View allAll Photos Tagged Moderne
Inmiddels Amsterdams oudste nog in dagelijkse dienst zijnde tram staat in de zomer van 2015 op het eindpunt Amstelstation in het zonnetje te genieten van een korte pauze in zijn drukke bestaan. Een drietal bestuurders geniet mee. Wie nu hier staat zal geen tram of rails meer aantreffen: die zijn verhuisd naar een plek naast het station, de bestemming zal niet meer Sloterdijk, maar Centraal Station tonen, en op deze plek ligt een busbaan.
In 2025 is de normale standplaats van lijn 2 een spoortje opgeschoven, is lijn 5 hier niet meer te vinden - datzelfde geldt voorlopig ook voor lijn 13- en kent het Stationsplein uitsluitend Combino's in de normale dienst. De gevel van het CS is weer eens uit de steigers ( al weet niemand voor hoelang deze keer..) en de haltepalen zijn vervangen door elektronische schermen.
Tegen de hoog oprijzende achtergrond van de Zuidas staat een koppelstel van lijn 25 op de Strawinskylaan bij Station Zuid klaar voor vertrek naar Amstelveen. De tram past naadloos in het decor van het moderne Amsterdam...
Deel 3 van een korte serie avondopnamen van de Amsterdamse tram.
MODERN TIMES
Surrounded by high-rise offices and business centres a two-set CAF Urbos tram on line 25 is about to depart from it's stop at Amsterdam South railway station enroute to the adjecent city of Amstelveen. The tram fits seamlessly into the background of "Modern Amsterdam"...
Trams in hun omgeving vormen samen het album Tram-o-Rama, dat HIER te vinden is:
www.flickr.com/photos/meijkie/albums/72157718503889369
En nog veel meer CAF trams zijn HIER te zien:
The Hotel Breakwater South Beach is one of the most recognizable landmarks in Miami’s Art Deco Historic District, celebrated for its symmetrical design and iconic neon-lit vertical signage.
Design: The hotel was designed in 1936 (some records cite construction completion in 1939) by Yugoslavian architect Anton Skislewicz.
Style: It is a prime example of Streamline Moderne, a late Art Deco style characterized by clean lines, aerodynamic curves, and archetypal symmetry.
Signature Features: The building features a prominent central tower with an electric-blue sign that serves as a beacon on Ocean Drive. It originally included etched plate glass windows depicting tropical Florida scenes like flamingos and palm trees.
Post-War Boom: After serving as a training ground for military personnel during World War II, the hotel became a central part of the bustling Ocean Drive tourist scene in the mid-1940s.
Iconic Photoshoot: In the early 1980s, the rooftop terrace hosted Bruce Weber’s famous Calvin Klein Underwear photoshoot, an event credited with helping bring international attention back to the then-fading Art Deco District.
Historic Designation: In 1979, the hotel became part of the National Register of Historic Places as a contributing structure to the Miami Beach Architectural District.
Renovation: After falling into disrepair, the property was extensively renovated in 2011 by the Nakash family (founders of Jordache Jeans). The restoration combined the original Breakwater building with its neighbor, the Edison, into a 99-room boutique hotel.
Recent Developments: As of January 2026, the hotel continues to operate as a central feature of South Beach, though it recently faced financial shifts, including reports of a loan default in late 2025.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=940%20ocea...
mdpl.org/building/breakwater-hotel/
www.google.com/search?q=history+of+the+breakwater+south+b...
www.google.com/search?q=how+many+floors+does+the+breakwat...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Burj el Fateh: un des plus grands hôtels de Khartoum, le Corinthia. Construit de 2006 à 2008 par le gouvernement lybien et surnommé le "Gaddafi egg", l'oeuf de Kaddafi. Il a la forme d'une voile de bateau.
Die Pinakothek der Moderne („Pinakothek“, von griechisch: „pinax“ = „Brett“, „Platte“ bzw. (Schreib-)Tafel) an der Barer Straße im Münchner Stadtbezirk 3 Maxvorstadt vereint unter ihrem Dach vier voneinander unabhängige Museen, die in einer einzigartigen Konstellation verschiedene Bereiche der Kunst abdecken:
- die Sammlung Moderne Kunst (die ihrerseits ein Teil der Bayerischen Staatsgemäldesammlungen ist),
- Die Neue Sammlung – The International Design Museum Munich (das Staatliche Museum für angewandte Kunst),
- das Architekturmuseum der Technischen Universität München sowie
- die Staatliche Graphische Sammlung.
