The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.

Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.

The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.

Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.

Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.

The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.

The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.

The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.

This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.

Well proportioned, the stand alone villa with white painted stuccoed brick walls with picked out brown and red feature bricks in geometric patterns beneath the eaves and around the enclosed vestibule was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.

This house has a beautiful garden of old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built. The property is surrounded by the original low brick wall featuring brick nogging and cornices, which are echoed on the villa's "olde English" chimney.

This villa is almost exactly the same as another I found in Essendon on a later visit: www.flickr.com/photos/40262251@N03/6081362714 The only real differences are that this villa has different picked out brick patterns and that it has an arched window to the far left of the house, whereas the other villa only has a latticed nook in the same shape.

Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A villa like this may have required the employment of a live-in maid or two to assist the mistress of the house keep the villa well maintained.

Part of an old wooden door with Islamic geometric patterns in the old part of Rawalpindi, Pakistan.

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Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

Built in the late 1920s, this pretty stylised white stuccoed brick Art Deco villa can be found in the Melbourne suburb of Coonans Hill.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out feature clinker bricks in geometric patterns, windows of frosted and leadlight glass and arched porch were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

This house has a beautiful garden with a neat lawn, standard roses, neighbours-be-gone and a wisteria.

The facade of a pretty stylised white stuccoed brick Art Deco maisonette villa in the Melbourne suburb of Preston.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves and the Mock Tudor mullioned windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

This house has a beautiful garden with a family of tree ferns up against the vestibule entrance. The decorated brick edging around the portico can just be seen. There is also a topiaried camelia covered in blossoms in the middle of the well clipped lawn.

Standing proudly behind its picket fence with a ornate gates, this large and sprawling Victorian villa is situated in the inner northern Melbourne suburb of Essendon.

Built in the 1890s, this Victorian style villa is constructed of polychromatic brick (including the chimneys) and features a splendid return verandah of corrugated iron featuring wrought-iron lacework decoration. All of these features are typical of the Victorian period. Its original slate roof is also very Victorian.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large villa like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring middle-class family. This villa would have required one of two live-in maids to help its mistress keep maintained and a gardener to keep the gardens in check.

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Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.

Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.

Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.

This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.

A fusion look with traditional embroidery

Built in the late 1920s or early 1930s, "Tay Creggan" is a classic Inter-War Mediterranean villa that may be found in the provincial Victorian city of Ballart.

"Tay Creggan" has many attributes of the Inter-War Mediterranean architectural movement. These include the light coloured and subtly textured wall treatment, an arcaded loggia enclosing the portico, Georgian style fan detailing above the windows and a medium pitch roof of Spanish inspired terracotta tiles.

Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very wealthy clientele who wanted something a little more chic and European than the Spanish Mission style that came out of America at the same time.

"Tay Creggan" comes from the Scottish which means "house built on a rock". Whilst this villa is certainly not built on a rock, it has been built on a block of land that affords it fine views of nearby Lake Wendouree. Many enterprising Scottish immigrants settled in and around Ballarat, so the name might be a throw back to the owner's heritage.

"Tay Creggan" is sizable villa and would have appealed to the moneyed upper middle classes of Ballarat whose money came from either commercial aspects of Ballarat, or from the wool or farming industries that developed in the area post the Gold Rush boom of the Nineteenth Century.

View On Black

Made of locally produced red and brown bricks this substantial Mock Tudor villa in the Melbourne suburb of Coonans Hill, would have been for a larger sized middle-class family.

This house with its high gabled roof line features wonderful brick detailing around the windows and vestibule entrance. The interesting stepped chimney breast of stuccoed brick also shows off a selection of random feature bricks in geometric designs.

The Mock Tudor or Tudorbethan style, was most popular between the two World Wars throughout Britain and her dominions, especially in the new garden suburbs and ribbon developments that appeared during this period.

This style of house would have appealed to the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.

This villa still has its original low brick garden wall with wrought iron gates. The wall has been softened by the creation of a pretty hedge.

The facade of a pretty stylised white stuccoed brick Art Deco maisonette villa in the Melbourne suburb of Preston.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work and picked out brown and red feature bricks in geometric patterns were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

Although all very similar, each house could be afforded some individuality, usually in the window treatment given them. In this case an unusually low casement window, almost out of proportion with the height of the wall, is surrounded by a plaster rope "boisery" decoration.

