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This is the power house of the Thorpe Hydropower Station, located in the West Fork Tuckaseigee River Gorge on North Carolina Highway 107 near Tuckasegee, North Carolina. The power station, which was created by damming the West Fork of the Tuckaseigee River at Onion Falls to form Lake Glenville, located 1,207 feet above the power house, the highest vertical drop of any hydroelectric station east of the Rocky Mountains. The power house is a fine example of the fusion of the Gothic Revival and Art Deco styles, featuring Art Deco massing and trim with Gothic-style windows, and is arguably one of the most beautiful power stations in the United States. The power house was built with the lake in 1941 by the Nantahala Power and Light Company to help power the ALCOA Aluminum Plant in Eastern Tennessee, Knoxville, with support from the federal government as it was aiding the war effort during World War II. The construction was a massive undertaking, requiring the removal of the entire town of Glenville, which sat in the West Fork Tuckaseigee River Valley, and the building of the highest lake east of the Rocky Mountains, at a surface elevation of 3,494 feet. The power plant also has the feature of a long distance from the lake to the turbines, during which the water is channeled through a tunnel and pipe system many miles long, which is visible from North Carolina Highway 107 near Glenville. The power house itself sits in the West Fork Tuckaseigee River Gorge just above the community of Tuckasegee, near a smaller lake and power plant built during the 1950s to provide supplementary power generation capacity. The hydroelectric complex is one of two in the county, the other being on the East Fork of the Tuckaseigee River in Canada Township, consisting of four reservoirs built in the early 1950s - Cedar Cliff, Bear, Wolf Creek, and Tannassee Creek. The combined power output of the dams provided power to the burgeoning industrial sector in the upper Tennessee River Valley during the 1940s and 1950s, and provided additional flood control to prevent a repeat of the 1940 flood that devastated nearby communities.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
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documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
This is the power house of the Thorpe Hydropower Station, located in the West Fork Tuckaseigee River Gorge on North Carolina Highway 107 near Tuckasegee, North Carolina. The power station, which was created by damming the West Fork of the Tuckaseigee River at Onion Falls to form Lake Glenville, located 1,207 feet above the power house, the highest vertical drop of any hydroelectric station east of the Rocky Mountains. The power house is a fine example of the fusion of the Gothic Revival and Art Deco styles, featuring Art Deco massing and trim with Gothic-style windows, and is arguably one of the most beautiful power stations in the United States. The power house was built with the lake in 1941 by the Nantahala Power and Light Company to help power the ALCOA Aluminum Plant in Eastern Tennessee, Knoxville, with support from the federal government as it was aiding the war effort during World War II. The construction was a massive undertaking, requiring the removal of the entire town of Glenville, which sat in the West Fork Tuckaseigee River Valley, and the building of the highest lake east of the Rocky Mountains, at a surface elevation of 3,494 feet. The power plant also has the feature of a long distance from the lake to the turbines, during which the water is channeled through a tunnel and pipe system many miles long, which is visible from North Carolina Highway 107 near Glenville. The power house itself sits in the West Fork Tuckaseigee River Gorge just above the community of Tuckasegee, near a smaller lake and power plant built during the 1950s to provide supplementary power generation capacity. The hydroelectric complex is one of two in the county, the other being on the East Fork of the Tuckaseigee River in Canada Township, consisting of four reservoirs built in the early 1950s - Cedar Cliff, Bear, Wolf Creek, and Tannassee Creek. The combined power output of the dams provided power to the burgeoning industrial sector in the upper Tennessee River Valley during the 1940s and 1950s, and provided additional flood control to prevent a repeat of the 1940 flood that devastated nearby communities.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
The "The Gables" has a beautiful light filled upstairs sitting room thanks to a delightful bay window with a comfortable window seat. This is one of the few windows in the house that does not feature Art Nouveau stained glass. The window only contains mullioned glass with a thin border of red stained glass. I am not sure why this is the case, as these windows are not replacements of other, more ornate Art Nouveau stained glass.
"The Gables" is a substantial villa that sits proudly on leafy Finch Street in the exclusive inner city suburb of East Malvern.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, "The Gables" is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. "The Gables" remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted "The Gables" into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie "Squizzy" Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house's billiards room). "The Gables" became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, "The Gables" ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o'clock at night. Throughout its history, "The Gables" has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of "The Gables" have been retained for the future generations.