Die Pinakothek der Moderne gehört zum Kunstareal München, in dem eine Vielzahl kultureller Institutionen im räumlichen Umfeld zusammengefasst wird.
Klassiek Bedevaartsoord. Voor gelovigen in Welvaart. Voor Die Hards die over re ht op hebben na hard werken. Uit de tijden dat huisje boompje beestje ging om huis, aotootje, vakantie en voor durfals Echrscheiding. Effectief neemt de koopkracht van Jan Modaal af sinds 1977. Daar is 10 jaar terug een leuk rapportje over gemaakt. Eind 2021 kwam een rapport vanuit de bedevoortsoorden. Eh ja de dealers dus, hoewel dat tegenwoordig vooral met Dope wordt geassocieerd. Rond 2030 is het gedaan. Deze garage dateert uit 1927 ofzo. En heeft dus wel goede tijd gehad. Tegenwoordig verloopt de koop processie meer en meer via Internet.
Botti di acciaio contenenti il vino nuovo. Un computer mantiene costanti le temperature o le cambia a seconda della necessità
How on earth did this architectural design printed in Vienna find its way to a thrift shop in Long Beach, Washington?
Title
Der Moderne Zimmermann I. — literally “The Modern Carpenter I.”
It’s a plate from a trade/pattern portfolio meant for carpenters and joiners, showing model structures and ornament they could build and paint. The “I.” indicates the first series/part.
Imprint (lower right)
“Verlag von Friedr. Wolfrum & Co., Wien u. Leipzig.”
That is Friedrich Wolfrum & Co., Publishers, Vienna and Leipzig, an Austro-German house that around 1895–1910 issued many architect’s pattern books and Jugendstil/Secession design portfolios for builders, cabinetmakers, metalworkers, etc.
What the plate shows
A small timber garden pavilion / kiosk / veranda front—a light, display-like façade intended for a summerhouse or conservatory. At top right a vignette gives a side elevation, and the strip along the bottom gives plan/joinery hints, confirming the “for carpenters” audience.
Structure
Steep gable with a tall finial and rhythmic, bracket-like rafter tails.
Symmetrical front: glazed central door with sidelights, a square-paned transom, and a semi-circular clerestory window set into the gable.
Vertical boarding between a timber frame; a broad base plinth.
Everything is conceived as painted carpentry, not masonry—typical of garden architecture.
Decorative scheme (Jugendstil / Vienna Secession)
The decoration fuses whiplash curves with crisp geometry, the hallmark of Central-European Art Nouveau:
Curvilinear, plant-stem panels rise in S-curves along the flanking bays—classic Jugendstil “whiplash” lines (think Victor Horta or Henry van de Velde) translated into cut and painted wood strips.
A chain of roundels with stylized blossoms runs under the eaves and across the lower panels—graphic, almost printed-poster ornament.
Checkerboard squares (tiny black-and-white grids) mark the post joints and frieze breaks—an unmistakable Vienna Secession motif associated with Josef Hoffmann and Koloman Moser; it also echoes Otto Wagner’s geometric surface patterning.
The semi-circular gable window is divided into a tight orthogonal grid: geometric rationality set within an organic outline—another Secessionist juxtaposition.
Color: warm salmon/orange framing, butter-yellow infill, and grey-green glazing—a restrained, poster-like palette typical of turn-of-the-century Secession graphics.
How it fits on the Continent
In the German-speaking world this synthesis of chalet carpentry with modern ornament was promoted in trade portfolios titled exactly like this: Der Moderne Zimmermann (“The Modern Carpenter”), Der Moderne Tischler (“…Joiner”), etc., aimed at upgrading everyday garden architecture, bandstands, kiosks, and storefronts.
The Vienna Secession influence shows in the squared grids, checkerboards, and planar, board-on-frame construction—close to Hoffmann’s and Moser’s designs for the Wiener Werkstätte (c. 1903–09) and Otto Wagner’s geometric decoration.
