderne style theater built & managed by Jewish-American Mississippi native, Arthur Lehmann (1894-1958) • originally seated 750 • incorporated "an up-to-date drug store, an ice cream parlor, a restaurant and a [shoe] shop" —Clarion-Ledger (Jackson, Mississippi) 26 Jan 1949
• Jackson’s oldest & for many years only “Negro theater” • this was the Alamo's 3rd incarnation, each at different Jackson addresses: 134 N. Farish St. in 1915 & the "New Alamo" on Amite St. c. 1927 • in 1936 Lehman replaced the original Alamo with Booker T. Theatre
• the theater was usually listed as “Alamo (c)” to indicate "colored" • one of the country's last dual purpose theaters with movies, vaudeville acts, bands & local talent competitions —Movie Theaters in 20th c. Jackson, MS
• screened African American films supplemented by other popular genres • during the 1940s & ‘50s stars such as Nat “King” Cole, Elmore James, Louis Jordan, & Cab Calloway appeared live on the Alamo stage • also presented gospel groups and vocal ensembles
• closed 1984 • underwent extensive renovation of both exterior & Art Deco interior • marquee & vertical sign restored to original design, including neon • reopened under non-profit ownership, 1997 —Cinema Treasures
• Alamo Theatre Facebook
The Farish Street Historic District
“but out of the bitterness we wrought an ancient past here in this separate place and made our village here.” —African Village by Margaret Walker (1915-1998)
• during the Reconstruction era that followed the American Civil War, white Southerners struggled to reclaim their lives as millions of black Southerners sought new ones • with the stroke of a pen, the Emancipation Proclamation had transformed African slaves into African Americans & released them into a hostile, vengeful & well-armed white community amid the ruins of a once flourishing society
• the antebellum South had been home to over 262,000 rights-restricted "free blacks" • post-emancipation, its free black population soared to 4.1 million • given that the South had sacrificed 20% of it's white males to the war, blacks now comprised well over half the total population of many southern states • uneducated & penniless, most of the new black Americans depended on the Freedman's Bureau for food & clothing
• the social & political implications of the sudden shift in demographics fueled a violence-laced strain of conventional American racism • in this toxic environment, de facto racial segregation was a given, ordained as Mississippi law in 1890 • with Yankees (the U.S. Army) patrolling the city & Maine-born Republican Adelbert Ames installed in the Governor's Mansion, the Farish Street neighborhood was safe haven for freedmen
• as homeless African American refugees poured into Jackson from all reaches of the devastated state, a black economy flickered to life in the form of a few Farish Street mom-and-pops • unwelcome at white churches, the former slaves built their own, together with an entire neighborhood's worth of buildings, most erected between 1890 & 1930
• by 1908 1/3 of the district was black-owned, & half of the black families were homeowners • the 1913-1914 business directory listed 11 African American attorneys, 4 doctors, 3 dentists, 2 jewelers, 2 loan companies & a bank, all in the Farish St. neighborhood • the community also had 2 hospitals & numerous retail & service stores —City Data
• by mid-20th c. Farish Street, the state's largest economically independent African American community, had become the cultural, political & business hub for central Mississippi's black citizens [photos] • on Saturdays, countryfolk would come to town on special busses to sell produce & enjoy BBQ while they listened to live street music • vendors sold catfish fried in large black kettles over open fires • hot tamales, a Mississippi staple, were also a popular street food —The Farish District, Its Architecture and Cultural Heritage
“I’ve seen pictures. You couldn’t even get up the street. It was a two-way street back then, and it was wall-to-wall folks. It was just jam-packed: people shopping, people going to clubs, people eating, people dancing.” — Geno Lee, owner of the Big Apple Inn
• as Jackson's black economy grew, Farish Street entertainment venues prospered, drawing crowds with live & juke blues music • the musicians found or first recorded in the Neighborhood include Robert Johnson, Sonny Boy Williamson II & Elmore James