Grand in its proportions, "The Gables" is a sprawling villa that is built of red brick, but its main feature, as the name suggests, is its many ornamented gables. The front façade is dominated by six different sized gables, each supported by ornamental Art Nouveau influenced timber brackets. The front and side of the house is skirted by a wide verandah decorated with wooden balustrades and rounded fretwork. "The Gables" features two grand bay windows and three other large sets of windows along the front facade, all of which feature beautiful and delicate Art Nouveau stained glass of stylised flowers or fruit. Impressive Art Nouveau stained glass windows can also be found around the entrance, which features the quote made quite popular at the time by Australian soprano Nellie Melba "east, west, home's best." Art Nouveau stained glass can be found in all of the principal rooms of the house; both upstairs and down. “The Gables” also features distinctive chimneys and the classic Queen Anne high pitched gable roofs with decorative barge-boards, terra-cotta tiles and ornate capping.
As a result of Federation in 1901, it was not unusual to find Australian flora and fauna celebrated in architecture. This is true of "The Gables", which features intricate plaster work and leadlight throughout the mansion showing off Australian gum leaves and flowers. "The Gables" has fifteen beautifully renovated rooms, many of which are traditionally decorated, including beautiful chandeliers, ornate restored wood and tile fireplaces, leadlight windows, parquetry flooring, sixteen foot ceilings and a sweeping staircase. The drawing room still also features the original leadlight conservatory "The Gables" boasted when it was first built.
"The Gables", set on an acre of land, still retains many of the original trees, including the original hedge and two enormous cypress trees in the front. The garden was designed by William Guilfoyle, the master landscape architect of the Royal Botanical Gardens, and "The Gables" still retains much of it original structure. It features a rose-covered gazebo, a pond and fountain, as well as the tallest Norfolk Island pine in the area, which can be seen from some of the tallest skyscrapers in the Melbourne CBD.
Henry Hardie Kemp was born in Lancashire in 1859 and designed many other fine homes around Melbourne, particularly in Kew, including his own home “Held Lawn” (1913). He also designed the APA Building in Elizabeth Street in 1889 (demolished in 1980) and the Melbourne Assembly Hall on Collins Street between 1914 and 1915. He died in Melbourne in 1946.
Beverley Ussher was born in Melbourne in 1868 and designed homes and commercial buildings around Melbourne, as well as homes in the country. He designed "Milliara" (John Whiting house) in Toorak, in 1895 (since demolished) and "Blackwood Homestead" in Western Australia. He died in 1908.
Beverley Ussher and Henry Kemp formed a partnership in 1899, which lasted until Beverley's death in 1908. Their last building design together was the Professional Chambers building in Collins Street in 1908. Both men had strong Arts and Crafts commitments, and both had been in partnerships before forming their own. The practice specialised in domestic work and their houses epitomize the Marseilles-tiled Queen Anne Federation style houses characteristic of Melbourne, and considered now to be a truly distinctive Australian genre. Their designs use red bricks, terracotta tiles and casement windows, avoid applied ornamentation and develop substantial timber details. The picturesque character of the houses results from a conscious attempt to express externally with gables, dormers, bays, roof axes, and chimneys, the functional variety of rooms within. The iconic Federation houses by Beverley Ussher and Henry Kemp did not appear until 1892-4. Then, several of those appeared in Malvern, Canterbury and Kew.
Queen Anne style was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
An art showing featuring art from students of Grays Harbor Community College.
This Showcase Features art from Misty Barlan, Lucas Rasmussen, Garret Gideon, Terresa Jhanson, Liz Anderson-Smith, Roxanne Sparks, Ryan Morgan, Naomi Obi, Bianca Martinez, Kyley Smiths, Ben Nelson, Coree Harris, Jacob Fehlig, Donna Reed, RJ Martin, Andrea Parks, Lori Mckay, Lauri Perez, Jayme Fleury, Karlee Blume, Samantha Frazzin, Allison Peterson, Alice MccGarrah, Lisa Harvey, Daniel SHanks, Brandon Parker, Kailey Hara, Christian Huff, Marianne Mcabe, Baily Skolroodham, Whitney Wilkerson, Reese Crowley, Carina Perez, Laura Barajas, Sabrina Rathbun, Jess Vaughan, Kelsey Forsman, Krizza Fuscher, Ricca Cooper, Wade Cole, Jill Johnson, Jeffrey Ragan, Nathan Lowder, and Eric Smiley.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Everybody Get Up, will be having a sticker and poor man's art show the weekend of April 4th. The show will be held in Oakland, Ca. With the exact location to be announced this week. Stickers will be placed on trucks like the one above.
