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"Stratton Heights" is a large complex of Art Deco flats designed by Howard Lawson in the late 1930s for Melbourne rag trade character Harry Newport, who had a very successful clothes and fabric import business in Melbourne's Flinders Lane.
Advertised as "bachelor flats" when first built and leased, "Stratton Heights" has a very pared down masculine look about it, with Functionalist streamlined windows and a flat roof. Unlike some of its nighbouring apartment complexes, built in the 20s and 30s, it has no decorative wall treatment beyond the cream stuccoed concrete. A round tower helps to soften its look, as do the ballustrades, which owe more to the Spanish Mission style of the 30s than Functionalism or Streamline Moderne.
With a prominent terraced street frontage along Alexandra Avenue it affords splendid views overlooking the Yarra River to Richmond and the Melbourne city skyline. Harry Newport lived in the penthouse on the very top when the flats were first built, and a friend of mine who moved into "Stratton Heights" in 1945 after the Second World War (who still owns a flat sold to him by Harry Newport in the late 1950s) remembers Christmas and New Year parties held in the penthouse and its rooftop garden.
The "Stratton Heights" complex stretches right back to Davidson Street, where there is a second entrance and a driveway to the only garage, intended for use by the occupier of the penthouse.
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Va asiguram transport gratuit in Timisoara!
Un bel édifice moderne - A nice modern building
Coin/corner Boulevard Lebourgneuf et Henri Bourassa, Quebec, Canada 2017-2-12.
Aachen, Aquis Plaza und Adalbertkirche. Die Kontraste könnten nicht größer sein: Innen Ruhe und Besinnung, außen tobt das Verkehrschaos und der Konsumwahnsinn.
une excellent idée cette expo était organisée dans un village eet chaque grange avait été u-investie par un artiste qui exposait ses oeuvres
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.
The Wisconsin Consistory Building, also known as the Humpfrey Scottish Rite Masonic Center, is a historic structure in Milwaukee, Wisconsin that was built as a Romanesque-style Congregational church in 1889, then bought by a Masonic order and remodeled to an Art Moderne style in 1937. In 1994 it was listed on the National Register of Historic Places.
The frame of the Consistory building was built by Plymouth Congregational Church. Plymouth had roots in First Congregational Church, organized in 1841. In 1847 part of that congregation split off into a separate congregation which became Plymouth Congregational. By 1861 the congregation was large and wealthy, including businessmen and professionals like architect E. Townsend Mix. Under Pastor Judson Titsworth, Plymouth aimed to be a "people's church," ministering to the community with social programs like the Third Ward Mission, a boy's club, adult education, a reading room, and the Milwaukee Rescue Mission.
In 1888 Plymouth undertook the building of a new church, the frame of the current building at Van Buren and Wells. Member Mix designed a Richardsonian Romanesque-styled building. To serve the community, the building included a 1200-seat auditorium, reading rooms, a parlor, classrooms, a gym and dining facilities. Typical of the style, the foundation is rough limestone, many openings are round-arched, and chimneys were tall and ornate. The large corner tower was not typical of the style, and the design was criticized.
By 1912, many in the congregation were moving and the congregation moved to a new building near modern UW-Milwaukee. They sold the building to the Scottish Rite Masons. These masons initially called the building the Consistory Building, for the Consistory - a body within the Scottish Rite organization. Later, that body's pre-eminence declined, the building was shared equally by other Scottish Rite bodies, and the building was called the Scottish Rite Masonic Center.
The building worked well for the masons, but by the 1930s they needed more space. When other plans fell through, they hired Herbert Tullgren, a Mason himself, to design an overhaul of the exterior. Tullgren re-clad the old building with a new roof and Art Deco styling. The facade was extensively remodeled including the removal of chimneys flanking the corner dome. It covers an entire city block and contains approximately 22,000 square feet (2,000 m2). It has a chapel, an auditorium, a reception hall and a pub. In addition to Masonic purposes, it is used as a rental wedding and banquet hall.
As membership and general needs changed over the past decade, the building was eventually put up for sale and sold to a development company in October 2017 closing a 106-year history of Scottish Rite occupancy and ownership of the historic site.
Carillon Towers. Built in 1964 by architect Donald Powers Smith in the "Miami moderne" style.
The prosperity of post-World War II America is reflected in the inventive designs of the Miami Modern style. The Miami Modern style evolved from Art Deco and Streamline Moderne designs, reflecting greater modern functional simplicity. Although the style was used on various types of buildings, it is typified by futuristic-looking hotel and motels. Characteristics include the use of geometric patterns, kidney and oval shapes, curves, stylized sculpture, cast concrete decorative panels and stonework depicting marine and nautical themes, particularly at the entrances. Overhanging roof plates and projecting floor slabs with paired or clustered supporting pipe columns, as well as open-air verandas and symmetrical staircases are also typical design features.
-from historicpreservationmiami.com
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.
Rund 2,7 Millionen Menschen leiden in Deutschland an komplexen Wunden, bei rund 900.000 Patienten nehmen diese einen chronischen Verlauf. Genauso vielfältig wie Art und Ort der Wunden sind auch die Produkte zur Wundversorgung: von einfachen Wundauflagen wie Pflaster, Mullkompressen und Binden bis hin zu hydroaktiven Wundauflagen oder speziellen Kompressionsverbänden für eine moderne und phasengerechte Behandlung komplexer chronischer und schwer heilender Wunden. Moderne Wundversorgungsprodukte helfen den Patienten, Leiden zu reduzieren und die Lebensqualität zu verbessern.
Quelle: Bundesverband Medizintechnologie (BVMed)
Honorarfreie Verwendung im redaktionellen Kontext