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The 11:22 Wrexham Central to Bidston worked by BR 'Pacer' railbus unit 142 035 had just commenced its journey when recorded in February 1986. Dominating the view is the former brewery of Wrexham Lager, closed in 2000.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse
Listed Building Grade II
List Entry Number : 1145055
Date First Listed : 9 February 1983
An 18th or 19th century stone building with three storeys and a basement. There are two central doorways, sash windows, a stair window, and iron railings in front of the area.
historicengland.org.uk/listing/the-list/list-entry/114505...
en.wikipedia.org/wiki/Listed_buildings_in_Penrith%2C_Cumb...
+++++ FROM WIKIPEDIA ++++
Vitra is a Swiss family-owned furniture company with headquarters in Birsfelden, Switzerland. It is the manufacturer of the works of many internationally renowned furniture designers. Vitra is also known for the works of notable architects that make up its premises in Weil am Rhein, Germany, in particular the Vitra Design Museum.
Contents
1 History and corporate architecture
2 Awards and projects
3 Locations
4 See also
5 References
6 External links
History and corporate architecture
Factory building, Nicholas Grimshaw
Factory building and passage cover, Álvaro Siza
Vitra Design Museum, Frank Gehry
Fire station, Zaha Hadid
Vitra – founded by Willi and Erika Fehlbaum, the owner of a shopfitting business – entered the furniture market in 1957 with the licensed production of furniture from the Herman Miller Collection for the European market - primarily designs by Charles and Ray Eames and George Nelson. In 1967 the company introduced the Panton Chair by Verner Panton – the first cantilever chair out of plastic. In 1977 Rolf Fehlbaum took over the management of Vitra. In 1984 the partnership that had been formed with Herman Miller was terminated by mutual consent. Subsequently, Vitra obtained the rights to designs by Charles and Ray Eames and George Nelson for Europe and the Middle East.
Today, Vitra's product line consists of designer furniture for use in offices, homes and public areas. In 2002, the company took in the realm of domestic living. Launched in 2004, the Home Collection includes classic furniture design pieces by Charles and Ray Eames, George Nelson, Verner Panton, Alexander Girard and Jean Prouvé, as well as the works of designers such as Antonio Citterio, Jasper Morrison, Alberto Meda, Maarten van Severen, Ronan and Erwan Bouroullec, Hella Jongerius and BarberOsgerby.
After a major fire destroyed a large part of the Vitra production facilities in Weil am Rhein in 1981, British architect Nicholas Grimshaw was commissioned to design new factory buildings and develop a master plan for the company premises. Inspired by his acquaintance with Frank Gehry in the mid-1980s, however, Vitra departed from Grimshaw’s plan for a unified corporate project. Since that time, buildings have been erected on the Vitra grounds in Weil am Rhein by a wide ranging group of architects, including Frank Gehry (Vitra Design Museum and Factory Building, 1989), Zaha Hadid (Fire Station, 1993), Tadao Ando (Conference Pavilion, 1993), Alvaro Siza (Factory Building, Passage Cover, Car Parking, 1994),[1] Herzog & de Meuron (VitraHaus, 2010), and SANAA (Factory Building, 2011).
Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a museum was established as an independent foundation dedicated to the research and popularization of design and architecture. The Vitra Design Museum from 1989 by Frank Gehry was the first public building on the campus as well as the architect's first building in Europe. Today the museum is partly based on the own broad collection of 20th century furniture as well as host of visiting exhibitions.
The fire station by Zaha Hadid was the first completed building by the Iraqi architect. The building consists of a garage for fire engines, showers and locker rooms for the fire fighters and a conference room with kitchen facilities. The Fire Station is a sculpture of cast in-situ concrete that contrasts with the orthogonal order of the adjacent factory buildings like the frozen image of an explosion in a photograph. Today the building functions as an exhibition space.
In the same year, a conference pavilion of Japanese architect Tadao Ando was also constructed on the Vitra grounds. It was Ando's first work outside Japan. The calm and restrained structure encompasses an assortment of conference rooms. It is characterized by a highly ordered spatial articulation with a large part of its volume concealed below grade. A striking feature is the footpath leading to the pavilion, which has a significant association with meditation paths in the gardens of Japanese monasteries.
In the year 2000, the Campus was augmented with the addition of the Dome: a lightweight geodesic structure after Richard Buckminster Fuller, which was developed by T.C. Howard at Charter Industries in 1975 and transplanted from its original location in Detroit, USA, to Weil am Rhein. It is currently used as a space for events. In 2003, a petrol station by the French designer Jean Prouvé - originally constructed in 1953 - was moved to the Vitra Campus.
The VitraHaus by Herzog & de Meuron, the latest addition to the Vitra Campus, opened in 2010 as the company's flagship store and home of the Vitra Home Collection. The concept of the VitraHaus connects two themes that appear repeatedly in the oeuvre of the Basel-based architects: the theme of the archetypal house and the theme of stacked volumes.
In June 2014 the Vitra Slide Tower was inaugurated.
Awards and projects
Vitra's products have received numerous design-related awards by international organizations. Vitra products have been used in numerous high-profile settings, including the plenary chamber of the German Bundestag, the Tate Modern in London, the Centre Pompidou in Paris, Deutsche Bank headquarters in Frankfurt, Novartis in Basel, Dubai International Airport or the Munich International Airport.
Locations
The company's website lists national subsidiaries in Austria, Belgium, China, the Czech Republic, France, Germany, India, Japan, Mexico, the Netherlands, Norway, Spain, Sweden, Switzerland, United Kingdom and the United States. Vitra also has showrooms in numerous international cities. Production sites are located in Weil am Rhein (Germany), Neuenburg (Germany), Allentown (United States), Zhuhai (China) and Goka (Japan).
Vitra AG ist ein Schweizer Unternehmen für die Herstellung und den Handel mit Wohn- und Büromöbeln mit der Zentrale in Birsfelden, Basel-Landschaft, Schweiz. Eigenständige Filialen in 14 Ländern gehören zur Unternehmensgruppe. Am deutschen Standort in Weil am Rhein befindet sich seit 1989 das Vitra Design Museum und seit 2014 der knapp 31 Meter hohe Aussichts- und Rutschturm Vitra Slide Tower.
Inhaltsverzeichnis
1 Möbeldesign
2 Architekturpark Vitra Campus
2.1 Allgemeine Charakterisierung
2.2 Entwicklung
3 Literatur
4 Weblinks
5 Einzelnachweise
Möbeldesign
Im Alter von 20 Jahren übernahm Willi Fehlbaum (* 1914) ein Ladenbaugeschäft in Birsfelden bei Basel, das er mit seiner Frau Erika kontinuierlich zu einem Möbelbau-Unternehmen erweiterte. Nach Kriegsende verlagerte er 1950 die Produktionsstätten nach Weil am Rhein in Deutschland, ebenfalls nahe bei Basel gelegen, und nannte seine Firma Vitra. Auf einer USA-Reise 1953 entdeckte Fehlbaum die Ausstellungsstücke des Designer-Ehepaars Charles und Ray Eames. Er bemühte sich spontan um die Vertriebslizenzen und erhielt die Rechte von Herman Miller, dessen Mobiliar bereits damals ein hohes Ansehen in den USA hatte. Zu dem Vertrag zählten die Entwürfe der Eames sowie George Nelsons. Die Sitz- und Liegemöbel von Charles und Ray Eames gehören bis heute zu den erfolgreichsten Produkten des Unternehmens. Ein großer Teil des nichtschriftlichen Nachlasses der beiden Möbelentwerfer befindet sich seit 1988 im Besitz von Vitra.[2]
Designgeschichte schrieb der Panton Chair des dänischen Designers Verner Panton, der 1967 bei Vitra in Serie ging. 1976 kam Vitras erster selbst entwickelter Bürostuhl auf den Markt, der „Vitramat“.
1977 übernahm Rolf Fehlbaum die Leitung des Unternehmens, sein Bruder Raymond nahm ebenfalls eine Führungsposition ein und leitete weiterhin das Ladenbaugeschäft Vizona in Muttenz.