The poor man's art show will feature art on cardboard that will be sold for no more than $50.
Everybody Get Up is looking for artist to participate in the show. If you would like to be a part of this up coming show please send a message to Everybody get up at their flickr.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Centre-piecing an exhibition at the British Museum featuring art by Gormley, Mueck and Hirst, sculptor Marc Quinn unveils his new sculpture of model Kate Moss in a suggestive Yoga pose. His new sculpture, Siren, is made entirely out of gold. Her contorted body parallels the crouching pose of the nearby statue of Aphrodite ‘Lely’s Venus’.
An art showing featuring art from students of Grays Harbor Community College.
This Showcase Features art from Misty Barlan, Lucas Rasmussen, Garret Gideon, Terresa Jhanson, Liz Anderson-Smith, Roxanne Sparks, Ryan Morgan, Naomi Obi, Bianca Martinez, Kyley Smiths, Ben Nelson, Coree Harris, Jacob Fehlig, Donna Reed, RJ Martin, Andrea Parks, Lori Mckay, Lauri Perez, Jayme Fleury, Karlee Blume, Samantha Frazzin, Allison Peterson, Alice MccGarrah, Lisa Harvey, Daniel SHanks, Brandon Parker, Kailey Hara, Christian Huff, Marianne Mcabe, Baily Skolroodham, Whitney Wilkerson, Reese Crowley, Carina Perez, Laura Barajas, Sabrina Rathbun, Jess Vaughan, Kelsey Forsman, Krizza Fuscher, Ricca Cooper, Wade Cole, Jill Johnson, Jeffrey Ragan, Nathan Lowder, and Eric Smiley.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
This is the power house of the Thorpe Hydropower Station, located in the West Fork Tuckaseigee River Gorge on North Carolina Highway 107 near Tuckasegee, North Carolina. The power station, which was created by damming the West Fork of the Tuckaseigee River at Onion Falls to form Lake Glenville, located 1,207 feet above the power house, the highest vertical drop of any hydroelectric station east of the Rocky Mountains. The power house is a fine example of the fusion of the Gothic Revival and Art Deco styles, featuring Art Deco massing and trim with Gothic-style windows, and is arguably one of the most beautiful power stations in the United States. The power house was built with the lake in 1941 by the Nantahala Power and Light Company to help power the ALCOA Aluminum Plant in Eastern Tennessee, Knoxville, with support from the federal government as it was aiding the war effort during World War II. The construction was a massive undertaking, requiring the removal of the entire town of Glenville, which sat in the West Fork Tuckaseigee River Valley, and the building of the highest lake east of the Rocky Mountains, at a surface elevation of 3,494 feet. The power plant also has the feature of a long distance from the lake to the turbines, during which the water is channeled through a tunnel and pipe system many miles long, which is visible from North Carolina Highway 107 near Glenville. The power house itself sits in the West Fork Tuckaseigee River Gorge just above the community of Tuckasegee, near a smaller lake and power plant built during the 1950s to provide supplementary power generation capacity. The hydroelectric complex is one of two in the county, the other being on the East Fork of the Tuckaseigee River in Canada Township, consisting of four reservoirs built in the early 1950s - Cedar Cliff, Bear, Wolf Creek, and Tannassee Creek. The combined power output of the dams provided power to the burgeoning industrial sector in the upper Tennessee River Valley during the 1940s and 1950s, and provided additional flood control to prevent a repeat of the 1940 flood that devastated nearby communities.
Centre-piecing an exhibition at the British Museum featuring art by Gormley, Mueck and Hirst, sculptor Marc Quinn unveils his new sculpture of model Kate Moss in a suggestive Yoga pose. His new sculpture, Siren, is made entirely out of gold. Her contorted body parallels the crouching pose of the nearby statue of Aphrodite ‘Lely’s Venus’.
It is lovely to have this show covered in the Bark's current issue. The Bark magazine was instrumental in the show's genesis twelve years ago. Back in 1999, I did a spread for the Bark's creative director and publisher, Cameron Woo. He asked for my take on the city dog. I did a piece on the working shop dogs of East 9th Street. There were at least 8 dogs in shops in the block between 2nd and 1st Avenues. Beckett and Bloom, the Irish Jack Russell terriers in Mascot Studio's storefront made a full page. I urged Peter McCaffrey, Mascot's artist owner, to have a show to capitalize on the placement and the upcoming Westminster Dog Show. He did, and has mounted interesting and quirky shows of dog related art every February since. Fun to be part of it. A swell group of artists.