This house has an appropriately charming cottage garden with standard roses, bush roses and daisies. It also still has its original side gate with a stepped brick geometric pattern along its top.

"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.

Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.

The whole property is surrounded by a low fence with plain pillars and wrought-iron swirls inserts and a gate featuring a geometric Art Deco pattern.

The tree in blossom in this photograph is a prunus; a genus of trees and shrubs, which includes the plums, cherries, peaches, apricots and almonds. This is an ornamental variety, which burst into blossom almost a month before usual owing to an unusually warm spell of weather just prior to the photograph being taken.

This large Reformist (Arts and Crafts) style mansion may be found in the inner nothern Melbourne suburb of Essendon.

Built between Federation (1901) and the Great War (1914), the red and brown brick dado, rough cast stuccoed brick wall treatment and hipped roof are very Arts and Crafts inspired, as are leadlight geometric patterns in all the mansion's windows. The mansion also features its original low brick wall. The stepped decoration on the chimneys is also very typical of the Arts and Crafts movement.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. The mansion features two entrances; one facing onto the street and a second up the sideway which suggests a more unusual floor plan than other houses.

Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Set well back from the road on a large block, this mansion, built in the finest street of the suburb suggests that it was built for an upper class family of means. This villa would have required a retinue of servants to maintain and a series of gardners to maintain the grounds.

The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.

Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.

The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.

Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.

Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.

The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.

The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.

The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.

After the Great War (1914 - 1918), although many people were affected by the "servant problem", it was not impossible to find good help, it simply meant living in a comfortable style, rather than a grand one.

Set well back from the road, this villa with its generous proportions in the Melbourne suburb of Kooyong was probably the home of an upper-middle class family of a decent size with at least two servants and a daily maid-of-all work.

This Mock Tudor, or Turoresque style house with its stepped gabling, buttercup yellow stuccoed brick work, picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves, shutters and the Mock Tudor lamp above the porch was popular amongst the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. It gave them the ability to live in chic and spacious modern style with all the mod-cons, without sacrificing the respectability of English design.

Australia was still a British Colony when this house was built, and styles in the Motherland were mirrored in Australia.

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So many houses in Portugal are adorned with beautiful decorative tiles like this one in Sintra. I particularly loved the shape and design of the arched window.

Standing well back from the road on a substantial block behind a well clipped hedge, this 1920s Art Deco villa with Arts and Crafts detailing in the Ballarat suburb of Wendouree, would have been for a middle-class family.

Built of honeyed clinker bricks with red and brown feature brick detailing around the vestibule entrance and in geometric patterns across the walls, this house has typical Metroland suburban detailing. However the old fashioned sash windows and hipped roof are more in keeping with the prevailing fashions of the previous decade's Arts and Crafts Movement. The designers Percy Richards and Herbert Leslie Coburn of the Ballarat firm Richards, Coburn, Richards, were probably following the wishes of a more conservative client.

This style of house would have appealed to the up and coming middle-classes of Ballarat whose money came from local merchant trade, the wool or farming industries that developed in the Twentieth Century. Comfortable and very English, it would have shown respectablity and a mixture of traditional and modernity.

A simple fabric made to look stunning with the use of cut up gold textured fabric laid in a pattern with embroidery to highlight it.

This neat Reformist (Arts and Crafts) style bungalow may be found in a quiet street in the Melbourne suburb of Essendon.

Built in the years just after the Great War (1914), you can just start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design with a bay window and front porch is very in keeping with the Arts and Crafts Movement, as is the pyramid style pier of the bungallow's porch. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns, and the choice of weatherboard to construct the bungalow with, giving it a lighter look.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A villa like this may have required the employment of a live in domestic as well as a "daily" woman to assist the mistress of the house with any heavy chores to keep the villa well maintained.

Standing well back from the street on a very large block behind its original high brick wall, this impressive Reformist (Arts and Crafts) style villa of grand proportions would have been built between Federation (1901) and the Great War (1914).

