View allAll Photos Tagged Moderne
Erstellt mit Mandelbulber: Experimentelle Anwendung, mit der sich 3D-Mandelbrot-Fraktale – genannt Mandelbulb – rendern lassen.
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
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
Set back from the road in a simple, yet well established garden, this wonderfully sleek and stylised Art Deco mansion may be found near to Lake Wendouree in the provincial Victorian city of Ballarat.
The clean uncluttered lines of the mansion are very Streamline Moderne in design. The mansion is made almost entirely of clinker brick, with the exception of some brown feature bricks along the angular, flat roofline. It features a wide circular sun deck balcony and a very tall chimney, both signature design elements of Ballarat’s most renowned architect of the 1930s, Herbert Leslie Coburn (1891 – 1956). Built in 1939 for a well-to-do member of Ballarat’s interwar society it cost £1,800.00, no small amount of money in the late 1930s. It has very functionalist windows which flood the mansion’s rooms with light. Aside from a small amount of wrought iron balustrading, a matching grille on the front door and the small band of feature bricks, it is entirely devoid of decoration. The whole property is surrounded by its original clinker brick wall with brown feature brick decorated newel posts.
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.
The community minded Herbert Coburn was elected a Councillor with the City of Ballarat in 1938, and Mayor in 1945. Herbert’s motivation was the 'proper development and advancement of his city.' He held the position of Councillor until 1952.
On peut lire ça et là (1) : Les tensions au Proche-Orient n'en finissent plus de déborder en Europe, y compris en Suisse, notamment sur la place Saint-Laurent à Lausanne. Pour la deuxième fois en un mois, le stand des Chrétiens Amis d'Israël a été le centre d'échauffourées ce week-end : « Fin janvier, j'ai reçu un poing et on a voulu pisser sur notre drapeau, peste Emmanuel, un des animateurs. Ce samedi, une fille y a mis le feu et d'autres ont donné des coups contre notre tente ». Une plainte a été déposée. Depuis leur apparition au centre-ville en 2005, ces chrétiens se plaignent d'être souvent injuriés ou frappés par les sympathisants du Collectif Urgence Palestine. Pour éviter des bagarres, la police demande aux deux camps de ne pas se réunir au même endroit les samedi.
Moderne Haarpflege, Rastazöpfe, Verlängerung. Wien-Leopoldstadt, Austria
(= Contemporary hair care, dreadlocks, extensions.)
Tusnelda, Tochter des Cheruskerfürsten Segestes und die Gemahlin des Cheruskerfürsten Arminius.
Lippisches Landesmuseum Detmold
Until 1975, a good example of a moderne office building, completely intact down to the ground level with its handsome entranceway and streamline mezzanine. In 1975 the base was insensitively remodeled in flat travertine panels by Arthur Gensler and Associates for the Mitsubishi Bank. Although moderne in style, it is a traditional two-part vertical block in composition. The verticality of the shaft is expressed in uninterrupted vertical members that culminate in a streamline cornice. Its small but stylish marble entrance lobby that followed Miller and Pfleuger lobbies at 450 sutter, the Telephone Building, and the Stock Exchange was also remodeled at that time. The building was an early, and according to the architect and engineer, " an outstanding example of this new type of 'made-to-order' building". It was also said to be the only office building erected in downtown San Francisco between the advent of the depression and 1941, and the first in the United States since the start of the Depression. In construction it is reinforced concrete clad in limestone.
2014 occupant: America California Bank (bank was started in 1972)
2014-May-O 058
Lampade da Comò Moderne versatili e personalizzabili tramite il sito www.lampadesign.com/abatjours_da_como.html
Modern structure in bright october light
Walterboscomplex, Apeldoorn.
Architecten: Willem Jan Neutelings en Michiel Riedijk.
Questo lampadario monta una lampadina a risparmio energetico a luce calda che gli conferisce questa particolare tonalità.
Questo lampadario dal colore vivace ma tenue allo stesso tempo si adatta perfettamente anche agli ambienti più classici.
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.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally 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.
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 Dining Room is one. The Study is the other. It 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.
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.
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.
Various Art Deco/Moderne bits in London.
Claridges
www.claridges.co.uk/?infinity={io-query:infinity}&gclid=CNynyIyRoMoCFRThGwodZ-gDKA
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 new six-story hotel occupies the site of the former Fat City and China Camp restaurants that were developed in the 1970s, successors to the original art deco Top’s Nightclub that at one time hosted such artists and celebrities as Nat King Cole, Shelly Winters and Nelson Eddy, according to the Save our Heritage Organisation.
The design of the hotel includes an homage to that history, incorporating some of the art deco and glass-tile design of the original building. There is even a slender tower that replicates the one on the original Top’s club.
“The Historical Resources Board didn’t feel there was enough of the original building to designate it (historic), so they did a reproduction of the facade of the building,” said Bruce Coons, executive director of Save our Heritage. “At least we have some semblance of the place, which was one of our greatest art deco buildings we had on Pacific Highway, where at one time we had all the Streamline Moderne architecture that was supposed to go with all the aircraft manufacturing there.”
Source: www.sandiegouniontribune.com/business/tourism/sdut-hilton...