The whiplash vines and floral roundels connect it to broader Jugendstil tendencies in Munich and Darmstadt (compare pavilions on the Mathildenhöhe artists’ colony, 1901–08), while the timber expression and polychromy keep one foot in the Swiss/German “chalet” garden-house tradition.
Similar illustrated pavilions appear in French and Belgian Art Nouveau, but those tend to use iron and glass; the all-wood, painted treatment here is distinctly Central European and trade-book oriented.
Purpose
The ornamental joinery detail strip at the bottom of the plate appears less a functional building guide than a sophisticated visual allusion to the publication’s purpose. Rather than providing a buildable plan, it gestures toward the world of workshop execution, signaling that this is a trade-oriented design while remaining largely symbolic.
This kind of stylized flourish was typical of folios like Der Moderne Zimmermann, which were aimed at skilled carpenters looking for inspiration and stylistic direction, not construction-ready blueprints. The presence of the Roman numeral “I.” in the title suggests the plate was originally part of a larger loose-leaf portfolio series—likely the first in a sequence issued by Friedrich Wolfrum & Co., a major Viennese and Leipzig-based publisher of Secession-era design books and pattern sheets for tradesmen.
While such firms did not typically sell detailed architectural plans by mail, they did disseminate these richly printed plates—often chromolithographs—as catalogues of ornament and facade design, which could be ordered individually or by the set.
The paper backing seen here is consistent with later mounting practices for display or preservation, not an original element. Altogether, the plate represents a hybrid of trade instruction, artistic elevation, and commercial enticement—a showcase of what the “modern carpenter” could aspire to produce at the height of the Jugendstil and Vienna Secession movements.
Date
Based on the publisher, title formula, and the hybrid Jugendstil/Secession vocabulary (curves plus checkerboards and grids), an approximate date of 1900–1908 is very likely. If forced narrower, c. 1902–1906 fits the peak moment when Viennese geometric restraint was being broadcast to carpenters through precisely these plates.
In short
It’s a turn-of-the-century Jugendstil/Secession garden pavilion design, issued in a carpenter’s model portfolio by Friedrich Wolfrum & Co. (Vienna & Leipzig), marrying whiplash floral lines to Secessionist checkerboards and grids—an instructional, ready-to-copy façade for a light timber structure, c. 1902–1906.
This text is a collaboration with Chat GPT
Originally opened in 1921, the 500-seat Seminole three-story building on Krome Avenue was built for Henry Booker, Sr. and James Washington English for movies and live entertainment. The theater was heavily damaged in a 1940 fire, leaving little more than a blackened shell.
Prolific theater architect Roy A. Benjamin was hired to rebuild the Seminole, which he designed in Streamline Moderne style. The cost of the movie theater's reconstruction was around $50,000. It reopened in the fall of 1940. In addition to movies, the Seminole continued to host live entertainment, as well as beauty contests and cooking demonstrations. In the early 1970s, the Seminole has renamed the Premier Theatre and began to show Spanish-language movies. It closed in 1979 due to declining attendance.
For years, the theater sat vacantly and fell into disrepair. In 1992, when Hurricane Andrew hit the Homestead area, the Seminole was not spared, and though its walls stood, the roof was torn off and the theater's interior suffered serious damage. In 1993, the Seminole Theater's owners donated the battered theater to the city, which designed it a local historic site two years later. The building is one of the few remaining examples of Art Moderne/Art Deco style theatres in all of Miami-Dade County.
The Seminole Theater Group was organized in 1997 with the intention of restoring the theater as a performing arts venue serving the Homestead and Dade County region. It is expected to cost about $4.2 million to bring the old Seminole back to life. The Seminole Theatre was reopened on October 28, 2015.
William B Medellin Architect P.A. as the historic preservation consultant for the project was responsible for the restoration of the historic facades, including the re-painting of the exterior walls to match the original historic colors; re-installation of missing historic elements such as the historic “Starburst” fretwork over the transom entrance doors and the historic travertine wainscot using historic salvaged travertine found at the Theater’s storage room. The interior lobby stairs and railings were the only original historic interior elements remaining in the building.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Homestead_Historic_Downtown_District
seminoletheatre.org/about/seminole-theatre-history
wbmarchitect.com/portfolio-posts/the-seminole-theater/
www.google.com/search?q=how+many+floors+does+the+seminole...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Een werkwagen voor van alles van de Wiener Linien waarvan ze een heel stel hebben. Op de overgang van Rennweg naar Schwarzenbergplatz.