The the choice of red brick with which to build the house is very Arts and Crafts Movement inspired. The builder has shown his admiration for the Arts and Crafts Movement by making the bricks real features in their design and layout across the differing sections of the facade and the garden wall. The sprawling villa features wonderful hipped roof with a central gable which has a sweeping balcony. Also Arts and Crafts inspired is the shingling under the bay windows. Unlike its more stylised Queen Anne neighbours, this villa has no stained glass in any of its windows, only leadlight panels set in large squares in the upper panes.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans.

This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectable and not inconsiderable wealth. Being quite original in design also suggests that the family wished to express their artistic influence and temperament through the design of the villa.

An interesting spiral staircase in one apartment while walking along route 20.

This Spanish Mission style villa with its impressive canopied entrance may be found in the Victorian provincial city of Ballarat.

Built of red and brown bricks, this smart villa with its stuccoed wall treatment is far simpler than some of its older late Victorian or Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. The overall design of the villa is very in keeping with the Spanish Mission Movement. The stuccoed wall treatment, ledged and boarded windows with their fan detailing and the decorative parapet over the entrance with its barley twist columns are typical features of Spanish Mission style architecture. However, decoration typical of the "Metroland" Art Deco period are present as well: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is also reflected in the arched front door.

The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.

This style of home was one that aspirational middle-class families in the 1920s sought. Cottage like in style, it represented the comfort and modernity that the burgeoning Australian middle-class wanted.

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Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.

During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925 - 1930) belongs to the PPL Building in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its striking minimalist Art Deco design. It features the building's name in a rounded cartouche on the building's corner facade which overlooks Albert Street. The PPL Building has a stylised stepped roofline, long spandrels with rounded edging and glass brick windows, all of which were popular architectural features of the Art Deco movement in the late 1920s and early 1930s. The rounded edges are very representative of the Streamline Moderne movement, and the building is everything a smart and successful business would want in the booming interwar years in Australia.

This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.

Private collection.

Built between the two World Wars, this wonderfully stylised Streamline Moderne Art Deco Villa of clinker brick is in one of the finer suburbs of Ballarat.

The villa is large and stand alone, with its original garage next to it. The clean uncluttered lines of the villa attest to the architectural fashions of the Art Deco movement during the 1920s and 1930s. Streamline Moderne features include the brown brick banding mid way around the wall and the top of the enclosed vestibule. It also features large sash windows.

A house of this style would have appealed to a moneyed upper-class Ballarat family who wished to express their chic artistic advancement, and would have displayed their wealth and standing in the Ballarat community.

Standing well back from the street on a very large block behind its original high brick wall, this impressive Reformist (Arts and Crafts) style villa of grand proportions would have been built between Federation (1901) and the Great War (1914).

The the choice of red brick with which to build the house is very Arts and Crafts Movement inspired. The builder has shown his admiration for the Arts and Crafts Movement by making the bricks real features in their design and layout across the differing sections of the facade and the garden wall. The sprawling villa features wonderful hipped roof with a central gable which has a sweeping balcony. Also Arts and Crafts inspired is the shingling under the bay windows. Unlike its more stylised Queen Anne neighbours, this villa has no stained glass in any of its windows, only leadlight panels set in large squares in the upper panes.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans.

This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectable and not inconsiderable wealth. Being quite original in design also suggests that the family wished to express their artistic influence and temperament through the design of the villa.

Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

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Situated at 25 to 29 Barkly Street in the Victorian provincial city of Ballarat, the former East Ballarat Free Library is to this day, still an imposing building. When it was built in 1867, it must have been even more imposing, as it would have been one of only a few permanent structures in the area, which was filled with tents as the are was hit by goldmining fever.

The East Ballarat Free Library is not only imposing, but has an unusual design using polychromatic brickwork to define separate highly individual elements of the facade, rather like much of the Methodist Church architecture built during slightly later periods. The library is the only known work of the architect C. Ohlfsen Bagge, and dates from 1867. At that date it represents an early use of coloured brick-work in Victoria. The building is of architectural importance as an early example of the polychromatic Gothic Revival style which survives substantially intact with a number of fine interiors including the spiral staircase, the original library, the hall and the pine-lined rear rooms. The construction of the front section of the Barkly Street was completed in 1869. C. Ohlfsen-Bagge acted as honorary architect and the interior design and supervision as carried out by J. J. Lorenz. The builders were Boulton and Fyfe and the interiors were completed by Fly Brothers.