Please come around during the show if you are in the hood!
The announcement featuring art Katherine Streeter is here: www.flickr.com/photos/annewatkins/5434226404/
and the piece I made for this year's show is here:
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Directed by Toho Studio's master of science fiction Ishiro Honda (who also helmed Gojira, Japan's first giant monster movie), this is the story of the invasion of Earth by beings from beyond the stars. Offered here is a beautiful set of color stills, many featuring art by Lt. Colonel Robert Rigg, an Army artist whose pastel work was featured in the show Images from the Atomic Front at St. John's University in 2003 . The alien invaders are pictured on many cards, as is the giant robot monster Mogera.
Starring Kenji Sahara, Yumi Shirakawa, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Susumu Fujita, Hisaya Ito, Yoshio Kosugi, Yoshio Tsuchiya, and Katsumi Tezuka. Directed by Ishiro Honda.Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available.
This jelly fish project features hundreds of hand made stained glass inserts that will eventually be illuminated by lights in the center. This was the 'feature art piece' for last years event and, while someone else has that honor this year, the artist is back and has made some major changes to the piece.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Featured art table next to entrance. Art inspired by Pixar animated features.
I visited Disneyland today. It was moderately crowded, sunny and hot (90 F).
An art showing featuring art from students of Grays Harbor Community College.
This Showcase Features art from Misty Barlan, Lucas Rasmussen, Garret Gideon, Terresa Jhanson, Liz Anderson-Smith, Roxanne Sparks, Ryan Morgan, Naomi Obi, Bianca Martinez, Kyley Smiths, Ben Nelson, Coree Harris, Jacob Fehlig, Donna Reed, RJ Martin, Andrea Parks, Lori Mckay, Lauri Perez, Jayme Fleury, Karlee Blume, Samantha Frazzin, Allison Peterson, Alice MccGarrah, Lisa Harvey, Daniel SHanks, Brandon Parker, Kailey Hara, Christian Huff, Marianne Mcabe, Baily Skolroodham, Whitney Wilkerson, Reese Crowley, Carina Perez, Laura Barajas, Sabrina Rathbun, Jess Vaughan, Kelsey Forsman, Krizza Fuscher, Ricca Cooper, Wade Cole, Jill Johnson, Jeffrey Ragan, Nathan Lowder, and Eric Smiley.
Hotel Hallway
The Thompson Hotel Beverly Hills is located in downtown Beverly Hills and in walking distance of the Rodeo Drive shopping area. The hotel has been designed to merge the cool aesthetic of late 1960's design with the elegance of Beverly Hills. It has 107 stylish rooms with custom made furniture. The hotel hallways feature art work by fashion photographer Steven Klein. The rooftop bar and pool lounge of the Thompson Hotel offer stunning views over Beverly Hills, downtown Los Angeles and the Hollywood Hills.
The Thompson Hotel Group have 10 hotels in the U.S. and 1 in London but is expanding to Canada and Korea with properties in Toronto and Seoul. Their first project was Sixty Thompson in New York, a luxury boutique hotel which opened in 2001. All Thompson hotels are meant to attract an urban, bohemian clientele by offering "quiet luxury".
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Rooftop Bar with Fireplace and View towards the Hollywood Hills
The Thompson Hotel Beverly Hills is located in downtown Beverly Hills and in walking distance of the Rodeo Drive shopping area. The hotel has been designed to merge the cool aesthetic of late 1960's design with the elegance of Beverly Hills. It has 107 stylish rooms with custom made furniture. The hotel hallways feature art work by fashion photographer Steven Klein. The rooftop bar and pool lounge of the Thompson Hotel offer stunning views over Beverly Hills, downtown Los Angeles and the Hollywood Hills.
The Thompson Hotel Group have 10 hotels in the U.S. and 1 in London but is expanding to Canada and Korea with properties in Toronto and Seoul. Their first project was Sixty Thompson in New York, a luxury boutique hotel which opened in 2001. All Thompson hotels are meant to attract an urban, bohemian clientele by offering "quiet luxury".