Entwürfe von bekannten Designern und Architekten wie Antonio Citterio, Alberto Meda, Mario Bellini, Maarten van Severen, Jasper Morrison, Ronan und Erwan Bouroullec, Hella Jongerius und Konstantin Grcic werden bei Vitra hergestellt. Bellinis samtblauer Drehstuhl-Entwurf „Figura“ wurde für den Plenarsaal des Deutschen Bundestages ausgewählt.[3]
Um die Jahrtausendwende setzte Vitra auf die Idee des offenen, mobilen Großraumbüros. Die Globalisierung erhöhe die Mobilität der Mitarbeiter, so dass entsprechend flexible Büromodule die Abkehr vom festen Arbeitsplatz erleichtern sollten. Ein halbes Jahrzehnt später modifizierte und relativierte man die These einer allgemeinen Auflösung von Arbeitsstrukturen und brachte dies im Schlagwort „Net 'n' Nest“ auf den Begriff. Demnach ist das Büro ein Zentrum der Kommunikation („Net“), das aber auch die Möglichkeit eines Rückzugs anbieten sollte („Nest“).[4][5]
Charles Eames: Lounge Chair, 1956
Verner Panton: Panton, 1959-60
Joe Colombo: Tubo, 1969
Maarten van Severen: Vitra .03 Stuhl mit integrierten Blattfedern,
Flämisches Parlament in Brüssel, 2005
Mario Bellini: Figura (als Bestuhlung des Bundestags)
Architekturpark Vitra Campus
Der Begriff „Vitra Campus“ bezeichnet das Architektur-Ensemble auf dem Firmenareal des Möbelherstellers Vitra in Weil am Rhein, Deutschland. Seit September 2015 verbindet ein Skulpturenweg mit 12 Werken des Bildhauers Tobias Rehberger die Fondation Beyeler in Riehen (Kanton Basel-Stadt, Schweiz) mit dem Architekturpark.[6] Weitere 12 Skulpturen kamen im Juni 2016 hinzu. Das Projekt heißt 24 Stops.[7][8][9][10]
Allgemeine Charakterisierung
Der Vitra Campus in Weil am Rhein umfasst Fabrikations-, Logistik- und Verwaltungsbauten des Unternehmens ebenso wie das Vitra Design Museum, weitere vorwiegend kulturell genutzte Gebäude sowie das als Schauraum und Besuchercenter konzipierte VitraHaus. Auf kleinem Raum versammelt, findet sich hier eine Vielfalt von zeitgenössischen Architekturen, die, seit 1981 schrittweise, von Architektinnen und Architekten wie Nicholas Grimshaw, Frank O. Gehry, Zaha Hadid, Tadao Andō, Álvaro Siza,[11] Herzog & de Meuron und SANAA errichtet wurden.
Der Vitra Campus zählt seit den 1990er Jahren zu den touristischen Höhepunkten in der Region Basel und wird mittlerweile jährlich von rund dreihunderttausend Besuchern aus der ganzen Welt besucht. Einzelne Bauten des Campus, insbesondere das Vitra Design Museum (Frank O. Gehry, 1989) und das Feuerwehrhaus (Zaha Hadid, 1993), gelten als Marksteine der jüngeren Architekturgeschichte.
Die Bezeichnung Vitra Campus verweist auf das Mit- bzw. Nebeneinander verschiedener architektonischer Handschriften und Konzepte sowie auf die unterschiedliche Zweckbestimmung der einzelnen Bauten.
Entwicklung
Vitra unterhält seit Anfang der 1950er Jahre einen Produktionsstandort in Weil am Rhein. Die eigentliche Geschichte des Vitra Campus begann 1981, als ein Grossbrand wesentliche Bereiche der damals bestehenden Produktionsanlagen vernichtete und das Unternehmen zwang, in kürzester Zeit neue Fabrikhallen zu bauen. Rolf Fehlbaum, der vier Jahre zuvor die Leitung der Firma übernommen hatte, erkannte die Chance, mit den notwendigen Baumaßnahmen eine architektonische Neuausrichtung zu verbinden. Nachdem der Architekt Nicholas Grimshaw innerhalb von nur sechs Monaten eine Fabrikhalle realisiert hatte, wurde er gebeten, einen Masterplan für die weitere Entwicklung des Areals zu entwerfen. Die Vorstellung war, dass in Zukunft weitere Gebäude in der gleichen Art entstehen und damit eine technisch ausgerichtete Corporate Identity unterstützen sollten.
Anlässlich des 70.Geburtstags des Vitra-Gründers Willi Fehlbaum wurde 1984 auf dem Vitra Gelände eine Großskulptur von Claes Oldenburg und Coosje van Bruggen errichtet. Mit der „Balancing Tools“ genannten Skulptur kam ein neues, die Welt der industriellen Produktion erweiterndes Element ins Spiel. Im Zuge dieses Projekts kam es zu der Begegnung von Rolf Fehlbaum mit Frank Gehry. Als Ergebnis der mit ihm geführten Diskussionen rückte Rolf Fehlbaum in den späten 1980er Jahren von der Idee einer Bebauung nach einheitlichen, wiedererkennbaren Gestaltungsgrundsätzen ab. Stattdessen verfolgte er seither einen pluralistischen Ansatz, der die Weiterentwicklung des Areals im Sinn eines gleichberechtigten Nebeneinanders unterschiedlicher Architektursprachen und -auffassungen ermöglichte.
Mit Frank O. Gehry, der bis dahin in Europa noch nicht gebaut hatte, projektierte Fehlbaum zunächst eine Fabrikhalle. Ihr sollte ein kleines Gebäude für eine Möbelsammlung vorgelagert werden. Daraus wurde das 1989 eröffnete dekonstruktivistischen Vitra Design Museum. Daneben steht das Gebäude der Pforte, das die Grenze zwischen den öffentlich zugänglichen und dem vorwiegend betrieblich genutzten Teilen des Campus markiert. Nicht weniger auffällig als Gehrys Museumsbau fiel auch das nächste Projekt auf dem Vitra Campus aus: das von Zaha Hadid entworfene, zwischen 1989 und 1993 erbaute Feuerwehrhaus. Für Zaha Hadid, die es mit ihren kühnen Architekturvisionen in Fachkreisen zu einer gewissen Bekanntheit gebracht hatte, war es der erste nach ihren Vorstellungen realisierte Entwurf. Das Feuerwehrhaus, das entgegen manchen Aussagen funktionsfähig war, wurde aufgegeben, als Vitra von der eigenen Betriebsfeuerwehr zur öffentlichen Feuerwehr überging. Heute wird der Bau für Ausstellungen und Events genutzt.
Fast als Antithese zu den expressiven Architekturskulpturen von Gehry und Hadid ist der von dem japanischen Architekten Tadao Andō geplante, ebenfalls 1993 fertiggestellte Konferenzpavillon lesbar. Dieses betont ruhige, auf klaren geometrischen Formen basierende Gebäude, das Andō in eine dem Vitra Design Museum direkt benachbarte Kirschbaumwiese integrierte, war Andōs erster außerhalb Japans realisierter Entwurf.
Den Schlusspunkt der Bauaktivitäten auf dem Vitra Campus in den 1990er Jahren setzte der portugiesische Architekt und Pritzker-Preisträger Álvaro Siza Vieira, mit einer von ihm entworfenen, 1994 vollendeten Fabrikationshalle. Der nüchterne Bau, der mit seinem roten Klinkerkleid Bezug nimmt auf die alten Fabrikgebäude des Areals, bildet einen neutralen Hintergrund, vor dem sich die Dynamik des benachbarten Feuerwehrhauses entfaltet. Imposant erscheint dagegen die ebenfalls von Siza entworfene brückenartige Dachkonstruktion, die den Weg zwischen seiner und der gegenüber liegenden Produktionshalle überspannt. An ihren Stahlträgern ist ein absenkbares Dach befestigt, das bei Regen tief liegt und damit Schutz für den Werksverkehr bietet. Bei schönem Wetter fährt es automatisch nach oben, um eine freie Sicht auf Hadids Feuerwehrhaus zu ermöglichen.
Nach der Fertigstellung von Sizas Projekten kam es für annähernd eineinhalb Jahrzehnte zu keinen weiteren Neubauten auf dem Vitra Campus, sieht man von den beiden kleinen Bushaltestellen einmal ab, die Jasper Morrison 2006 an der Charles-Eames-Strasse vor dem Vitra Areal realisierte.
Auf dem Vitra Campus befinden sich auch zwei Strukturen, die ursprünglich nicht von Vitra beauftragt wurden, hier aber eine dauerhafte Bleibe gefunden haben. Das ist zum einen ein „Dome“, der nach den Prinzipien des amerikanischen Erfinders Richard Buckminster Fuller entwickelt wurde. Diese kuppelförmige Leichtbau-Konstruktion, die 1975 von Thomas C. Howard bei Charter Industries realisiert wurde, steht seit 2000 in Weil und wird seither für Präsentationen und Veranstaltungen genutzt. Das ist zum anderen ein 1953 entstandenes modulares Fertigbau-Tankstellenhäuschen des französischen Konstrukteurs und Designers Jean Prouvé, das nach einer grundlegenden Sanierung 2003 auf dem Campus installiert wurde.
Anfang 2010 wurde das VitraHaus eröffnet, das als Besucherzentrum für den Campus dient. Das von den Basler Architekten Herzog & de Meuron entworfene Gebäude – aus scheinbar spielerisch aufeinander gestapelten, langgezogenen Giebelhäusern komponiert – ist das höchste und entsprechend schon von weitem sichtbare Bauwerk auf dem Vitra Campus. Vor dem Werksgelände von Vitra türmt sich ein zufällig angeordneter Komplex aus zwölf schwarzgrauen Satteldachhäusern auf fünf Etagen.[12][13] Das VitraHaus beherbergt einen öffentlichen Schauraum des Unternehmens, sowie einen Store, ein Café, ein „Lounge Chair Atelier“, wo Besucher der handwerklichen Entstehung des „Lounge Chair“ von Charles und Ray Eames zuschauen können, und eine für Events nutzbare Business Lounge.
Im Laufe des Jahres 2012 wurde eine von dem japanischen Architekturbüro SANAA entworfene Fabrikationshalle fertiggestellt.
Am 18./19. Juni 2014 wurde der knapp 31 Meter hohe Aussichts- und Rutschturm Vitra Rutschturm des belgischen Künstlers Carsten Höller eröffnet.