Established in 1862 the East Ballarat Free Library was amongst the earliest of Ballarat's social and educational institutions and when housed in its own building in Barkly Street, the library built up an outstanding collection which was second in Australia only to the State Library of Victoria . It served as a focal point for educational purposes; the school of design founded there in 1870 advancing to become the Ballarat East branch of the school of mines in the 1900s. The library was officially closed in 1973 after a life of 111 years. The books were taken to the Camp Street Library and the Ballarat Historical Society's exhibits were moved from Camp St to the Old Ballarat East Library. In 1980 the Ballarat School of Mines Council presented a proposal to the Ballarat City Council regarding occupying and managing the East Ballarat Free Library as a School of Traditional Crafts. The proposal included maintaining the building in optimum condition. In 1983, land formally occupied by the East Ballarat Free Library in Barkly St was gazetted as a reserve for educational purposes and allocated to the Ballarat School of Mines. In 1987 the former East Ballarat Library reopened after extensive renovations and repairs, as the Management Training Centre of the Ballarat School of Mines.

This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.

Private collection.

Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

I like tile storefronts but most U.S. people hate them, detest them, just utterly despise them. That's why hardly anybody builds new ones!

There is an old forgotten RUINED FACE on the poster covering the left window, plus a phone number from area code 724: suburban Pittsburgh!

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In downtown New Kensington, Pennsylvania, on July 9th, 2020, on the north side of 9th Street (Pennsylvania Route 56), east of 3rd Avenue.

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Getty Thesaurus of Geographic Names terms:

• New Kensington (2091262)

• Westmoreland (county) (1003017)

Art & Architecture Thesaurus terms:

• abandoned buildings (300008055)

• branches (plant components) (300379798)

• ceramic tile (300010678)

• double doors (300002806)

• fading (300053048)

• geometric patterns (300165213)

• Gleditsia triacanthos (species) (300375441)

• glass doors (300375668)

• light blue (300129405)

• grayish blue (300129673)

• hand-painted (300248263)

• Mid-Century Modernist (300343610)

• posters (300027221)

• remodeling (300135427)

• shadows (300056036)

• storefronts (300002533)

• street addresses (300386983)

• stripes (300010230)

• telephone numbers (300435688)

• verticality (300056325)

• white (color) (300129784)

Wikidata items:

• 9 July 2020 (Q57396809)

• 309 (Q1066078)

• Area code 724 (Q3150268)

• July 9 (Q2690)

• July 2020 (Q55281154)

• Pennsylvania Route 56 (Q1052984)

• Pittsburgh metropolitan area (Q7199458)

• Rust Belt (Q781973)

• Treaty of Fort Stanwix (Q246501)

• vacant building (Q56056305)

• Western Pennsylvania (Q7988152)

Library of Congress Subject Headings:

• Buildings—Pennsylvania (sh85017803)

• Honey locust (sh85061852)

South Street by Wall Street (near Pier 11), NYC

by navema

www.navemastudios.com

January 1, 2010 - December 31, 2010

This 600-foot installation along a South Street construction fence features ribbon-like stitches of green and white materials woven in geometric patterns into wire mesh to evoke stems and vines. Colorfully painted spools and jar lids, all of which have been reclaimed or recycled, convey the "flowers" of this angular garden, which strategically allows visitors views of the East River as well as the esplanade project of the New York City Economic Development Corporation. The work, to be displayed for one year, is by artist Katherine Daniels and is presented by arts consultant BravinLee programs.

Re:Construction is a public art program produced by the Downtown Alliance. This initiative channels the energy of Downtown's rebuilding process by recasting construction sites as canvasses for innovative public art and architecture. Each project uses standard construction barriers to embrace the ongoing nature of Downtown’s redevelopment with original and whimsical design. The Downtown Alliance works closely with public and private developers to produce each installation.

For more info, visit: www.downtownny.com/reconstruction

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KATHERINE DANIELS

Growing up in West Virginia, Daniels’ first introduction to color, line and form came from her mother’s sewing and knitting. Now she sculpts with the materials and techniques of sewing that are second nature for her. She uses beads along with found, repurposed and recycled materials as her pallet. Daniels’ composition of an abstract flowering hedge embraces the idea of a garden path with visual rhythms of lines, colors and shapes for the viewer to move through. Ribbon-like stitches of green and white plastic fence weave have been woven into the wire mesh fencing and the installation is embellished with brightly painted spools, lids and flanges.