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Colac’s Austral Hotel was originally built in 1873 as the Brewers’ Arms Hotel. The Brewers’ Arms Hotel has long been a popular place of entertainment and sociability in Colac. Built in what is now the heart of the town on the corner of the main shopping thoroughfare of Murray Street and the wide Corangamite Street, it was originally established by Mr. John Willis when there was nothing around it. Consisting of eighteen rooms with two bars and two bar parlours (also known as ladies lounges), it was an interesting and somewhat rambling wooden structure that soon became a local landmark. Mr. Willis was the landlord and publican for quite a long time, but he was eventually succeeded by Mr. W. A. McIntosh, who was in turn succeeded by Mr. James. W. Bird. The Brewers’ Arms received a new publican when Mr. Bird died, a Mr. J. Haberfield, who managed it for ten years before selling the hostelry to a Mr. Talmage who was also proprietor for ten years. In 1898, ownership reverted again to Mr. Joshua Haberfield who was a local man well liked by many, but was particularly popular amongst the Colac sporting fraternity, for Mr. Haberfield was an expert rower and was also the principal member of the local football team in the mid 1880s. His geniality was attributed the Brewers’ Arms great success and prosperity.
In 1904, the Brewer’s Arms Hotel was remodeled in the prevailing fashion of the day, Art Nouveau, through the popular Federation Queen Anne architectural style, which was mostly a residential style which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it a much more decorative look. It was also given a new name; the Austral Hotel. The name is emblazoned in smart Art Nouveau lettering in prominent places across its façade. Above the original ground floor Victorian corner construction, The Austral Hotel has a very complex roofline, a common trait of Federation Queen Anne buildings, aided by a number of gables and an ornamental corner tower, also a popular feature of Federation Queen Anne buildings. Across it’s façade, the Austral Hotel features stylised Art Nouveau panels of sinuous floral motifs, including ivy and acanthus leaves. Even the tall chimneys, also a common trait of Federation Queen Anne buildings, feature Art Nouveau motifs on the terracotta chimneypots.
Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
2014 International Mosaic Auction benefit for Doctors Without Borders / Médecins Sans Frontières (MSF) will be held online at: www.BiddingForGood.com/DWB-MSF
Auction opens November 22 – Auction closes December 6
This is the power house of the Thorpe Hydropower Station, located in the West Fork Tuckaseigee River Gorge on North Carolina Highway 107 near Tuckasegee, North Carolina. The power station, which was created by damming the West Fork of the Tuckaseigee River at Onion Falls to form Lake Glenville, located 1,207 feet above the power house, the highest vertical drop of any hydroelectric station east of the Rocky Mountains. The power house is a fine example of the fusion of the Gothic Revival and Art Deco styles, featuring Art Deco massing and trim with Gothic-style windows, and is arguably one of the most beautiful power stations in the United States. The power house was built with the lake in 1941 by the Nantahala Power and Light Company to help power the ALCOA Aluminum Plant in Eastern Tennessee, Knoxville, with support from the federal government as it was aiding the war effort during World War II. The construction was a massive undertaking, requiring the removal of the entire town of Glenville, which sat in the West Fork Tuckaseigee River Valley, and the building of the highest lake east of the Rocky Mountains, at a surface elevation of 3,494 feet. The power plant also has the feature of a long distance from the lake to the turbines, during which the water is channeled through a tunnel and pipe system many miles long, which is visible from North Carolina Highway 107 near Glenville. The power house itself sits in the West Fork Tuckaseigee River Gorge just above the community of Tuckasegee, near a smaller lake and power plant built during the 1950s to provide supplementary power generation capacity. The hydroelectric complex is one of two in the county, the other being on the East Fork of the Tuckaseigee River in Canada Township, consisting of four reservoirs built in the early 1950s - Cedar Cliff, Bear, Wolf Creek, and Tannassee Creek. The combined power output of the dams provided power to the burgeoning industrial sector in the upper Tennessee River Valley during the 1940s and 1950s, and provided additional flood control to prevent a repeat of the 1940 flood that devastated nearby communities.
(POSTER DRAWN BY THE AMAZING BENJAMIN MARRA)!!!