A modern type of works car of the Vienna Tram Company.
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.
Strasbourg (Bas-Rhin) - Musée d'Art moderne et contemporain - "Inclusion" (Victor Brauner, 1903-1966)
Huile sur toile, 1961
fr.wikipedia.org/wiki/Victor_Brauner
fr.wikipedia.org/wiki/Mus%C3%A9e_d%27Art_moderne_et_conte...
Autres oeuvres de Victor Brauner :
Pinakothek der Moderne, located in Munich, offers a great stage for Architecture Photography. On Wednesdays, the entrance is for free!
La gare de Oriente, ou encore Gare Intermodale de Lisbonne (GIL) (portugais : gare intermodal de Lisboa) est une des gares ferroviaires et routières les plus importantes de Lisbonne. Le projet a été confié à l’architecte espagnol Santiago Calatrava, et il fut achevé en 1998 pour l’Expo '98. Elle dessert maintenant le Parque das Nações (parc des nations).
Architecte et ingénieur, par ailleurs sculpteur, peintre et céramiste, Santiago Calatrava Valls est célèbre sous le nom de Santiago Calatrava.
Santiago Calatrava a suivi des études primaires et secondaires à Valence. À huit ans, il entre à l'école des arts et métiers pour y apprendre le dessin et la peinture. A 13 ans, sa famille profite de l'ouverture des frontières pour l'envoyer à Paris dans le cadre d'un échange scolaire. Par la suite, il voyage et étudie également en Suisse. Après ses études secondaires à Valence, il part pour Paris dans l'intention de s'inscrire à l'École des Beaux-Arts ; mais lorsqu'il arrive en juin 1968, il doit renoncer à son projet. Il retourne à Valence et s'inscrit à l'Escuela Tecnica Superior de Arquitectura, une institution relativement récente, où il obtient un diplôme d'architecture et suit un cours d'urbanisme. Pendant sa scolarité, il entreprend aussi des projets indépendants avec un groupe de condisciples, publiant deux livres consacrés à l'architecture vernaculaire de Valence et d'Ibiza.
Attiré par la rigueur mathématique de certains grands ouvrages de l'architecture historique, et sentant que ses travaux à Valence ne lui donnaient pas d'orientation claire, Calatrava décide de poursuivre des études de 3e cycle en génie civil et s'inscrit en 1975 à l'EPFZ (École polytechnique fédérale de Zurich). Il obtient son diplôme d'ingénieur en 1979. C'est à cette époque qu'il rencontre puis épouse sa femme, étudiante en droit à Zurich.
Après ses études, Calatrava occupe un poste d'assistant à l'EPFZ et commence à accepter de modestes commandes de génie civil, telles que la conception du toit d'une bibliothèque ou d'un balcon pour une résidence privée. Il commence également à répondre aux concours, persuadé qu'il s'agit du meilleur moyen de s'assurer des commandes. Il gagne son premier concours en 1983, pour la conception et la construction de la gare de Stadelhofen à Zurich, la ville où il installe son agence.
En 1984, Calatrava a dessiné et construit le Pont Bach de Roda, commandé pour les Jeux olympiques de Barcelone. Ce fut le début des projets de ponts qui établirent sa réputation internationale. Parmi les autres ponts remarquables qui suivirent, il y eut :
le pont de l'Alamillo, commandés pour l'Exposition universelle de Séville (1987-1992) ;
le Campo Volantin Footbridge à Bilbao (1990-1997) ;
le pont Alameda et une station de métro à Valence (1991-95).