Im Juni 2016 wurde das Schaudepot des Basler Architekturbüro Herzog & de Meuron eröffnet. Es bietet Platz für rund 7000 Möbel, 1300 Leuchten und Nachlässe von Ray und Charles Eames, Verner Panton oder Alexander Girard.[14]
Das Schaudepot ist der puristische Archetyp eines Hauses, das nur aus leuchtendroten fensterlosen Ziegelwänden und einem flachen Satteldach besteht. Es erhebt sich auf einer ebenfalls aus Ziegeln bestehenden Plattform. Dieser erhöhte Vorplatz wird durch den niedrigen Seitentrakt für die Gastronomie zu einer Piazza, die das gegenüber liegende Feuerwehrhaus von Zaha Hadid einbezieht. Das eigentliche Museum besteht nur aus einem einzigen Raum mit offenen Dachstuhl. Die Wände sind weiß, der Boden hellgrau, von der Decke spenden Leuchtstoffröhren gleichförmiges Licht. In hohen Regalen werden auf drei Ebenen rund 400 Stühle aus zwei Jahrhunderten präsentiert. Dass der Neubau Lager und Museum gleichzeitig ist, verdeutlicht der Wandaufbruch an der rechten Seite, der einen Blick ins Untergeschoss des Schaudepots erlaubt. Dort lagern in Magazinräumen hinter Glastüren tausende weitere Designklassiker. [15]
The premises of the Hackethal cable company in Surabaya, Java.
Seemingly, Hackaphoon was an endeavour by the German Hackethal company and the Dutch authorities to establish a telephone cable connection between the Netherlands and the East Indies. If anyone can supply more information on Hackaphoon, please drop me a line.
Country of origin: Dutch East Indies
Seen parked up at Cumbria Fire Service's, Technical Services and Stores premises, in Dalston, Cumbria, are these three vehicles. There's a pair of Iveco Daily 65C18 van's, PX58 AMK and PX07 BCO, and then an old Volvo FL6 14 Tender, reg no. M249 RRM.
The central édifice was bought by Prince Alexandru Calimachi in 1795, to serve as princiary residence. Since 1860 it hosted the first Romanian university. After 1897 there remained only the Faculty of Medicine, which extended its premises around the old palace, during the 1930s.
In 1991 the institution has received the University status and the name of Grigore T. Popa, the famous scholar of the Functional Anatomy School. The building on the right is the Anatomy Institute, built in 1900 in the shape of a Greek temple. In the Nation Square. in the center of a Great Romania map drawn of red pavement, there is the Union Monument, which is a symbol of the 1918 unification. There is still a superstition that the students who step through the Door of Hope, former stone entrance of the Princely Court. will successfully pass their exams.
FR
L‘édifice central a été acheté par le Prince Alexandru Calimachi en 1795, afin de servir comme résidence princière. A partir de 1860 il a abrité le siège de la première université du pays. Apres 1897 ne resta ici que la Faculté de Médecine, qui a étendu ses locaux autour de |‘ancien palais, dans les années 1930.
En 1991 celle-ci a reçu le statut d'Université et le nom du célèbre représentant de l'Ecole d’Anatomie Fonctionnelle de lasi, Grigore T. Popa. A droite, se trouve l'Institut d'Anatomie, construit en 1900 sous la forme d'un temple grec. Dans la Place de la Nation, au centre d'une carte de la Grande Roumanie, mise en évidence par des paves rouges se trouve le Monument de l’Union, symbole de l'unification de la nation roumaine en 1918. Une superstition perdure, selon laquelle les étudiants qui passent par la ‘Porte de l'Espoir', entrée en pierre de |'ancienne Cour Princière, passeront leurs examens avec succès.
The Handelskammarhuset at Trädgårdsgatan was the premises for the Stockholm Chamber of Commerce , which during the years 1927-2012, for 85 years, was located at Västra Trädgårdsgatan 9 in Norrmalm .
In 1927, the Chamber of Commerce was to host a major international trade conference. Bank director Knut Agathon Wallenberg, who was the chairman of the Chamber of Commerce, believed that the Chamber of Commerce should have a state house. All the major chambers of commerce on the continent had stately buildings. Knut Wallenberg therefore bought the former 17th-century palace at Västra Trädgårdsgatan 9 from Försäkrings AB Brand-Victoria.
Before Wallenberg bought the house, which was built in 1648, the house had been owned by Professor Laurentius Stigzelius and Doctor Urban Hjärne 1668-1730, the Cederström family 1730-1778, the doctor Henrik Gahn the Elder 1778-1816, the Gahn heirs, the industrialist Henrik Gahn the Youngerand member of parliament Henric Gahn 1816-1848 and the Tamm family 1848-1878. Then the house was called Tammska huset . During the years 1878-1927, several changes of ownership and renovations took place. The house got its current exterior in a rebuild in 1905, for the wholesaler Waldemar Wallin, which was carried out by the architects David Lundegårdh and CA Danilelsson .
sv.wikipedia.org/wiki/Handelskammarhuset_vid_Tr%C3%A4dg%C...
View of the Tyne Bridge from the Quayside, Newcastle upon Tyne, July 1960 (TWAM ref. DT.TUR/4/1489A).
For another great view of the Tyne Bridge taken on the same day from Gateshead Quays see www.flickr.com/photos/twm_news/15348688270/in/set-7215764....
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
This VEB Flugzeugbau Ilyushin IL-14P is located inside the premises of the Elbe Flugzeugwerke (EFW) company at Dresden airport. It is maintained by a group of local enthusiasts who visit their aircraft each week. Until recently it was displayed alongside a MiG, but this has been relocated to another area within the EFW premises. This VEB 14 frame was actually built in 1958 inside the hangar alongside which it is now stored at DRS. It is serial number 14803026 and is preserved here since 1985.
After service with Deutsche Lufthansa and Interflug, by 1968 it had become a flight trainer until conversion to calibrator as DDR-SAL in 1981, becoming the last operational Il-14 in East Germany. It was retired in March 1984 before being flown to Dresden in March 1985 and put on display. It was painted in 1989 with the fake registration DM-ZZB advertising the 3rd party conference to resemble the first prototype. These markings were removed after reunification and the aircraft was painted in Deutsche Lufthansa DDR colours, as it is currently.
Original premises of J.H. May Ltd., a commercial model making company in the Oval (the lesser known Bethnal Green Oval, not the Kennington one).
Bedford SB13 - Duple Bella Vega C41F
New to Fallowfield & Britten ( George Ewer Group ) London N16 during May-1964 . Coming to this Operator from another Essex Operator , Laubach , Black Notley . Also too very far away !
AYL462B is parked up at the Operators premises in Braintree , Essex .
Saturday morning 06th-August-1977 .
Workbench at the premises of Smith & Pepper,Birmingham,left as it was in 1981 when the company closed doors for the last time.The building is now the Museum of the Jewelry Quarter.
Leicestershire Fire and Rescue supported by Nottinghamshire fire and rescue at 7 pump 3 areal fire at former Nightclub premises Church gate Gravel Street Burleys way Leicester 4th October 2022
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Janet's Hair Design, 21065 Coverdale Road, Bridgeville, Delaware. It looks like Janet has left the premises.
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business may only have a limited life.
This collection portrays retail outlets that in most instances have been empty long-term, some for many years, some for shorter periods of time. In the past, all these have housed thriving businesses. Yet now, they are empty with many falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the old signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Premises formerly occupied by the North of Scotland Bank (see signage above door) later to merge with Clydesdale Bank
The premises of Viceroy Coaches Saffron Walden.No sign of any vehicles so i presume operations have ceased?
The former premises of William Watt (Seedsmen) is on the Buildings at Risk Register. The building dates from 1813 - it was designed by James Gillespie Graham.
This classically inspired building at the corner of Station Road and Coal Road was originally designed as a prison and was built in 1813-1814, but it became clear quite early in its existence that it was impractical and unsuitable for the purpose. It closed as a prison in 1844 and was for a time used by the local militia. For a time in the mid-Nineteenth Century it became the property of the Edinburgh and Northern Railway Company when their line arrived in Cupar to house some of their employees. It was purchased by a seed merchant, William Watt and continued in business, close to the livestock auction mart until 1988. Latterly it was converted into a bar and restaurant, retaining the Watts name.
2024: The local planning authority advises that it is understood that the building sold in 2023, but was advertised for off-market sale as of December 2023. It also advises that a scoping study was commissioned in 2023 by Cupar Arts, Cupar Heritage & Museum and Three Estates Cupar with a view to considering the building as the site a new arts and culture centre. According to the Cupar Arts website, the building is the focus of their main campaign for 2024.
James Gillespie Graham (11 June 1776 – 21 March 1855) was a Scottish architect, prominent in the early 19th century.
House, now a commercial premises; early C18; front was remodelled in the mid-C20; further alterations, including partial rebuilding of rear additions, in the later C20.
Reasons for Designation
79 & 79A High Street, Poole, a former C18 building which has been altered to commercial premises, is listed at Grade II for the following principal reasons:
Architectural interest: * despite the degree of later intervention and losses, the building retains its external envelope and character as an urban dwelling of the C18.