FREAK SCENE
the new freak champions of Underground Comix
featuring art works & comix by:
Johnny Ryan
(Prison PIt / Angry Youth Comix / VICE / the Great Penis War)
Josh Bayer
(Raw Power / ROM / Suspect Device 1&2/)
Benjamin Marra
(Gangsta Rap Posse/Night Business/Traditional Comics)
Tom Neely
(i will destroy you/The Wolf/Henry & Glen Forever/ Popeye)
Jason T. Miles
(Kramer Ergot 6 & 8/ Pines / Dead Ringer/ No Me)
Victor “BALD EAGLES” Cayro
(Kramers Ergot 6 / House of 12 / Rub The Blood)
Pat Aulisio
(Bowman/Math Fiction/Yeah Dude Comics/F’real Real)
Jim Rugg
(Afrodisiac / Rambo 3.5 / Street Angel)
Derek M Ballard
(Root Rot / CARTOONSHOW #1 / The Drama / Faesthetic)
Zach Hazard Vaupen
(Hatred for the Human Host/Pixel Dogs Soft Bark)
Shalo P
(Cosmic Bummer Funnies/Line Land/Death Trip)
Peter Gray Hurley
(Happy / Death Trip / Line land)
Jason Karns
(FUKITOR / Satanic Terror)
Heather Benjamin
(Sad Sex / Rub The Blood)
Keenan Marshall Keller
(Drippy Bone Books / Galactic Breakdown)
The month long art show at Synchronicity in Los Angeles starting off with a 2 days of comix events!
Friday July 6th:
is opening nite of the exhibition in which over 50 pieces of work will be shown as well as current comix from every artist involved, available as part of the show!
+ FREAK ZINE (a limited edition zine of work from the show!) will be available!
Saturday July 7th:
Freak Scene Comix Reading and Book Signing Spectacular!
featuring live performances by:
Tom Neely, Josh Bayer, Pat Aulisio, Victor “Bald Eagles” Cayro, Keenan Marshall Keller, Shalo P, Jason Karns, and Peter Gray Hurley
These artists will also be available to sign their comix afterward!
July 6th & 7th!!!
@
Synchronicity
713 N. Heliotrope, Los Angeles, CA 90029
info@syncspacela.com
An art showing featuring art from students of Grays Harbor Community College.
This Showcase Features art from Misty Barlan, Lucas Rasmussen, Garret Gideon, Terresa Jhanson, Liz Anderson-Smith, Roxanne Sparks, Ryan Morgan, Naomi Obi, Bianca Martinez, Kyley Smiths, Ben Nelson, Coree Harris, Jacob Fehlig, Donna Reed, RJ Martin, Andrea Parks, Lori Mckay, Lauri Perez, Jayme Fleury, Karlee Blume, Samantha Frazzin, Allison Peterson, Alice MccGarrah, Lisa Harvey, Daniel SHanks, Brandon Parker, Kailey Hara, Christian Huff, Marianne Mcabe, Baily Skolroodham, Whitney Wilkerson, Reese Crowley, Carina Perez, Laura Barajas, Sabrina Rathbun, Jess Vaughan, Kelsey Forsman, Krizza Fuscher, Ricca Cooper, Wade Cole, Jill Johnson, Jeffrey Ragan, Nathan Lowder, and Eric Smiley.
This is the label on the inside my Kodak Target Brownie Six-16. It tells how to properly load the film, cautions that this camera doesn't take 116 film and extols the virtues of genuine Kodak 616 Film. Quite a lot to be found on a tiny label about 2 inches long!
The camera itself was only made between 1941 and 1946 and featured art deco styling on the front.
1034bf
An art showing featuring art from students of Grays Harbor Community College.
This Showcase Features art from Misty Barlan, Lucas Rasmussen, Garret Gideon, Terresa Jhanson, Liz Anderson-Smith, Roxanne Sparks, Ryan Morgan, Naomi Obi, Bianca Martinez, Kyley Smiths, Ben Nelson, Coree Harris, Jacob Fehlig, Donna Reed, RJ Martin, Andrea Parks, Lori Mckay, Lauri Perez, Jayme Fleury, Karlee Blume, Samantha Frazzin, Allison Peterson, Alice MccGarrah, Lisa Harvey, Daniel SHanks, Brandon Parker, Kailey Hara, Christian Huff, Marianne Mcabe, Baily Skolroodham, Whitney Wilkerson, Reese Crowley, Carina Perez, Laura Barajas, Sabrina Rathbun, Jess Vaughan, Kelsey Forsman, Krizza Fuscher, Ricca Cooper, Wade Cole, Jill Johnson, Jeffrey Ragan, Nathan Lowder, and Eric Smiley.
