View allAll Photos Tagged artdecoarchitecture
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An amazing eleven story Art Deco building that was built in 1929 and housed the Desmond department store, this building was designed by Gilbert Stanley Underwood who also designed the Federal Courthouse in downtown LA........... superb examples of Deco Architecture here in Los Angeles
Title
Symbols - Daytime, 3 rings - Ballantine On Tap and Neon Delicatessen Liquors Sign over Art Deco Storefront, Budweiser Sign, Pointing Finger on Brick Side Wall, Main Street, Kendall Square
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: between 1954-1959
Location
Creation location: Cambridge (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 72.55
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_001820
DSpace_Handle
Originally a dancehall on the second floor of a manufacturer of canoes, Dean's Pleasure Boats. In 1932 with new owners, it became "the dancehall" to hear big bands like Duke Ellington and Count Basie. Underwent controversial "renovations" in 2000. Architect: Alfred Chapman.
The Regent is a beautiful art deco hotel on the esplanade of Oban, opposite the pier. It boasts dramatic views across the sea to the Isle of Mull. The hotel is a mixture of classic Victorian and art deco architecture.
The Regent Hotel, Corran Esplanade, Oban, Argyll and Bute, United Kingdom PA34 5PZ | 0843 178 7135
www.bespokehotels.com/regenthotel
.
The elevator doors on the 10th floor of the Stock Exchange Tower bring you into the City Club and the Diego Rivera mural.
By Paul Manship (1885-1966)
From Lower Plaza, Rockefeller Center
The Rockefeller Center was sponsored by, and named after, John D Rockefeller Jr. (1874-1960). The development consists of 14 Art Deco buildings, designed by Raymond Mathewson Hood (1881-1934) and constructed between 1930-39, plus 4 International-Style buildings built in the 1960-70s.
The only project employed 40,000 people, and cost an estimated $250m at the time (this included the acquiring the land and demolishing some existing buildings).
Florin Court aka Whitehaven Mansions in BBC Poirot series. Streamline Art deco building Built in in Charterhouse square by Guy Morgan and Partners in 1936(Smithfield).
Title
South Station - Entrance Arcade Corridor, Patterned Floor, Square Clock, Merchants National Bank of Boston, Rexall Drugs, Display Windows, Main Mall with Lighted Booths in Distance
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: April 7, 1957
Location
Creation location: Boston (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 80.11
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_001957
DSpace_Handle
A view of the beautiful and ornate art deco lobby of the Wilshire Tower Building, construction on this magnificent building was started in 1928 and completed in 1929 and it's one of the truly great examples of Art Deco architecture here in Los Angeles
Ćglise Saint-Jean-Baptiste / Church of St. John the Baptist in Molenbeek, Brussels. By architect Joseph Diongre, 1930.
The construction of the church took only 15 months. This was made possible by the use of reinforced concrete for the structure of the building - a choice dictated by economic concerns. The facade and the 56 m tower are partially covered with white Brauvilliers stone. Inside, parabolic arches bring lightness and space to the nave.
This Art Deco church received protected status in 1984.
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 Victoriaās 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.
built 1938
also 100 Carolina Street
complex entends to 15th Street, De Haro Street
Potrero Hill'
San Francisco
Braun-Heinmann Co. Chemical and Laboratory Equipment, later Jessica McClintock; 1953 addition to the east by Felix H. Spitzer, egr. Main office block is the significant portion of this complex.
20231124_152809
"Since 1930, The William Oliver has proudly stood on the historic corner of Peachtree and Marietta Streets. As Atlanta's masterwork of Art Deco architectural detail, The William Oliver sits within Fairlie Poplar, once Atlanta's financial district, now its first true urban neighboorhood." From "thewilliamoliver.com" website. The New Georgia Encyclopedia contains the following statement about the William-Oliver Building: "Pringle and Smith's William-Oliver Building (1930), for instance, displays an ornamental stylist's employment of abstracted Ionic volutes, a continuous cornice frieze accented with a string of zigzag chevrons, and flowing incised wave motifs treated as flat moldings and incisions in the monochromatic surfaces of the multistoried structures."
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 Victoriaās 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.
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
Omaha Union Station (1931) was the first Art Deco train station in the United States. It closed for rail service in the 1970s and now houses the Durham Museum. Omaha's other passenger train station, the Italianate Burlington Station (1898) also closed when a crappy modern Amtrak station was built a block or so east of it (the Burlington may soon be renovated for adaptive reuse for apartments or perhaps some other use).
I recently returned from a week in my home town, Omaha (for Fathers Day, the College World Series at Rosenblatt Stadium, music & good friends, etc).
Finally made it to Kensington Roof Gardens, although no sign if Jerry Cornelius yet
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
Title
South Station - Row of Platform Gates (6 - 18), Fruit Stand with Stainless Steel Trim, Newsstands, Coffered Ceiling
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: April 7, 1957
Location
Creation location: Boston (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 80.10
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_001956
DSpace_Handle
Supping a temperance cocktail at the Roof Garden bar.
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
He hoped and prayed that there wasn't an afterlife.
Then he realized there was a contradiction
involved here and merely hoped that
there wasn't an afterlife.
- Douglas Adams
Title
South Station - Wide View of Main Mall with Coffered Ceiling, Hanging Clock, Figure Leaning Against Wall, Row of Newsstands and Gift Shops, New England Trade Center Poster Easel
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: April 7, 1957
Location
Creation location: Boston (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 80.12
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/>;
Identifier
KL_001958
DSpace_Handle
Art Deco
South Van Ness Avenue (a street freshly carved through the area at the time: 1937)
San Francisco
20190804_195239 south Van ness art deco
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.
The Roof Gardens were built between 1936-38 by landscape architect Ralph Hancock (1893-1950) for the department store below.
The current building at 99 Kensington High Street was the department store Derry & Toms (a company formed in the 1860s by Joseph Toms and Charles Derry). The store moved into this building in 1932; the Art Deco department store was designed by Scottish architect Bernard George with metalwork by Walter Gilbert (1871-1946).
Derry & Toms closed in 1971, taken over by Biba which opened there in 1973 only to close two years later. The building is still in use by Marks & Spencer amongst others.