Historic interest: * it is one of group of listed buildings in High Street which together demonstrate the architectural development and diversity of the town; * the building reflects Poole’s social and commercial development over time.
Details
House, now a commercial premises; early C18; front was remodelled in the mid-C20; further alterations, including partial rebuilding of rear additions, in the later C20. MATERIALS: constructed mainly of brick, rendered to the front, and may possibly incorporate some timber framing (Inventory of Dorset; Poole History Online, see Sources). The roof is covered in plain tiles and there are brick gable-end chimney stacks and a brick stack at the rear. PLAN: single-depth plan with rear additions. EXTERIOR: the building has two storeys and attics and the additions are single storey. The principal (north) elevation is four bays with two shop fronts. 79 High Street has mid-C20 plate-glass windows, a lobby entrance with a mosaic floor bearing the name MORTONS, an awning and a modern fascia. It has a, probable early C20, timber panelled stallriser and flanking pilasters with reeded mouldings. The shop front to 79A is mid-C20. On the first floor each bay at first-floor level has a timber two-light window with leaded panes set within plain recesses, and above is a coved and moulded eaves cornice. There are two rooflights which replaced earlier dormer windows, and further rooflights on the rear slope.
The Mater Infirmorum (Mother of the Sick) Hospital has been serving the people of Belfast since it admitted its first patients on 1 November 1883,[2] in premises on the Crumlin Road in Belfast, known as Bedeque House. It was initially founded by the Sisters of Mercy but has always treated patients without regard to class or creed. Between 1841 and 1891, the population of Belfast dramatically increased from 75,308 to 255,922. In 1895, the Bishop of Down and Connor Dr Patrick MacAlister arranged for expansion of the Mater Infirmorum Hospital with construction of a new building on Mountview Terrace.[2]
Name: Edwin Frankland
Arrested for: not given
Arrested at: North Shields Police Station
Arrested on: 2 November 1905
Tyne and Wear Archives ref: DX1388-1-79-Edwin Frankland
For an image of his accomplice Thomas Craigie see www.flickr.com/photos/twm_news/24927320706/in/album-72157....
The Shields Daily News for 9 November 1905 reports:
“LENIENTLY DEALT WITH.
Edwin F. Frankland (17), steamboatman, 41 Elsdon Street and Thomas Craigie (18), labourer, Bull Ring Stairs, were charged with being found on enclosed premises for an unlawful purpose on the 1st inst.
Miss Sarah Hall, a general dealer, residing and carrying on business in the Bull Ring, deposed to locking up her premises at 11.15 pm on the 31st ult. and being awakened by her sister at six o’clock the following morning and finding that the house had been entered.
Jane Hall, a sister of the prosecutrix, said that she awakened and saw Frankland standing in the door with a candle in his hand. She asked him what he wanted and he made no reply.
Sergeant Hall said that he apprehended Frankland at his house in Elsdon Street. In reply to the charge he said “Craigie forced open the shutters, drew the bolt, went inside and I followed. I struck a match and someone shouted out.” He apprehended Craigie in his mother’s house and he made no reply to the charge. The magistrates took a lenient view of the case, although the defendants pleaded guilty and dismissed the charge against them.”
These images are a selection from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 in the collection of Tyne & Wear Archives (TWA ref DX1388/1).
This set contains mugshots of boys and girls under the age of 21. This reflects the fact that until 1970 that was the legal age of majority in the UK.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
‘Scene’ on a PSV Circle Organised Visit.
At the Premises of ‘Vision Buses Ltd’. (VB) 3, Blackrod, Bolton
on Dennis Basford’srailsroadsrunways.blogspot.co.uk’
The PSV Circle (of which I have been a member for some years) aims to hold an Annual General Meeting in a different location in the UK every year.
Usually held at a weekend, they also include visits to operators and other bus related venues for the attending members to visit and enjoy.
This year, the location being in the North West of England centred on the Holiday Inn Express, Preston.
Friend Peter Rose joined me for what turned out to be a sometimes wet, but very enjoyable weekend.
As we have done before, we have combined all the images we have gathered.
The credits being joint D.Basford/P.M.Rose.
New to ‘Star Travel’ Ossett, West Yorkshire No. ST8 but acquired from ‘Selwyns’ No. 286.
‘Scene’ on a PSV Circle Organised Visit
At the Premises of ‘ATLANTIC TRAVEL (GB) Ltd’., Bolton 1
on Dennis Basford’srailsroadsrunways.blogspot.co.uk’
The tenth blog of ten, posted over ten consecutive days.
More, later in the week.
The PSV Circle (of which I have been a member for some years) aims to hold an Annual General Meeting in a different location in the UK every year.
Usually held at a weekend, they also include visits to operators and other bus related venues for the attending members to visit and enjoy.
This year, the location being in the North West of England centred on the Holiday Inn Express, Preston.
Friend Peter Rose joined me for what turned out to be a sometimes wet, but very enjoyable weekend.
As we have done before, we have combined all the images we have gathered.
The credits being joint D.Basford/P.M.Rose.
‘ATLANTIC TRAVEL (GB) Ltd’., has a history dating back to 2007 and in that time have gathered together a very well kept fleet.
Coincidentally, their depot is located next door to that of ‘Diamond Bus (North West) Ltd’.
This bus was to be our transport on both the Saturday and Sunday afternoons.
The building was originally the premises of the first bank in Dubbo, erected by the Commercial Banking Company of Sydney. The building was constructed in 1867 to the design of the Architect Hilley.
Styled in a restrained Italianate manner, the dressed sandstone facades of the building are almost severe, lightened only by round-headed window openings arranged in pairs on the Macquarie Street facade and in triad on the Bultje Street facade, string courses at first floor level and rusticated quoins. The iron roof is obscured by the substantial projecting cornice. The building is two storeys and has an extensive cellar. Much of the original interior is intact; lath and plaster walls and ceilings.
For many years it was Dubbo's finest building and the only bank until 1876. When the bank moved further north the building became the offices of Talbragar Shire Council, established in 1907.
In December 1979 the Dubbo Council and Dubbo Museum and Historical Society advised the Heritage Council that the Talbragar Shire Building was under threat of demolition and requested protection under the Heritage Act 1977. Following the amalgamation of Dubbo and Talbragar, the future of the building was uncertain. To provide security to the building an Interim Conservation Order was placed over the building on the 2nd of May 1980.
In recognition as an important item of the State Environmental Heritage and to ensure the protection of the building a Permanent Conservation Order was placed over the building on the 23rd of July 1982.
It was transferred to the State Heritage Register on the 2nd of April 1999.
Source: New South Wales Heritage Register.
+++++ FROM WIKIPEDIA ++++
Vitra is a Swiss family-owned furniture company with headquarters in Birsfelden, Switzerland. It is the manufacturer of the works of many internationally renowned furniture designers. Vitra is also known for the works of notable architects that make up its premises in Weil am Rhein, Germany, in particular the Vitra Design Museum.
Contents
1 History and corporate architecture
2 Awards and projects
3 Locations
4 See also
5 References
6 External links
History and corporate architecture
Factory building, Nicholas Grimshaw
Factory building and passage cover, Álvaro Siza
Vitra Design Museum, Frank Gehry
Fire station, Zaha Hadid
Vitra – founded by Willi and Erika Fehlbaum, the owner of a shopfitting business – entered the furniture market in 1957 with the licensed production of furniture from the Herman Miller Collection for the European market - primarily designs by Charles and Ray Eames and George Nelson. In 1967 the company introduced the Panton Chair by Verner Panton – the first cantilever chair out of plastic. In 1977 Rolf Fehlbaum took over the management of Vitra. In 1984 the partnership that had been formed with Herman Miller was terminated by mutual consent. Subsequently, Vitra obtained the rights to designs by Charles and Ray Eames and George Nelson for Europe and the Middle East.
Today, Vitra's product line consists of designer furniture for use in offices, homes and public areas. In 2002, the company took in the realm of domestic living. Launched in 2004, the Home Collection includes classic furniture design pieces by Charles and Ray Eames, George Nelson, Verner Panton, Alexander Girard and Jean Prouvé, as well as the works of designers such as Antonio Citterio, Jasper Morrison, Alberto Meda, Maarten van Severen, Ronan and Erwan Bouroullec, Hella Jongerius and BarberOsgerby.
After a major fire destroyed a large part of the Vitra production facilities in Weil am Rhein in 1981, British architect Nicholas Grimshaw was commissioned to design new factory buildings and develop a master plan for the company premises. Inspired by his acquaintance with Frank Gehry in the mid-1980s, however, Vitra departed from Grimshaw’s plan for a unified corporate project. Since that time, buildings have been erected on the Vitra grounds in Weil am Rhein by a wide ranging group of architects, including Frank Gehry (Vitra Design Museum and Factory Building, 1989), Zaha Hadid (Fire Station, 1993), Tadao Ando (Conference Pavilion, 1993), Alvaro Siza (Factory Building, Passage Cover, Car Parking, 1994),[1] Herzog & de Meuron (VitraHaus, 2010), and SANAA (Factory Building, 2011).
Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a museum was established as an independent foundation dedicated to the research and popularization of design and architecture. The Vitra Design Museum from 1989 by Frank Gehry was the first public building on the campus as well as the architect's first building in Europe. Today the museum is partly based on the own broad collection of 20th century furniture as well as host of visiting exhibitions.
The fire station by Zaha Hadid was the first completed building by the Iraqi architect. The building consists of a garage for fire engines, showers and locker rooms for the fire fighters and a conference room with kitchen facilities. The Fire Station is a sculpture of cast in-situ concrete that contrasts with the orthogonal order of the adjacent factory buildings like the frozen image of an explosion in a photograph. Today the building functions as an exhibition space.
In the same year, a conference pavilion of Japanese architect Tadao Ando was also constructed on the Vitra grounds. It was Ando's first work outside Japan. The calm and restrained structure encompasses an assortment of conference rooms. It is characterized by a highly ordered spatial articulation with a large part of its volume concealed below grade. A striking feature is the footpath leading to the pavilion, which has a significant association with meditation paths in the gardens of Japanese monasteries.
In the year 2000, the Campus was augmented with the addition of the Dome: a lightweight geodesic structure after Richard Buckminster Fuller, which was developed by T.C. Howard at Charter Industries in 1975 and transplanted from its original location in Detroit, USA, to Weil am Rhein. It is currently used as a space for events. In 2003, a petrol station by the French designer Jean Prouvé - originally constructed in 1953 - was moved to the Vitra Campus.
The VitraHaus by Herzog & de Meuron, the latest addition to the Vitra Campus, opened in 2010 as the company's flagship store and home of the Vitra Home Collection. The concept of the VitraHaus connects two themes that appear repeatedly in the oeuvre of the Basel-based architects: the theme of the archetypal house and the theme of stacked volumes.
In June 2014 the Vitra Slide Tower was inaugurated.
Awards and projects
Vitra's products have received numerous design-related awards by international organizations. Vitra products have been used in numerous high-profile settings, including the plenary chamber of the German Bundestag, the Tate Modern in London, the Centre Pompidou in Paris, Deutsche Bank headquarters in Frankfurt, Novartis in Basel, Dubai International Airport or the Munich International Airport.
Locations
The company's website lists national subsidiaries in Austria, Belgium, China, the Czech Republic, France, Germany, India, Japan, Mexico, the Netherlands, Norway, Spain, Sweden, Switzerland, United Kingdom and the United States. Vitra also has showrooms in numerous international cities. Production sites are located in Weil am Rhein (Germany), Neuenburg (Germany), Allentown (United States), Zhuhai (China) and Goka (Japan).
Vitra AG ist ein Schweizer Unternehmen für die Herstellung und den Handel mit Wohn- und Büromöbeln mit der Zentrale in Birsfelden, Basel-Landschaft, Schweiz. Eigenständige Filialen in 14 Ländern gehören zur Unternehmensgruppe. Am deutschen Standort in Weil am Rhein befindet sich seit 1989 das Vitra Design Museum und seit 2014 der knapp 31 Meter hohe Aussichts- und Rutschturm Vitra Slide Tower.
Inhaltsverzeichnis
1 Möbeldesign
2 Architekturpark Vitra Campus
2.1 Allgemeine Charakterisierung
2.2 Entwicklung
3 Literatur
4 Weblinks
5 Einzelnachweise
Möbeldesign
Im Alter von 20 Jahren übernahm Willi Fehlbaum (* 1914) ein Ladenbaugeschäft in Birsfelden bei Basel, das er mit seiner Frau Erika kontinuierlich zu einem Möbelbau-Unternehmen erweiterte. Nach Kriegsende verlagerte er 1950 die Produktionsstätten nach Weil am Rhein in Deutschland, ebenfalls nahe bei Basel gelegen, und nannte seine Firma Vitra. Auf einer USA-Reise 1953 entdeckte Fehlbaum die Ausstellungsstücke des Designer-Ehepaars Charles und Ray Eames. Er bemühte sich spontan um die Vertriebslizenzen und erhielt die Rechte von Herman Miller, dessen Mobiliar bereits damals ein hohes Ansehen in den USA hatte. Zu dem Vertrag zählten die Entwürfe der Eames sowie George Nelsons. Die Sitz- und Liegemöbel von Charles und Ray Eames gehören bis heute zu den erfolgreichsten Produkten des Unternehmens. Ein großer Teil des nichtschriftlichen Nachlasses der beiden Möbelentwerfer befindet sich seit 1988 im Besitz von Vitra.[2]
Designgeschichte schrieb der Panton Chair des dänischen Designers Verner Panton, der 1967 bei Vitra in Serie ging. 1976 kam Vitras erster selbst entwickelter Bürostuhl auf den Markt, der „Vitramat“.
1977 übernahm Rolf Fehlbaum die Leitung des Unternehmens, sein Bruder Raymond nahm ebenfalls eine Führungsposition ein und leitete weiterhin das Ladenbaugeschäft Vizona in Muttenz.
Entwürfe von bekannten Designern und Architekten wie Antonio Citterio, Alberto Meda, Mario Bellini, Maarten van Severen, Jasper Morrison, Ronan und Erwan Bouroullec, Hella Jongerius und Konstantin Grcic werden bei Vitra hergestellt. Bellinis samtblauer Drehstuhl-Entwurf „Figura“ wurde für den Plenarsaal des Deutschen Bundestages ausgewählt.[3]
Um die Jahrtausendwende setzte Vitra auf die Idee des offenen, mobilen Großraumbüros. Die Globalisierung erhöhe die Mobilität der Mitarbeiter, so dass entsprechend flexible Büromodule die Abkehr vom festen Arbeitsplatz erleichtern sollten. Ein halbes Jahrzehnt später modifizierte und relativierte man die These einer allgemeinen Auflösung von Arbeitsstrukturen und brachte dies im Schlagwort „Net 'n' Nest“ auf den Begriff. Demnach ist das Büro ein Zentrum der Kommunikation („Net“), das aber auch die Möglichkeit eines Rückzugs anbieten sollte („Nest“).[4][5]
Charles Eames: Lounge Chair, 1956
Verner Panton: Panton, 1959-60
Joe Colombo: Tubo, 1969
Maarten van Severen: Vitra .03 Stuhl mit integrierten Blattfedern,
Flämisches Parlament in Brüssel, 2005
Mario Bellini: Figura (als Bestuhlung des Bundestags)
Architekturpark Vitra Campus
Der Begriff „Vitra Campus“ bezeichnet das Architektur-Ensemble auf dem Firmenareal des Möbelherstellers Vitra in Weil am Rhein, Deutschland. Seit September 2015 verbindet ein Skulpturenweg mit 12 Werken des Bildhauers Tobias Rehberger die Fondation Beyeler in Riehen (Kanton Basel-Stadt, Schweiz) mit dem Architekturpark.[6] Weitere 12 Skulpturen kamen im Juni 2016 hinzu. Das Projekt heißt 24 Stops.[7][8][9][10]
Allgemeine Charakterisierung
Der Vitra Campus in Weil am Rhein umfasst Fabrikations-, Logistik- und Verwaltungsbauten des Unternehmens ebenso wie das Vitra Design Museum, weitere vorwiegend kulturell genutzte Gebäude sowie das als Schauraum und Besuchercenter konzipierte VitraHaus. Auf kleinem Raum versammelt, findet sich hier eine Vielfalt von zeitgenössischen Architekturen, die, seit 1981 schrittweise, von Architektinnen und Architekten wie Nicholas Grimshaw, Frank O. Gehry, Zaha Hadid, Tadao Andō, Álvaro Siza,[11] Herzog & de Meuron und SANAA errichtet wurden.
Der Vitra Campus zählt seit den 1990er Jahren zu den touristischen Höhepunkten in der Region Basel und wird mittlerweile jährlich von rund dreihunderttausend Besuchern aus der ganzen Welt besucht. Einzelne Bauten des Campus, insbesondere das Vitra Design Museum (Frank O. Gehry, 1989) und das Feuerwehrhaus (Zaha Hadid, 1993), gelten als Marksteine der jüngeren Architekturgeschichte.
Die Bezeichnung Vitra Campus verweist auf das Mit- bzw. Nebeneinander verschiedener architektonischer Handschriften und Konzepte sowie auf die unterschiedliche Zweckbestimmung der einzelnen Bauten.
Entwicklung
Vitra unterhält seit Anfang der 1950er Jahre einen Produktionsstandort in Weil am Rhein. Die eigentliche Geschichte des Vitra Campus begann 1981, als ein Grossbrand wesentliche Bereiche der damals bestehenden Produktionsanlagen vernichtete und das Unternehmen zwang, in kürzester Zeit neue Fabrikhallen zu bauen. Rolf Fehlbaum, der vier Jahre zuvor die Leitung der Firma übernommen hatte, erkannte die Chance, mit den notwendigen Baumaßnahmen eine architektonische Neuausrichtung zu verbinden. Nachdem der Architekt Nicholas Grimshaw innerhalb von nur sechs Monaten eine Fabrikhalle realisiert hatte, wurde er gebeten, einen Masterplan für die weitere Entwicklung des Areals zu entwerfen. Die Vorstellung war, dass in Zukunft weitere Gebäude in der gleichen Art entstehen und damit eine technisch ausgerichtete Corporate Identity unterstützen sollten.