Katherine Daniels is a graduate of Rhode Island School of Design. She is a NYFA fellow who is working in NYC in a Chashama studio. The creation of this artwork has been made possible in part through a Chashama visual arts studio award.

Artist’s Statement:

“Outrageous elegance”, a Buddhist concept, describes a manner that is approachable by being neither too cold (elegance alone) nor too wild (outrageousness alone). This term is an apt description of the beauty, joy, humor and absurdity I strive for in my art. I am interested in grand visual and physical forms that introduce and induce awe and wonder. I make opulent abstract gardens that invoke spirit and paradise. I have been beading organic abstractions that descend from ceilings or ascend walls. They reference a mix of ornamental styles such as quilts from my Appalachian roots, the art of interior surfaces like rugs, Islamic and Asian textiles and screens, as well as environments that inspire awe such as the Sistine Chapel and the gardens at Versailles. My work induces pleasure by unabashedly embracing abstract ornament.

For more about the artist, visit: www.katherinedaniels.com/

After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.

This stylish Art Deco block of two flats, featuring one dwelling above the other with an interconnecting staircase would have suited those of comfortable means who could afford to live in Kooyong (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.

This cottage style block with its low slung tile roof in a mixture of shades, biscuit coloured stucco work with picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves and Deco lamp above the porch follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war.

This set of flats, like many around it, would have had a name, but the plaque between the windows has been cleared of it. I wonder what it was?

Standing amid a well maintained garden of exotics and connifers, this substantial 1920s Art Deco villa in the Ballarat suburb of Wendouree, would have been for a larger sized upper-class family.

Built of honeyed clinker bricks with red and brown feature brick detailing throughout, this sprawling house with its high gables is far simpler than some of its older Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. Built in the years after the Great War (1914 - 1918), you can start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is most noticable in the centre apex window.

This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectability and not inconsiderable wealth.

Made of locally produced red and brown bricks this substantial Mock Tudor villa in the Melbourne suburb of Coonans Hill, would have been for a larger sized middle-class family.

This house with its high gabled roof line features wonderful brick detailing around the windows and vestibule entrance. The interesting stepped chimney breast of stuccoed brick also shows off a selection of random feature bricks in geometric designs.

The Mock Tudor or Tudorbethan style, was most popular between the two World Wars throughout Britain and her dominions, especially in the new garden suburbs and ribbon developments that appeared during this period.

This style of house would have appealed to the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.

This villa still has its original low brick garden wall with wrought iron gates. The wall has been softened by the creation of a pretty hedge.

Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.

Well proportioned and set well back from the road, this large stand alone double storey villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a a full time domestic, if not a whole retinue of servants to keep it maintained for her Edwardian large family.

The villa is built of decorative red and brown bricks with a panel of clinker and brown brick nogging at the apex of the eaves. There are also a stepped design in brick at the end of the eaves. To add to its cottage-like appearance and to make it a true "Mock Tudor" villa, the house features an enclosed vestibule of faux latticework in black and wattle-and-daub painted white.

A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.

This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.

Patron: Badr al-Din Hasan (al-Nasir Badr al-Din Hasan ibn Muhammad ibn Qalawun, or al-Nasir Hasan) 1334/35-1361, Bahri Mamluk sultan of Egypt (r.1347–1351 & 1354-61).

Construction Supervisor: Muhammad ibn Bilik al-Muhsini, prominent emir, engineer & administrator.

Completed by: Bashir al-Gandar.

Islamic Monument #133

Built in a ribbon development along a tramline during the late 1920s or early 1930s, this neat asymmetrical Spanish Mission style villa may be found in the Melbourne suburb of Coonan's Hill.

The stuccoed brick facade treatment, geometric patterns of feature bricks on the porch canopy, archways and barley twist spiral columns of the vestibule pay homage to the Spanish Mission style.

Although now painted aqua, the house would originally have been painted either white, cream or some shade of "oatmeal" - a colour only ever truly fashionable in the 1920s and 1930s!

The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.