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Painted in crisp grey, "Trelawne" is a stylish Streamline Moderne Art Deco mansion that may be found nestled amid a well establish garden of exotics on the corner of Drummond and Webster Streets in the provincial Victorian city of Ballarat.
The flat roof of "Trelawne", the rounded wall treatment, the use of porthole windows and glass brick windows and the minimal decoration across the building all pay homage to the chic, uncluttered lines of Streamline Moderne Art Deco architecture popular around the world in the 1930s.
"Trelawne" has been designed in Modern Ship Style, as Streamline Moderne was known in Australia in the 1930s. This nickname was used because the buildings designed in this style often looked very much like the cascading upper superstructures of ocean liners with their towering decks, railings and porthole windows. The enclosed stairwell of "Trelawne", with its rounded facade, porthole window and banks of glass bricks does not look unlike the prow of a ship. Built in 1930 for manufacturing magnate Herbert John Tippett, "Trelawne" was designed by Herbert Leslie Coburn for the Ballarat architect firm Richards, Coburn and Richards, and is not unlike Harry Norris's Sherbrooke Forest mansion "Burnham Beeches" which he built for millionaire Alfred Nicholas just three years later in 1933. The fence that surrounds the large corner block upon which "Trelawne" is situated is made of bluestone blocks from an earlier house that originally stood on the site.
Ballarat born Herbert Leslie Coburn grew up to be a renowned Ballarat architect, practicing from 1905 to 1956. He taught Architecture and Building Construction at the Ballarat School of Mines from 1922, resigning in 1948 due to ill health. The Royal Victorian Institute of Architects awarded Herbert Coburn a Silver Medal for the designs of an Anglican Gothic Suburban Church in 1913 while he was still a student of the institute. In 1917 Herbert became associated with Percy Richards, and they formed a partnership in 1918, Richards, Coburn, Richards, which lasted until 1933, when they separated owing to artistic differences. Whilst Percy Richards wished to retain a more traditional style in keeping with the popular conservative tastes of their clients, Herbert Coburn wanted to be at the vanguard of architectural design and was very interested in following the sleeker and stylised designs of the Streamline Moderne movement which was coming out of Europe. Herbert Coburn therefore started his own architectural practice. Coburn studied for formal qualifications by correspondence with the International Correspondence School, obtaining an architectural diploma two years later. His rooms were in the Clyde Chambers at 313 Sturt St, Ballarat. He was a Fellow of the Royal Australian Institute of Architects and the Royal Victorian Institute of Architects. Some of Herbert Coburn's architectural achievements include: St Patrick's Primary School in Drummond Street Ballarat (1935), the Shire of Wimmera Council Offices in Firebrace Street Horsham (1936), Paterson's Furniture Store in Horsham (circa 1936), the Railway Hotel in Maryborough (1938) and the clock tower of the Stawell Town Hall (1939). In addition to these, there are many beautiful, well designed and executed modernist Art Deco villas around Ballarat that bear his distinct architectural style.
Hebert John Tippett was born in 1872 at Newlyn, Victoria. He was a Newlyn farmer and grazier before making his name as an engineer. He joined Ronaldson and Co., a machinery manufacturing company located in Creswick Road, in 1905. The business manufactured chaff cutters and corn crushers. After Mr. Tippet joined the firm and moved up its ranks, he eventually became the director of the business and it was renamed Ronaldson and Tippett. Under his management, it manufactured internal combustion engines and water cooled engines. During the Second World War the company won major contracts to supply, pumps, filters, diesel engines and gun cradles for the war effort. They also made marine engines that were reportedly very quiet, making them excellent to use behind enemy lines. Mr. Tippett died aged 84 at his beloved Streamline Moderne home "Trelawne" in 1957.
Built in 1939 as Atlanta's first shopping center with off-street parking, Briarcliff Plaza today is usually recognized by the flashy neon that adorns its Plaza Theatre and the nearby Majestic Diner. But more subdued elements of its Streamline (or Art Moderne) Style, a late form of Art Deco, extend across the entire structure. Here you can see it in the "end-cap" marquee that covered the entrance of the once-famous Plaza Drugs.
Lampade da Comò Moderne versatili e personalizzabili tramite il sito www.lampadesign.com/abatjours_da_como.html
Tusnelda, Tochter des Cheruskerfürsten Segestes und die Gemahlin des Cheruskerfürsten Arminius
Lippisches Landesmuseum Detmold
Questo lampadario monta una lampadina a risparmio energetico a luce calda che gli conferisce questa particolare tonalità.
This attractive moderne structure next to the Coraopolis Bridge on Route 51 is one of a couple attractive old gas station buildings in Coraopolis, PA.
Our former office lobby with our 100% original Royalchrome suite, purchased between 1937 and 1941-42, in the Art Deco/Streamline Moderne style. The cushions are the original "Tuf Tex" leatherette, with original cotton batting filling.
Parc du Château de Nogent-le-Roi (Sculpture de Nicolas Sanhes)
Pentax K5 + DA 15mm F4 Limited + Heliopan ND 3.0 Filter @ F22 30 sec. 80 ISO
The Pinakothek der Moderne is a modern art museum, situated in the Munich city cente. Together with its two predecessors Alte Pinakothek and Neue Pinakothek as well as the Museum Brandhorst, the Antikensammlungen, the Glyptothek, the Städtische Galerie im Lenbachhaus and the new joint building of the Ägyptisches Museum it is part of Munich's "Kunstareal" (the "art district").
Designed by the German Architect Stephan Braunfels, the Pinakothek der Moderne was inaugurated in September 2002 after seven years of construction. The rectilinear facade, dominated by white and grey concrete, is interrupted by large windows and highrising columns, the latter supporting the extensive canopied roof. Each of the four corners of the building, connected by a central rotunda, is dedicated to a special collection. The Museum is divided into Art (Kunst), Architecture (Architektur), Design (Design) and Works on Paper (Graphik).
Dresden - house view from the backside. /
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Bizarrer Fassaden-Blick im Hinterhof. Nur ein kleiner Ausschnitt von einem größeren Komplex.
(Ob August der Starke es wohl gemocht hätte??)
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Vernissage de l'exposition Trauma à l'Entrepôt Galerie du Confort Moderne - Poitiers Septembre 2011.
Au premier plan : Deadline de Christian Robert-Tissot.
Din nicio garderoba nu ar putea lipsi jachetele de dama, modele moderne si versatile care-ti permit sa fii in tendinte! Pentru tinute office de succes avem jachete tricotate, jachete drepte din stofa, jachete cu imprimeuri sau modele in culori uni, albe, fucsia, turcoaz. JACHETE DAMA MODERNE
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1970. De zeer deskundige auteur H. F. Enter, geeft in dit boek zijn visie op de vele mogelijkheden die het reizigersvervoer de modelspoorwegbouwer vanuit het NS plan 1970-1975 biedt.
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This gas station with classic moderne lines is located just east of Downtown Greenwood and fittingly stands across the street from the former Greyhound station.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.