Anlässlich des 70.Geburtstags des Vitra-Gründers Willi Fehlbaum wurde 1984 auf dem Vitra Gelände eine Großskulptur von Claes Oldenburg und Coosje van Bruggen errichtet. Mit der „Balancing Tools“ genannten Skulptur kam ein neues, die Welt der industriellen Produktion erweiterndes Element ins Spiel. Im Zuge dieses Projekts kam es zu der Begegnung von Rolf Fehlbaum mit Frank Gehry. Als Ergebnis der mit ihm geführten Diskussionen rückte Rolf Fehlbaum in den späten 1980er Jahren von der Idee einer Bebauung nach einheitlichen, wiedererkennbaren Gestaltungsgrundsätzen ab. Stattdessen verfolgte er seither einen pluralistischen Ansatz, der die Weiterentwicklung des Areals im Sinn eines gleichberechtigten Nebeneinanders unterschiedlicher Architektursprachen und -auffassungen ermöglichte.
Mit Frank O. Gehry, der bis dahin in Europa noch nicht gebaut hatte, projektierte Fehlbaum zunächst eine Fabrikhalle. Ihr sollte ein kleines Gebäude für eine Möbelsammlung vorgelagert werden. Daraus wurde das 1989 eröffnete dekonstruktivistischen Vitra Design Museum. Daneben steht das Gebäude der Pforte, das die Grenze zwischen den öffentlich zugänglichen und dem vorwiegend betrieblich genutzten Teilen des Campus markiert. Nicht weniger auffällig als Gehrys Museumsbau fiel auch das nächste Projekt auf dem Vitra Campus aus: das von Zaha Hadid entworfene, zwischen 1989 und 1993 erbaute Feuerwehrhaus. Für Zaha Hadid, die es mit ihren kühnen Architekturvisionen in Fachkreisen zu einer gewissen Bekanntheit gebracht hatte, war es der erste nach ihren Vorstellungen realisierte Entwurf. Das Feuerwehrhaus, das entgegen manchen Aussagen funktionsfähig war, wurde aufgegeben, als Vitra von der eigenen Betriebsfeuerwehr zur öffentlichen Feuerwehr überging. Heute wird der Bau für Ausstellungen und Events genutzt.
Fast als Antithese zu den expressiven Architekturskulpturen von Gehry und Hadid ist der von dem japanischen Architekten Tadao Andō geplante, ebenfalls 1993 fertiggestellte Konferenzpavillon lesbar. Dieses betont ruhige, auf klaren geometrischen Formen basierende Gebäude, das Andō in eine dem Vitra Design Museum direkt benachbarte Kirschbaumwiese integrierte, war Andōs erster außerhalb Japans realisierter Entwurf.
Den Schlusspunkt der Bauaktivitäten auf dem Vitra Campus in den 1990er Jahren setzte der portugiesische Architekt und Pritzker-Preisträger Álvaro Siza Vieira, mit einer von ihm entworfenen, 1994 vollendeten Fabrikationshalle. Der nüchterne Bau, der mit seinem roten Klinkerkleid Bezug nimmt auf die alten Fabrikgebäude des Areals, bildet einen neutralen Hintergrund, vor dem sich die Dynamik des benachbarten Feuerwehrhauses entfaltet. Imposant erscheint dagegen die ebenfalls von Siza entworfene brückenartige Dachkonstruktion, die den Weg zwischen seiner und der gegenüber liegenden Produktionshalle überspannt. An ihren Stahlträgern ist ein absenkbares Dach befestigt, das bei Regen tief liegt und damit Schutz für den Werksverkehr bietet. Bei schönem Wetter fährt es automatisch nach oben, um eine freie Sicht auf Hadids Feuerwehrhaus zu ermöglichen.
Nach der Fertigstellung von Sizas Projekten kam es für annähernd eineinhalb Jahrzehnte zu keinen weiteren Neubauten auf dem Vitra Campus, sieht man von den beiden kleinen Bushaltestellen einmal ab, die Jasper Morrison 2006 an der Charles-Eames-Strasse vor dem Vitra Areal realisierte.
Auf dem Vitra Campus befinden sich auch zwei Strukturen, die ursprünglich nicht von Vitra beauftragt wurden, hier aber eine dauerhafte Bleibe gefunden haben. Das ist zum einen ein „Dome“, der nach den Prinzipien des amerikanischen Erfinders Richard Buckminster Fuller entwickelt wurde. Diese kuppelförmige Leichtbau-Konstruktion, die 1975 von Thomas C. Howard bei Charter Industries realisiert wurde, steht seit 2000 in Weil und wird seither für Präsentationen und Veranstaltungen genutzt. Das ist zum anderen ein 1953 entstandenes modulares Fertigbau-Tankstellenhäuschen des französischen Konstrukteurs und Designers Jean Prouvé, das nach einer grundlegenden Sanierung 2003 auf dem Campus installiert wurde.
Anfang 2010 wurde das VitraHaus eröffnet, das als Besucherzentrum für den Campus dient. Das von den Basler Architekten Herzog & de Meuron entworfene Gebäude – aus scheinbar spielerisch aufeinander gestapelten, langgezogenen Giebelhäusern komponiert – ist das höchste und entsprechend schon von weitem sichtbare Bauwerk auf dem Vitra Campus. Vor dem Werksgelände von Vitra türmt sich ein zufällig angeordneter Komplex aus zwölf schwarzgrauen Satteldachhäusern auf fünf Etagen.[12][13] Das VitraHaus beherbergt einen öffentlichen Schauraum des Unternehmens, sowie einen Store, ein Café, ein „Lounge Chair Atelier“, wo Besucher der handwerklichen Entstehung des „Lounge Chair“ von Charles und Ray Eames zuschauen können, und eine für Events nutzbare Business Lounge.
Im Laufe des Jahres 2012 wurde eine von dem japanischen Architekturbüro SANAA entworfene Fabrikationshalle fertiggestellt.
Am 18./19. Juni 2014 wurde der knapp 31 Meter hohe Aussichts- und Rutschturm Vitra Rutschturm des belgischen Künstlers Carsten Höller eröffnet.
Im Juni 2016 wurde das Schaudepot des Basler Architekturbüro Herzog & de Meuron eröffnet. Es bietet Platz für rund 7000 Möbel, 1300 Leuchten und Nachlässe von Ray und Charles Eames, Verner Panton oder Alexander Girard.[14]
Das Schaudepot ist der puristische Archetyp eines Hauses, das nur aus leuchtendroten fensterlosen Ziegelwänden und einem flachen Satteldach besteht. Es erhebt sich auf einer ebenfalls aus Ziegeln bestehenden Plattform. Dieser erhöhte Vorplatz wird durch den niedrigen Seitentrakt für die Gastronomie zu einer Piazza, die das gegenüber liegende Feuerwehrhaus von Zaha Hadid einbezieht. Das eigentliche Museum besteht nur aus einem einzigen Raum mit offenen Dachstuhl. Die Wände sind weiß, der Boden hellgrau, von der Decke spenden Leuchtstoffröhren gleichförmiges Licht. In hohen Regalen werden auf drei Ebenen rund 400 Stühle aus zwei Jahrhunderten präsentiert. Dass der Neubau Lager und Museum gleichzeitig ist, verdeutlicht der Wandaufbruch an der rechten Seite, der einen Blick ins Untergeschoss des Schaudepots erlaubt. Dort lagern in Magazinräumen hinter Glastüren tausende weitere Designklassiker. [15]
Fountains inside the premises of Chowmahalla Palace - Old Hyderabad City, Andhra Pradesh, India.
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Chowmahalla Palace or Chowmahallat (4 Palaces), was a palace belonging to the Nizams of Hyderabad state. It was the seat of the Asaf Jahi dynasty and was the official residence of the Nizam.
In Persian, Chahar means four and in Arabic Mahalat (plural of Mahal) means palaces, hence the name Chowmahallat/four palaces, or four palaces.
All ceremonial functions including the accession of the Nizams and receptions for the Governor-General were held at this palace.
The prestigious UNESCO Asia Pacific Merit award for cultural heritage conservation was presented to Chowmahalla Palace on March 15, 2010. UNESCO representative Takahiko Makino formally handed over the plaque and certificate to Princess Esra, former wife and GPA holder of Prince Mukarram Jah Bahadur.
While Salabat Jung initiated its construction in 1750, it was completed by the period of Afzal ad-Dawlah, Asaf Jah V, the V Nizam ensured its completion between 1857 and 1869.
It is believed to be modelled on Shah of Iran's palace in Tehran.
The palace is unique for its style and elegance. Building of the palace began in the late 18th century and over the decades a synthesis of many architectural styles and influences emerged.
This palace consists of two courtyards, southern courtyard and northern courtyard. They have elegant palaces, the grand Khilwat (the Durbar Hall), fountains and gardens.
The palace originally covered 45 acres (180,000 m2), but only 14 acres (57,000 m2) remain today.
The present Nizam (Barkat Ali Khan Mukarram Jah, Pretender) and his family decided to restore the Chowmahalla Palace and open it to the public in January 2005. It took over 5 years to document and restore the palaces of the first courtyard to its former glory.
