View allAll Photos Tagged artdecoarchitecture
built 1933
designed by Poy Gum Lee
per plaque
"Behind the Bund" walk as laid out in Time Out Shanghai
Jiangxi Lu / Jiangxi Road
Shanghai
3236
The Beehive from the western side showing the tracks in the apron on which the covered passenger gangways ran. There was also a subway from the railway station so passengers had a covered journey from Victoria all the way to Paris. The modern concept of a purpose designed airport with proper passenger management organised. The genius concept of Morris Jackaman with architects Hoar, Marlow and Lovett. Opened in 1936.
In downtown New Orleans, Louisiana, on June 26th, 2018, the east façade of Charity Hospital (erected 1939, closed 2005) at the northwest corner of Gravier Street and Lasalle Street.
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Getty Thesaurus of Geographic Names terms:
• New Orleans (7014214)
• Orleans (parish (political)) (2000889)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• general hospitals (300006676)
• stains (damage) (300379497)
Wikidata items:
• 26 June 2018 (Q45920653)
• 1930s architecture (Q7160075)
• 2005 disestablishments (Q8189886)
• Buildings and structures completed in 1939 (Q8318713)
• Charity Hospital (Q5074514)
• Hurricane Katrina (Q16422)
• June 26 (Q2661)
• June 2018 (Q28698315)
• Medical Center of Louisiana at New Orleans (Q6806289)
• New Orleans Central Business District (Q7010705)
• vacant building (Q56056305)
Library of Congress Subject Headings:
• Art deco (Architecture) (sh85007995)
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. 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.
This view of the east end of the Michigan Bell Madison Central office shows three Art Deco style design elements: the chevrons on the second floor, the spandrels with the elongated diamonds set in front on vertical "pipes", and the vertical pipe-like reliefs on the fifth floor.
This section of the building was completed in 1929; it was unaffected by the 1948 addition.
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.
Located in northeastern New Mexico, Colfax County is named for Schuyler Colfax, who was Vice President under Ulysses S. Grant.
New Mexico Territory had nine counties when it was established in 1852. In 1859, the eastern portion of Taos County was split off to become Mora County. On January 25, 1869, Colfax County was established from the northern portion of Mora County.
The original county seat of Colfax County was the goldmining town of Elizabethtown. In 1872, after the gold rush had died down, the county seat was moved to Cimarron. In 1881, the count seat was moved again, this time to Springer. After a bitter legislative fight, the set was moved to the coal mining town of Raton in 1897, where it remains today.
The 1936 WPA Art Deco courthouse in Raton is the second in Raton, and the (I'm guessing) fifth courthouse overall. The ones in Cimarron and Springer are still standing.
ne decorative feature of the current courthouse are the decorative panels of the brands of area ranches set around the entryway. There are also carved cattle heads and bas reliefs of farming scenes.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. 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 Michigan Bell Madison Central office was originally designed by Wirt C Rowland and constructed from 1928 - 1929. At that time the entire building was five stories high. In 1948, work adding another 5 stories to the western portion of the building was completed by another architect. At the top of the extension, rather than replicate Rowland's "organ pipe" design from the fifth floor, a simple series of horizontal limestone bands was employed on the tenth floor.
The building is 145 feet high to the main roof and 160 feet to the top of the service structure on the west end.
This view shows the best sides of the building, the north and west sides are rather plain. Most of the west side is a windowless wall.
By Lee Lawrie
At the entrance to 30 Rockefeller Plaza.
Underneath, the text reads:
Wisdom and Knowledge shall be the stability of thy times
[Isaiah 33:6]
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).
Detail of the Frist Center for the Visual Arts. The Frist used to be the main post office in Nashville. Built in the Art Deco style and completed in 1934.
Nashville, TN
December 2009
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.
Isn't the building articulated by setbacks? Don't its beige brick piers run uninterrupted to its parapets? Haven't its upper floors got chamfered corners?
I have asked the building management to replace the green Huntington Bank logo at the top with an ornamental polymer "jewel" that isn't a bank logo. It can be green if they want, but I am tired of seeing that bank logo up there.
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In downtown Akron, Ohio, on March 13th, 2021, the Huntington Tower, designed by Walker and Weeks and built from 1929 to 1931 as the Central Depositors Bank & Trust Co. building, later known as the First National Bank Tower, then as the FirstMerit Tower, at the southwest corner of South Main Street and West Mill Street, as viewed from the northeast corner of South Main Street and East Bowery Street. The building is 07000633 on the National Register of Historic Places.
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Getty Thesaurus of Geographic Names terms:
• Akron (7013265)
• Summit (county) (1002928)
Art & Architecture Thesaurus terms:
• architectural terracotta (300010670)
• Art Deco (300021426)
• banks (buildings) (300005214)
• banks (institutions) (300410327)
• beige (color) (300266234)
• beveling (300053102)
• brick (clay material) (300010463)
• evening (300343633)
• glazed terracotta (300298634)
• green (color) (300128438)
• historic buildings (300008063)
• logos (300028715)
• office towers (300007046)
• parapets (300002717)
• piers (supporting elements) (300000953)
• setbacks (formal concept) (300081341)
• skyscrapers (300004809)
• white (color) (300129784)
Wikidata items:
• 13 March 2021 (Q69305987)
• 1920s in architecture (Q11185486)
• 1930s in architecture (Q16482516)
• 1931 in architecture (Q2811536)
• Akron-Canton (Q4701657)
• Art Deco architecture (Q12720942)
• FirstMerit Corporation (Q5452228)
• glazed architectural terra-cotta (Q5567349)
• Huntington Bank (Q798819)
• Huntington Tower (Q5452229)
• March 13 (Q2400)
• March 2021 (Q61312973)
• Northeast Ohio (Q7057945)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Bank buildings—Ohio (sh2015001459)
• Office buildings—Ohio (sh99002598)
Union List of Artist Names IDs:
• Walker and Weeks (American architectural firm, contemporary) (500236107)
George Val Myer's deco Broadcasting House contrasting with John Nash's Regency church, All Souls. Behind it is the Egton Wing of Broadcasting House (initially designed by MacCormac Jamieson Prichard), with a blue glow beaming up into the sky.
I do enjoy capturing the streaks of light of passing traffic.