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Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
These wonderful Streamline Moderne red and brown brick flats with rounded balconies and Functonalist windowframes achieve the refreshingly sleek style that was popular in the mid to late 1930s. Unlike many Art Deco buildings which focussed on angular detail, Streamline Moderne buildings often placed emphasis on rounded edges, as though they were standing up against a great wind. The rounded concrete rendered balcony edges are prime examples of such architectural features. Aside from these and a small amount of feature brickwork, the detail on these flats is minimal.
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Montage des numéros 32, 33, 34, 35, assemblage de divers éléments du Garage Moderne: Mur droit de l'étage du batiment d'exposition, troisième partie du sol extérieur, fenêtre de l'étage du batiment d'exposition, 4ème partie du sol intérieur du garage.
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.
Montage des numéros 40, 41, 42, 43, 44, 45, 46, 47, assemblage de divers éléments du Garage Moderne: Deuxième et troisième parties des murs et fenêtres de l'étage, murs arrière porteur, charpentes et câbles électrique et trottoirs, et sol pour monte-charge.
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Maxvorstadt | Barer Straße
The Pinakothek der Moderne is one of the world's largest museums for modern and contemporary art.
Occupations
Anselm Kiefer
1969-2011
Seconde édition de Less Playboy Is More Cowboy au Confort Moderne - Juin 2011 - Poitiers.
Parking de sculptures : Deadline de Christian Robert-Tissot.
French postcard for Samson moderne (dir. unknown, Pathé frères 1908). Théâtre Pathé Grolée, Lyon.
On the fairground an unknown young man manages to conquer the wrestling champion. When after a series of adventures he is imprisoned he breaks down the walls like a modern Samson. Returned home his wife celebrates him with wine but is jealous of his force, so like a modern Delila she cuts his hair off in his sleep. Awakened, the man has lost his hair and his strength.
Source: filmographie.fondation-jeromeseydoux-pathe.com/1336-samso....
Tusnelda, Tochter des Cheruskerfürsten Segestes und die Gemahlin des Cheruskerfürsten Arminius
Lippisches Landesmuseum Detmold
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.
Notre dernière réalisation : la nouvelle identité et le nouveau site de l’Affiche Moderne !
C’est en ligne ici www.laffichemoderne.com
Here is our last work : the new graphic identity and new website for L’affiche Moderne! See it here www.laffichemoderne.com
The Villa Moderne Motel at Charlevoix, MI.
Photographed using a NIkon F5 with a 28mm-85mm Nikkor lens and Kodak Portra 400VC film.
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??)
Another view of the Casino Moderne building. The ballroom (originally the Cocoanut Grove cafe) was on the second floor with stores on the first. Built for David Schetnitz, A. Alschuler, architect.
After the Trianon Ballroom was demolished in 1967, this ballroom was renamed the New Trianon, but was only open a few months before closing for good.
Club Moderne, 801 East Park Avenue, Anaconda, Montana. The Club Moderne is a bar in Anaconda, Montana, built in the Streamline Moderne style. It was designed by architect Fred F. Willson and built by Frank Wullus in 1937 for John Francisco. The facade is clad in Carrara glass. The interior was similarly custom-designed and remains in a high state of preservation, with appropriate renovations in 1948 (unfortunately it was closed when I went by so I couldn't see inside). The building is on the National Register of Historic Places.
Pinakothek der Moderne im Herbst - Original size -
Die Pinakothek der Moderne an der Barer Straße im Münchner Stadtbezirk 3 Maxvorstadt beherbergt unter ihrem Dach vier voneinander unabhängige Museen, die in einer weltweit einzigartigen Konstellation verschiedene Bereiche der Kunst grenzüberschreitend vor Augen führen:
• die Sammlung Moderne Kunst (die ihrerseits ein Teil der Bayerischen Staatsgemäldesammlungen ist),
• Die Neue Sammlung (das Staatliche Museum für angewandte Kunst),
• das Architekturmuseum der Technischen Universität München sowie
• die Staatliche Graphische Sammlung.
Die Pinakothek der Moderne bildet mit der Alten und der Neuen Pinakothek, dem Museum Brandhorst, den Antikensammlungen, der Glyptothek und der Städtischen Galerie im Lenbachhaus das Kunstareal München. ... aus Wikipedia ...
This stylied Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury, has sadly fallen into decay since it was built.
Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa is quite large, and has its original garage behind it. The clean uncluttered lines of the house, and the speed lines around the pedement and columns of the rounded porch are very Streamline Moderne in design, as is the rounded vestibule window built of glass bricks (which would have been very chic in the mid 1930s when this villa was built). Even the swirled grille on the front door and its two flanking windows are very Art Deco in spirit, as is the original eau-de-nil colour scheme.
The whole property is surrounded by a low fence with plain pillars and wrought iron gate featuring a geometric Art Deco pattern.