Source : en.wikipedia.org/wiki/Chowmahalla_Palace
Leicestershire Fire and Rescue supported by Nottinghamshire fire and rescue at 7 pump 3 arial fire at former Nightclub premises Churchgate Gravel Street Burleys way Leicester 4th October 2022
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Western Garage, the former premises of The Sidmouth Motor Company and Dagworthy Ltd. (Station Road, Sidmouth) and how it looks now.
Wyatt & Co premises were at 67-71 Tanner Street in Bermondsey, diagonally opposite this old sign beneath the railway tracks into London Bridge station. The tin box factory has since been demolished and is being developed by DECO Design & Build.
knowyourlondon.wordpress.com/2016/02/10/wyatt-and-co-tin-...
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All Rights Reserved © 2022 Frederick Roll
Please do not use this image without prior permission
Name: Thomas Craigie
Arrested for: not given
Arrested at: North Shields Police Station
Arrested on: 2 November 1905
Tyne and Wear Archives ref: DX1388-1-79-Thomas Craigie
For an image of his accomplice Edwin Frankland see www.flickr.com/photos/twm_news/24815527135/in/album-72157....
The Shields Daily News for 9 November 1905 reports:
“LENIENTLY DEALT WITH.
Edwin F. Frankland (17), steamboatman, 41 Elsdon Street and Thomas Craigie (18), labourer, Bull Ring Stairs, were charged with being found on enclosed premises for an unlawful purpose on the 1st inst.
Miss Sarah Hall, a general dealer, residing and carrying on business in the Bull Ring, deposed to locking up her premises at 11.15 pm on the 31st ult. and being awakened by her sister at six o’clock the following morning and finding that the house had been entered.
Jane Hall, a sister of the prosecutrix, said that she awakened and saw Frankland standing in the door with a candle in his hand. She asked him what he wanted and he made no reply.
Sergeant Hall said that he apprehended Frankland at his house in Elsdon Street. In reply to the charge he said “Craigie forced open the shutters, drew the bolt, went inside and I followed. I struck a match and someone shouted out.” He apprehended Craigie in his mother’s house and he made no reply to the charge. The magistrates took a lenient view of the case, although the defendants pleaded guilty and dismissed the charge against them.”
These images are a selection from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 in the collection of Tyne & Wear Archives (TWA ref DX1388/1).
This set contains mugshots of boys and girls under the age of 21. This reflects the fact that until 1970 that was the legal age of majority in the UK.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
AEC reliance 4U3RA - Harrington Cavalier C45F
New to Yelloway , Rochdale , during June-1965 . I am unsure when it came to this Operator .
CDK855C is parked up in the yard at the Operator's premises in Glasgow , Scotland
Thursday morning 23rd-March-1978
View of the Tyne Bridge, November 1959 (TWAM ref. DT.TUR/4/1302B).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
With the premises of Stokes Forgings in Coachrane Road, Brierley Hill providing the industrial backdrop, the 6M72 22:20 FSX St Blazey to Cliffe Vale Speedlink heads through the Black Country in the West Midlands. Large logo Class 47/4 47457 'Ben Line' had 10 PBAs loaded with Cornish china clay in tow.
Delivered from BR Crewe Works as D1577 in 1964, the loco was named Ben Line in February 1986 with the plates being removed within weeks of this image being taken. It was allocated to work Thames Line NSE services in 1991 prior to withdrawal. Disposal came in in May 1997 when it was scrapped at Old Oak Common MPD.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse
The hospital closed in about 2000. Whilst the original (1816) premises of the Lancaster County Lunatic Asylum and Mental Hospital, to the south-west of Quernmore Road (off the left of the photo), have been partially demolished and redeveloped as a housing estate, the Victorian gothic 'Annexe', added in 1882 and now generally perceived as the 'main' building, remains.
I have very mixed feelings about it. Designed by Arnold Kershaw, it's an impressive building, with obvious architectural merit (and, incidentally, apart from that unit at the lower right, it really is one huge building, 250 m long), and should be saved from the bulldozers. Conversely, it represents profound unhappiness for thousands of people over the course of more than a century, and I wouldn't unreservedly regret it being torn down.
The car visible on the right is on the (commendably unobtrusive) M6 motorway.
Since I took the photo, er, seven years ago, work has considerably progressed on building an estate of houses on the land between there and the hospital, and converting the latter into apartments; when I passed last week, I noticed for the first time that at least some of those apartments seemed to be occupied.
The hospital is seen here from Quernmore Road, on the hill above Daisy Bank. Lancaster itself is over the hill behind the hospital – I doubt it's accidental that the hospital, like the modern prison nearby, was built out of sight of the city.
The snowy summit of Black Combe (600 m asl) is in the background, 44 km away at the south-western edge of the Lake District fells.
Dennis Lancet III - Reading C35F
New to this Operator during June-1949
ETP184 is parked up gathering dust within the Operator’s premises at South Petherton , Somerset
Saturday morning 07th-August-1976
The Transcontinental Hotel was constructed in 1883 - 1884. In 1879 Peter Murphy, wine and spirit merchant, leased premises in George Street from Francois Boudin. In 1881 he acquired the adjoining vacant land. On the 28th of August 1883 Peter Murphy, then publican and lessee of the Burgundy Hotel, businessman, financier of MacDonnell & East (1901) and Member of the Legislative Council (MLC, 1904 - 1922), announced by public notice in The Telegraph his intention to apply for a new publican's license and to build a new hotel on this site. Intended to accommodate passengers from the nearby railway, the Transcontinental Hotel was to comprise "16 bedrooms, 1 dining room, 1 luncheon room, 1 billiard room, 4 sitting rooms, 2 bathrooms, kitchen, store, pantry, cellar and outhouses".
On the 22nd September 1883 renowned architect Francis Drummond Greville (FDG) Stanley called tenders for the erection of a first class hotel for Peter Murphy. The new hotel, with a frontage of 74 feet and a depth of 40 feet, was four storeys high, one of which was below street level. The Brisbane Courier reported that the Transcontinental Hotel contained 27 bedrooms, seven public rooms, billiard room and a private bar". A sunshade of "ornamental design" was attached to the front and the two upper storeys had balconies four feet, six inches wide, with "ornamental iron columns, brackets, frieze and railings". The hotel offered comfortable accommodation, a first class table, with "all the delicacies of the season being provided". The bar trade was one of the largest in Brisbane, with only the best liquor carried.
In the 1880s, George Street contained most of Brisbane's inner city first-class hotels, including the Bell Vue (1886), Cosmopolitan (1887), Shakespeare (1887 - 1888), Treasury (1887 - 1888), Criterion (1883), Imperial (1885 - 1886), Lennon's (1883 - 1884), Grosvenor (1882), New Crown (188?) and the Transcontinental (1883 - 1884). Of these, the Treasury, Grosvenor and Transcontinental are the only three to have survived.
In 1906 new lessee Denis O'Connor commissioned architect, GHM Addison to design extensive alterations to the interior. At the opening ceremony of the new bar on the 30th of October 1906 the Transcontinental was declared to be "the most ornate and best equipped" hotel in Australia. In 1925 the hotel was further remodelled as part of Peter Murphy's redevelopment plans for upper George Street as a commercial precinct. Murphy's business acumen was realised by 1926 when upper George Street was declared to be "one of the most flourishing business" sectors outside of Queen Street and Fortitude Valley.
The Murphy family owned the Transcontinental Hotel until 1935 when it was sold to Castlemaine Perkins. The McCoy family were licensees from the 1930s until the 1980s. In 1988 the hotel owners, Austotel, commissioned Hampton Interiors to restore the Transcontinental. The ornate cast iron balustrading which was removed in 1965, was reinstated and the original exterior colours were repainted.
Source: Queensland Heritage Register.
This garage was apparently opposite the main premises of Days of Lowestoft, a site I have previously posted a photo of. From the Steetview it would appear that everything was later on demolished so hard to pinpoint the precise location but I always look for the most modern looking buildings as a clue so looks like it became part of the Britten centre, more precisely part of its multi story car park! The photo here was apparently taken by Alfred James Lovett, who only died a few years ago and was a photographer for the Eastern Daily Press.
www.lowestoftjournal.co.uk/news/tribute-to-former-edp-jou...
It's interesting to note that this photo was taken on the same day as the photo previously posted of their other premises opposite, here this one is a Shell branded site but the one opposite was branded National and Power. You can see that other image below.
This is, as far as I can work out, the same view in the near present day.
www.google.com/maps/@52.4765784,1.750157,3a,75y,157.17h,8...
Empty shops are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business might be short lived.
This collection portrays retail outlets that have been empty on a long-term basis. In some instances for many years. At some time, all these shops have housed thriving businesses. Yet now, for some reason, they are empty and in some instances falling into a state of disrepair and dilapidation.
Each shop has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business was last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Bristol Lodekka FS6B - ECW H60RD
New to Red & White Services ( L862) during May-1963 . Coming to this Operator during March-1976 .
8EWO is parked up in the yard at the Operator's premises in Glasgow , Scotland
Thursday morning 23rd-March-1978
Up to the "wee North" today with a fine Lawrence shot of High Street in Portadown. A fine broad street, big well-built premises, gas lamps, and horse apples in abundance - all might mean this was late 1800s...?