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Colac’s Austral Hotel was originally built in 1873 as the Brewers’ Arms Hotel. The Brewers’ Arms Hotel has long been a popular place of entertainment and sociability in Colac. Built in what is now the heart of the town on the corner of the main shopping thoroughfare of Murray Street and the wide Corangamite Street, it was originally established by Mr. John Willis when there was nothing around it. Consisting of eighteen rooms with two bars and two bar parlours (also known as ladies lounges), it was an interesting and somewhat rambling wooden structure that soon became a local landmark. Mr. Willis was the landlord and publican for quite a long time, but he was eventually succeeded by Mr. W. A. McIntosh, who was in turn succeeded by Mr. James. W. Bird. The Brewers’ Arms received a new publican when Mr. Bird died, a Mr. J. Haberfield, who managed it for ten years before selling the hostelry to a Mr. Talmage who was also proprietor for ten years. In 1898, ownership reverted again to Mr. Joshua Haberfield who was a local man well liked by many, but was particularly popular amongst the Colac sporting fraternity, for Mr. Haberfield was an expert rower and was also the principal member of the local football team in the mid 1880s. His geniality was attributed the Brewers’ Arms great success and prosperity.
In 1904, the Brewer’s Arms Hotel was remodeled in the prevailing fashion of the day, Art Nouveau, through the popular Federation Queen Anne architectural style, which was mostly a residential style which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it a much more decorative look. It was also given a new name; the Austral Hotel. The name is emblazoned in smart Art Nouveau lettering in prominent places across its façade. Above the original ground floor Victorian corner construction, The Austral Hotel has a very complex roofline, a common trait of Federation Queen Anne buildings, aided by a number of gables and an ornamental corner tower, also a popular feature of Federation Queen Anne buildings. Across it’s façade, the Austral Hotel features stylised Art Nouveau panels of sinuous floral motifs, including ivy and acanthus leaves. Even the tall chimneys, also a common trait of Federation Queen Anne buildings, feature Art Nouveau motifs on the terracotta chimneypots.
Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Colac’s Austral Hotel was originally built in 1873 as the Brewers’ Arms Hotel. The Brewers’ Arms Hotel has long been a popular place of entertainment and sociability in Colac. Built in what is now the heart of the town on the corner of the main shopping thoroughfare of Murray Street and the wide Corangamite Street, it was originally established by Mr. John Willis when there was nothing around it. Consisting of eighteen rooms with two bars and two bar parlours (also known as ladies lounges), it was an interesting and somewhat rambling wooden structure that soon became a local landmark. Mr. Willis was the landlord and publican for quite a long time, but he was eventually succeeded by Mr. W. A. McIntosh, who was in turn succeeded by Mr. James. W. Bird. The Brewers’ Arms received a new publican when Mr. Bird died, a Mr. J. Haberfield, who managed it for ten years before selling the hostelry to a Mr. Talmage who was also proprietor for ten years. In 1898, ownership reverted again to Mr. Joshua Haberfield who was a local man well liked by many, but was particularly popular amongst the Colac sporting fraternity, for Mr. Haberfield was an expert rower and was also the principal member of the local football team in the mid 1880s. His geniality was attributed the Brewers’ Arms great success and prosperity.
In 1904, the Brewer’s Arms Hotel was remodeled in the prevailing fashion of the day, Art Nouveau, through the popular Federation Queen Anne architectural style, which was mostly a residential style which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it a much more decorative look. It was also given a new name; the Austral Hotel. The name is emblazoned in smart Art Nouveau lettering in prominent places across its façade. Above the original ground floor Victorian corner construction, The Austral Hotel has a very complex roofline, a common trait of Federation Queen Anne buildings, aided by a number of gables and an ornamental corner tower, also a popular feature of Federation Queen Anne buildings. Across it’s façade, the Austral Hotel features stylised Art Nouveau panels of sinuous floral motifs, including ivy and acanthus leaves. Even the tall chimneys, also a common trait of Federation Queen Anne buildings, feature Art Nouveau motifs on the terracotta chimneypots.
Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Here are this week’s featured art projects at Pataphysical Studios:
• Dr. Skidz started his Ubu painting for the Dada show
• Drs. Rindbrain and Heatshrink set up a Raspberry Pi time display
• Dr. Canard joined us from Kansas via FaceTime
• Dr. Fabio tested a new frame for the Wheel of Time
• Drs. Fabio and Rindbrain brainstormed ideas for Time Machine controls
• Dr. Rindbrain started a new Magical Thinking wonderbox
• Dr. Fabio drew up blueprints for a Time Machine Cockpit
Vive la ‘patpahysique!
View more Time Machine photos:
www.flickr.com/photos/fabola/albums/72157659761749014
View Time Machine slides:
bit.ly/pata-time-machine-slides
About the Time Machine:
docs.google.com/document/d/1rM9kjOu83Qewh1HwaA2nkzbGdmHb9...