• Farish Street was also home to talent scouts & record labels like H.C. Speir, & Trumpet Records, Ace Records • both Speir & Trumpet founder Lillian McMurry were white Farish St. business owners whose furniture stores also housed recording studios • both discovered & promoted local Blues musicians —The Mississippi Encyclopedia
• Richard Henry Beadle (1884-1971), a prominent Jackson photographer, had a studio at 199-1/2 N. Farish • he was the son of Samuel Alfred Beadle (1857-1932), African-American poet & attorney • born the son of a slave, he was the author of 3 published books of poetry & stories
• The Alamo Theatre was mainly a movie theater but periodically presented musical acts such as Nat King Cole, Elmore James & Otis Spann • Wednesday was talent show night • 12 year old Jackson native Dorothy Moore entered the contest, won & went on to a successful recording career, highlighted by her 1976 no. 1 R&B hit, "Misty Blue" [listen] (3:34)
• in their heyday, Farish Street venues featured African American star performers such as Bessie Smith & the Rabbit Foot Minstrels, Louis Armstrong, Count Basie, Duke Ellington & Dinah Washington played Farish Street venues —Farish Street Records
• on 28 May, 1963, John Salter, a mixed race (white/Am. Indian) professor at historically black Tougaloo College, staged a sit-in with 3 African American students at the "Whites Only" Woolworth's lunch counter in downtown Jackson • they were refused service • an estimated 300 white onlookers & reporters filled the store
• police officers arrived but did not intercede as, in the words of student Anne Moody, "all hell broke loose" while she and the other black students at the counter prayed • "A man rushed forward, threw [student] Memphis from his seat and slapped my face. Then another man who worked in the store threw me against an adjoining counter." • this act of civil disobedience is remembered as the the signature event of Jackson's protest movement —L.A. Times
"This was the most violently attacked sit-in during the 1960s and is the most publicized. A huge mob gathered, with open police support while the three of us sat there for three hours. I was attacked with fists, brass knuckles and the broken portions of glass sugar containers, and was burned with cigarettes. I'm covered with blood and we were all covered by salt, sugar, mustard, and various other things." —John Salter
• the Woolworth Sit-in was one of many non-violent protests by blacks against racial segregation in the South • in 1969 integration of Jackson's public schools began • this new era in Jackson history also marked the beginning of Farish Street's decline —The Farish Street Project
"Integration was a great thing for black people, but it was not a great thing for black business... Before integration, Farish Street was the black mecca of Mississippi.” — Geno Lee, Big Apple Inn
• for African Americans, integration offered the possibility to shop outside of the neighborhood at white owned stores • as increasing numbers of black shoppers did so, Farish Street traffic declined, businesses closed & the vacated buildings fell into disrepair
• in 1983, a Farish St. redevelopment plan was presented
• in 1995 the street was designated an endangered historic place by the National Trust for Historic Preservation
• in the 1990s, having redeveloped Memphis' Beale Street, Performa Entertainment Real Estate, was selected to redevelop Farish St
• in 2008, The Farish Street Group took over the project with plans for a B.B. King's Blues Club to anchor the entertainment district
• in 2012, having spent $21 million, the redevelopment — limited to repaving of the street, stabilizating some abandoned buildings & demolishing many of the rest — was stuck in limbo —Michael Minn
• 2017 update:
"Six mayors and 20 years after the City of Jackson became involved in efforts to develop the Farish Street Historic District, in hopes of bringing it back to the bustling state of its heyday, the project sits at a standstill. Recent Mayor Tony Yarber has referred to the district as “an albatross.” In September of 2014, the U.S. Department of Housing and Urban Development sanctioned the City of Jackson, the Jackson Redevelopment Authority, and developers for misspending federal funds directed toward the development of the Farish Street Historic District. Work is at a halt and "not scheduled to resume until December 2018, when the City of Jackson repays HUD $1.5 million." —Mississippi Dept. of Archives & History
• Farish Street Neighborhood Historic District, National Register # 80002245, 1980