....Or perhaps not the late 1800s after-all. Thanks to today's contributions (and the high-res megazoom version) the community's eagle-eyes spotted an apparently dated shop-window display suggesting a date of 1906. Niall McAuley's census and street-directory investigations would seem to corroberate this - as Hoy's boot-sellers (far left) seem to have left Portadown sometime between 1901 and 1910. Perhaps the "cheap boots sale" we see advertised was actually a closing/relocation sale? Courtney (the "Italian Warehouseman"?) seems to have been around for a few years after this image. And is it no wonder he did a busy trade, given that (as advertised) he always had "pickles in stock"! :)
Photographer: Robert French
Collection: Lawrence Photograph Collection
Date: Catalogue range c.1865-1914. Possibly c.1906
NLI Ref: L_ROY_09282
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
The book of images from my "Empty Premises" project has just been published. The book contains 42 images and can be viewed on blurb here:
www.blurb.co.uk/b/4627769-empty-premises
Twelve of the images have been used in a music video. The song is "Downsizing" by Pete Fij & Terry Bickers. You can hear the song and view the video here:
The famous Overell department store was established in Brisbane in 1883 as a small drapery store in Fortitude Valley. Moving to Brisbane from Tasmania, William James Overell had opened the store with Thomas White in premises on the corner of Ann and Warner Streets which had been run as a drapery store since the mid-1860s. The partners bought a 15 perch (379.4m2) block of land fronting Brunswick Street in 1886, but did not occupy the site initially, instead leasing it to tenants. White left the business in 1889, transferring his share of the Brunswick Street site to Overell. Overell renamed the business ‘Overell’ and expanded to additional premises in Queen Street and other stores around southern Queensland. He adopted the motto ‘While we live we grow’ for the store, a statement that proved true over the following decades.
As Overell was branching out, other retailers were looking into the Valley for premises. Thomas Beirne and James McWhirter both started their drapery businesses in the centre of the Valley in the 1890s, with Foy and Gibson following, and the long-established drapers Stewart and Hemmant had a clothing factory constructed on McLachlan Street. The drapers’ stores and their competitive prices played a large role in making the Valley a vital commercial and industrial centre. By the turn of the twentieth century, helped by improvements to public transport and roads, the Valley had become a favourite shopping destination for Brisbane residents.
With the growing commercial importance of the Valley, Overell bought 28.83 perches of land (729.2m2) near the corner of Brunswick and Wickham Streets from the Bank of New South Wales in 1899. The site had a connection with the Brunswick Street property that Overell already owned, though they did not share a street front, giving the block an odd shape. An ‘exceedingly handsome building’ was designed by Addison and Corrie for the site and the firm relocated there in July 1900. The new premises caught fire and burned to the ground in February 1904, causing the death of one man, knocking out power to the trams and destroying the Bank of New South Wales premises next door.
After a dispute with Addison and Corrie, Overell engaged architects Eaton and Bates to design a replacement building. At that time the architectural firm was new to Brisbane, having shifted their Rockhampton practice to Brisbane in 1902, but had promptly designed impressive buildings, including Saint Bridgid’s Convent, Red Hill (1903), Bunburra, Clayfield (1902) and Cremorne, Hamilton (1905). Eaton and Bates also designed Swift’s Building, almost diagonally opposite Overell’s on the Valley corner, as well as the rebuilt Bank of New South Wales building on the corner (no longer extant).
The new three-storey brick building was featured in Brisbane’s newspapers on its opening on the 1st of December 1904. ‘It is a different building which has arisen from the ashes,’ wrote the Telegraph, ‘not perhaps in contour, but there is more light and ventilation, larger departments, finer windows, and generally more convenience from a public point of view.' The fire was credited with the development of the company’s trademark, the Phoenix, with the company’s new building almost literally rising from the ashes. The building had three entrances, with shopping on the ground level, furniture and delivery departments in the basement, and a workshop on the upper floor, where Overell’s ‘Phoenix’ shirts were made. Eight large display windows provided views of Overell’s wares, and a phoenix was displayed on one of three coloured glass windows at the back of the building. Pressed metal ceilings, wide staircases, suites and lunchrooms for the workers and electric lighting were all installed.
Further growth followed the opening of the new building. WJ Overell and Sons was registered as a limited liability company in August 1905, with £30,000 in capital. Factories were established in Spring Hill and South Brisbane. In May 1906 architect Claude Chambers called for tenders for additions and alterations to Overell’s Brunswick Street property. In July, William Overell purchased a further 11.53 perches of land (291.63m2) from the Bank of New South Wales, fronting Wickham Street and with a lane (now called Overells Lane) at the side. Overell’s extension plans were detailed in the Brisbane Courier in August, which noted that the new premises would be fitted with pneumatic cash carrying tubes and fire sprinklers. Plans were approved for brick and iron additions to the Overell premises, this time on Wickham Street, in September, and construction was underway by October. With the Bank of New South Wales still occupying the Wickham and Brunswick Street corner, Overell was unable to dominate the Valley Corner, but the back of the Wickham Street building was connected to the Brunswick Street shops, creating an uninterrupted shopping arcade for customers.
No architect was listed in the register of new buildings in September 1906, though Claude Chambers’ advertisements for tenders suggest that he was engaged to design the building. Chambers’ solo practice was one of the largest in Brisbane, resulting in commercial designs including Finney and Isles’ ‘Big Block’ Building (1908 - 1910) and Perry House on the corner of Elizabeth and Albert Streets (1910 - 1913). He also appears to have known William Overell personally, as both were active members of the Booroodabin Bowling Club in the early 1900s.
In March 1907 Overell held a sale to celebrate the opening of the new Wickham Street building. A kiosk provided free tea and biscuits to shoppers. The expansion enabled Overell to divide the store into departments, with the Wickham Street side devoted to male clothing while the Brunswick Street building sold women’s apparel and accessories. By 1910, Overell’s comprised twenty departments in the Valley store, and the company had branches in Charleville, Laidley and Pittsworth.
Further renovations were undertaken on Overell’s buildings in 1911. An extra storey was added to the Wickham Street frontage, bringing it to the height of the Brunswick Street shops, while the Brunswick Street store was extended at the back. Galleries were constructed inside the building, to be used as offices and for toy displays. The designer of these additions was Walter Carey Voller, a Sydney-born architect who had trained with F.D.G. Stanley and practised in Brisbane since 1891. Voller was a fellow in the Queensland Institute of Architects and had served as its president and vice-president by the time he was commissioned for Overell’s building. Voller’s design was approved in late November, although the extensions were partially completed and opened in December 1911, just in time for Christmas.
William Overell died in 1917 and his properties were transferred to the company, Overells Limited. William Overell, the first of the famous Valley drapers-turned-department store owners, had played a significant role in the development of the Valley as a commercial hub. Along with Beirne and McWhirter, the appeal of Overells’ impressive store drew customers to the Valley, providing a market for smaller businesses and entertainment venues that sprang up in the Valley in the first half of the twentieth century. Overell’s contribution to the business development of Brisbane was acknowledged with the observation that his death caused ‘a blank in Brisbane business circles’.
Management of the company passed to Overell’s eldest sons, Arthur and William, who continued the firm along the same expansionary lines. By 1923, Overells’ was a forty-year old business and had ‘the honour of being the oldest established firm in Fortitude Valley’. The company marked the occasion with the purchase of another block of land on Brunswick Street, a 15.1 perch (381.92m2) allotment adjoining the Overell store. The company extended their building along Brunswick Street and updated windows for the Wickham Street frontage, in accordance with designs by architectural firm Atkinson and Conrad.
Three storeys were added to the Wickham Street building in 1926 - 1927. The company obtained a mortgage from the National Mutual Association in February 1926 and plans were approved in June. The Council also granted permission for the architects to add a chiming clock on the front of the Wickham Street premises, though if installed, is no longer extant. Atkinson and Conrad were again engaged to design the new storeys, which were built by Blair Cunningham. The additions cost £30,000 and were finished and opened in September 1927. The building featured rest-rooms for staff and customers and sick-rooms, and the additional storeys made it one of the tallest buildings in the Valley.
The success of Overell’s continued well into the 1930s and 1940s. From the original drapery goods, the company branched into selling wireless radios, furniture, household goods, footwear, fancy goods including jewellery, toys, confectionary, and self-service groceries. There was also a mail-order service, a radio club, an employee benefit society, a war bonds group, fashion parades, child care centre for shoppers, employee sports clubs, charity balls, a social theatre, and tea rooms. Entries in Overell’s dressmaking competition were displayed in the Wickham Street island window. The company even applied to run a movie theatre in the basement but permission to do so was refused.
Several alterations were undertaken on the Brunswick Street building front in the 1950s, converting it to a masonry facade. In 1953 Overell’s was replaced by Sydney department store Walton-Sears, one of four branches opened in November 1953 as the company expanded into Queensland. Title passed to Waltons in 1956, and the company made significant internal alterations in 1960, 1962, 1967, 1973, and 1975. The Valley’s popularity as a shopping destination declined from the 1960s onwards, and the department store closed in the 1980s. In 1984 ownership passed to Mount Cathay Pty Ltd, which in 2016 continues to own all of the former Overell buildings.
Source: Brisbane City Council Heritage Register.