View more 'Pataphysical photos: www.flickr.com/photos/fabola/albums/72157623637793277
About Pataphysical Studios: pataphysics.us/
Directed by Toho Studio's master of science fiction Ishiro Honda (who also helmed Gojira, Japan's first giant monster movie), this is the story of the invasion of Earth by beings from beyond the stars. Offered here is a beautiful set of color stills, many featuring art by Lt. Colonel Robert Rigg, an Army artist whose pastel work was featured in the show Images from the Atomic Front at St. John's University in 2003 . The alien invaders are pictured on many cards, as is the giant robot monster Mogera.
Starring Kenji Sahara, Yumi Shirakawa, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Susumu Fujita, Hisaya Ito, Yoshio Kosugi, Yoshio Tsuchiya, and Katsumi Tezuka. Directed by Ishiro Honda.Aliens arrive on Earth and ask permission to be given a certain tract of land for their people to live on. But when they are discovered to be invaders, responsible for the giant robot that is destroying cities, the armed forces attempt to stop them with every weapon available.
Superior Room King Bed
The Thompson Hotel Beverly Hills is located in downtown Beverly Hills and in walking distance of the Rodeo Drive shopping area. The hotel has been designed to merge the cool aesthetic of late 1960's design with the elegance of Beverly Hills. It has 107 stylish rooms with custom made furniture. The hotel hallways feature art work by fashion photographer Steven Klein. The rooftop bar and pool lounge of the Thompson Hotel offer stunning views over Beverly Hills, downtown Los Angeles and the Hollywood Hills.
The Thompson Hotel Group have 10 hotels in the U.S. and 1 in London but is expanding to Canada and Korea with properties in Toronto and Seoul. Their first project was Sixty Thompson in New York, a luxury boutique hotel which opened in 2001. All Thompson hotels are meant to attract an urban, bohemian clientele by offering "quiet luxury".
The former imperial seat of government and Hue’s prime attraction, this is a great sprawling complex of temples, pavilions, moats, walls, gates, shops, museums and galleries, featuring art and costumes from various periods of Vietnamese history. Thanks to its size, it is also delightfully peaceful – a rare commodity in Vietnam.
The citadel was badly knocked about during fighting between the French and the Viet Minh in 1947, and again in 1968 during the Tet Offensive, when it was shelled by the Viet Cong and then bombed by the Americans. As a result, some areas are now only empty fields, bits of walls, and an explanatory plaque. Other buildings are intact, though, and a few are in sparkling condition. For the rest, while restoration has been going on for 20 years, there is still quite a long way to go. Allow several hours to see it properly. Entry 55,000 dong (for foreigners, less for locals of course) and it is open 06:30-17:00. Inside you can pay $1.50 (30,000dong) to dress up in the King or Queen’s clothing and sit on the throne for a fun photo opportunity.
•Ngọ Môn. The main southern entrance to the city, built in 1833 by Minh Mang. The central door, and the bridge connecting to it, were reserved exclusively for the emperor. Climb up to the second floor for a nice view of the exquisite courtyard. The Ngo Mon Gate is the principal entrance to the Imperial Enclosure. The Emperor would address his officials and the people from the top of this gate.
•Thái Hòa Palace. The emperor’s coronation hall, where he would sit in state and receive foreign dignitaries.
•Trường Sanh Residence. Translated as the “Palace of Longevity”, the Truong Sanh Palace was the residence of King Tu Duc’s mother, Empress Tu Du, under the Nguyen Dynasty in the 19th century. It lies in Tu Cam Thanh, one of the two major parts of the Hue Citadel. Currently under renovation, the project, estimated to cost almost VND 30 billion (roughly US $1.8 million), includes the restoration of Lach Dao Nguyen, the Palace’s protective moat, decorative man-made rock formations and mountains, bonsai gardens, and the palace gate. The restoration is expected to be completed in 2009, but this is doubtful. While not officially open to the public, it is possible to enter the grounds and should be seen, as even in it’s overgrown state, it’s beauty is recognizable.
•Forbidden Purple City. Directly behind Thai Hoa Palace, but it was almost entirely destroyed during the 1968 Tet Offensive and only the rather nondescript Mandarin Palaces on both sides remain.
•Hue Jungle Crevice. When the Viet Cong briefly over ran Hue they rounded up 3000 of Hue’s citizens and officials. Fearing the prisoners would slow them down in hot retreat, they tied them up and pushed the people over the cliff into the crevice.
thevietnamguide