Calatrava inaugura l'antenne parisienne de son agence, en 1989, alors qu'il travaillait sur le projet de la gare de Lyon-Saint-Exupéry TGV (1989-94). Depuis mai 2004, l'agence de Paris est fermée après le licenciement de tous les collaborateurs. Il ouvre son troisième bureau, à Valence, en 1991 pour faciliter ses travaux sur un concours, celui de la Cité des Arts et des Sciences à Valence (en cours), un très grand projet de complexe culturel et d'intervention urbaine. Parmi les autres projets publics importants, de la fin des années 1980 au milieu des années 1990, on peut citer :
le BCE Place mall à Toronto (1987-1992) ;
la gare d'Orient à Lisbonne (1993-1998, commandée pour l'Expo '98) ;
et sa proposition retenue, mais le projet n'a pas été réalisé, pour la cathédrale Saint John the Divine à New York (1991),
Les expositions des œuvres de Calatrava commencent en 1985, avec la présentation de neuf de ses sculptures dans une galerie d'art de Zurich. Deux expositions ont marqué une nouvelle étape dans la reconnaissance de son activité artistique : une rétrospective à l'Institut royal des architectes britanniques (Royal Institute of British Architects), à Londres, en 1992, et l'exposition Structure and Expression au Museum of Modern Art de New York, en 1993. La dernière exposition comprenait l'installation dans le Sculpture Garden of Shadow Machine du musée d'une sculpture monumentale avec des « doigts » ondulants en béton. L'exposition la plus complète consacrée à son œuvre fut Santiago Calatrava : artiste, architecte, ingénieur, présentée au palais Strozzi à Florence, en Italie (2000-2001). Des expositions comparables furent montées en 2001 à Dallas, au Texas (à l'occasion de l'inauguration du nouveau Meadows Museum) et à Athènes, à la Galerie nationale, Musée Alexandro Soutzos.
WIkipedia
Gezien het verbindingsstreepje tussen de twee woorden was dat het product dat hier werd gefabriceerd.
De voormalige mouterij Hendrickx-Crijns staat in de Stationsstraat te Swalmen. De mouterij bestaat uit verschillende volumes, gebouwd tussen 1880 en 1953. Het woonhuis en het oudste deel van de fabriek zijn gebouwd in opdracht van de eerste eigenaar Ramakers. De familie Hendrickx-Crijns kocht de mouterij met woning in 1912. Rijksmonument 524397.
Nadat het oorspronkelijke DDm1, bestaande uit 5,6 en 7-rijtuigen versies in combinatie met lok16/1800 jarenlang buitendienst had gestaan, werd door materieeltekort besloten een deel weer in dienst te nemen. Voorzien van nieuwe draaistellen en een opgefrist interieur werden met een 1700 als trek-duwkracht in totaal 11 vierwagen stammen ( met nu vaste samenstelling) op de baan gebracht en als "treinstel", genummerd in de 7200.
Ze verschenen in de treinseries 3400 en (1)4500 in Noord Holland.
Op 13 oktober 2017 is de 7208 als leeg materieel onderweg naar Amsterdam en werd vastgelegd ter hoogte van Sloterdijk.
De inzet van dit materieel eindigde definitief op 15 december 2019.
Meer spoorse foto's zie je HIER:
Columbia, SC; lots of alteration - hard to tell what's original and what's not; this is the sideview (other shots of this place for my website)
Das Museumsgebäude wurde vom niederländischen Architekten Ben van Berkel und seinem Architekturbüro UNStudio entworfen.
Der Grundriss hat die Form eines abgerundeten Reuleaux-Dreiecks mit einheitlicher Breite von 80 m. Der Innenhof wird kongruent zur äußeren Form des Gebäudes durch ein Atrium gebildet. Um das Atrium winden sich zwei schräge Ebenen in einer an die Doppelhelix der DNA angelehnten Form (Trefoil) von oben nach unten. Die dadurch entstehenden zwei Rundgänge beginnen oben und winden sich über insgesamt neun Ebenen zum Ausgang.
Vom Entwurf bis zur Realisierung bildete die Grundlage der Planung ein dreidimensionales Datenmodell, das im Verlauf der Bauzeit 50 Überarbeitungen erfuhr und insgesamt 35.000 Werkpläne generierte.
33 m weite, stützenlose Räume, die die Last von zehn Lastwagen zu tragen imstande sind, gehören ebenso zu den architektonischen Besonderheiten wie die zweifach gekrümmten tragenden Bauteile: sogenannte Twists, die in dieser Form und Größe erstmals angewendet wurden. In den Fensterbändern sind 1800 dreieckige Scheiben verbaut, von denen keine der anderen gleicht.