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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.
South Street by Wall Street (near Pier 11), NYC
by navema
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/
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.
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?
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
This photo captures a pile of shimmering ice shards that have been pushed onto the shore. The intricate designs and geometric patterns created by the ice formations make for an abstract winter landscape. The frozen water reflects the surrounding environment, adding to the sparkling effect of the ice. The overall composition is eye-catching, with the contrast of light and dark tones creating a dramatic effect.
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.
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
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.
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.
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.
I've been experimenting with patterns and colors using programs like Paintshop Pro Photo X2, Painter 4, and Photoshop CS5. These two I used PSP Photo X2 to create the black outlines and general shape and then painted them in Painter 4.
Built in a quiet cul-de-sac in a ribbon development along a tramline during the late 1920s or early 1930s, "Fabra Dare", a neat asymmetrical Spanish Mission style villa, may be found in the Melbourne suburb of Coonans Hill.
The stucco wall finish and barley twist columns pay homage to the Spanish Mission style. The three arches of the porch and its flat roofline edged with terracotta tiles give "Fabra Dare" a more of a hacienda look, which was very much the aim of the Spanish Mission style. Under the eaves of the villa and around the top of the porch canopy you can just make out a faint diamond pattern frieze which has been clogged with years of coats of paint. The villa also features geometric patterned leadlight glass windows in a very stylised Art Deco pattern.
The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.
A glowing tube combines pink blocks, teal geometric shapes and a pale background on a blue dining table. This close table view highlights the printed pattern and its illumination.
Explore related centerpiece ideas: illumitubes.com/gallery/
Kimo Theatre
U.S. National Register of Historic Places
N.M. State Register of Cultural Properties
Albuquerque Historic Landmark
Location:423 Central Avenue NW, Albuquerque, New Mexico
Coordinates:35°5′5.99″N 106°39′7.11″WCoordinates: 35°5′5.99″N 106°39′7.11″W
Built:1927
Architect:Boller Brothers; Carl Boller
Architectural style:Pueblo Deco
Governing body:Private
NRHP Reference#:77000920 [1]
NMSRCP #:453
Significant dates
Added to NRHP:May 2, 1977
Designated NMSRCP:July 30, 1976
Interior of the KiMo Theatre
The KiMo Theatre is a theatre located at 423 Central Avenue NW in downtown Albuquerque, New Mexico and it is probably the city's best-known landmark. It was built in 1927 in the extravagant Art Deco-Pueblo Revival Style architecture, which is a blend of adobe building styles (rounded corners and edges), decorative motifs from indigenous cultures, and the soaring lines and linear repetition found in American Art Deco architecture.[2]
The KiMo was conceived by entrepreneur Oreste Bachechi and designed for him by Carl Boller of the Boller Brothers architecture firm, who conducted an extensive investigation into the cultures and building styles of the Southwest before submitting his design. The theater is a three-story stucco building with the stepped massing characteristic of native pueblo architecture, as well as the recessed spandrels and strong vertical thrust of Art Deco skyscrapers. Both the exterior and interior of the building incorporate a variety of indigenous motifs, like the row of terra cotta shields above the third-floor windows.
The name "KiMo" (literally translated as "mountain lion" in Tewa, and sometimes loosely translated as "king of its kind") was supplied by Isleta Pueblo Governor Pablo Abeita,[3] who won $50 for his suggestion.
By 1977, the theater had fallen into disrepair but was saved from the wrecking ball when voters approved a plan for the City of Albuquerque to purchase the structure. It has undergone several phases of continuing restoration to return it to its former glory and is once again open to the public for performances. The most recent preservation was completed in 2000 with the installation of new seating and carpet, main stage curtain, new tech booth, lighting positions hid between and behind "vigas" on the ceiling, and a re-creation of the KiMo's original proscenium arch.
The KiMo Theatre is rumored to be haunted by the ghost of Bobby Darnall, a six-year old boy killed when a water heater in the theater's lobby exploded in 1951. The theater staff maintains a space in a backstage stairwell for gifts and offerings in an attempt to "appease the spirit."[cite this quote] Some claim to have actually seen Bobby's ghost, clad in jeans and a striped shirt. An investigation by Benjamin Radford turned up evidence contradicting the origins of the haunting.[4]
From Wikipedia, the free encyclopedia
This neat Metroland villa in the provincial Victorian city of Ballarat, would have been perfect for a middle-class family.
This house with its low slung roof line features a stuccoed brick facade and cottage like windows, giving it a cozy and simple elegance which so popular across Britain and her dominions during the 1920s and 1930s. Perhaps its most striking features is the Jazz Age Art Deco vestibule enclosure which has bands of red and brown bricks between the stuccoed panels, and a geometric design over the entrance. The red brick and roughcast fence, half of which has been covered by ivy, is also original to the villa.
The Metroland style, was most popular between the two World Wars, 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 built homes in the burgeoning suburbs around old town centres around the world. Comfortable and very English, it would have represented the ability to afford chic modernity rather than the fusy Victorian and Edwardian villas of their forebears.
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
Yellow and dark gunmetal gray chevrons go around a beaded bead accented with tiny turquoise colored rocaille beads which dangle from delicate long kidney earwires.
Starting with a flattened oval wooden bead and delica beads, I wove a chevron pattern around the core bead using peyote stitch. Peyote stitch is an off loom bead weaving stitch where each tiny bead is woven in by hand using multiple passes of thread. The tops and bottoms of the beaded beads are finished with tiny turquoise colored rocaille beads.
I added silver plated bead caps and silver plated wire and hung the lightweight beaded beads from long silver plated kidney earwires for a clean, contemporary look.
• Dimensions: The overall length from the very top of the ear wire to the bottom of the beaded bead is 2.75 inches (7 cm), and the beaded bead is .75 inches (1.9 cm) at the widest point.
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.
These stylish Art Deco flats in a large complex would have suited those of comfortable means who could afford to live in Elsternwick (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This block with its stuccoed brickwork with picked out brown and red feature bricks in geometric patterns and crenelled roofline is typical of the Spanish Mission style that emerged in California during the interwar years and spread across the world. It also features Mock Tudor red brick nogging and latticework above the name plaque, a style popular in the new ribbon development Metroland suburbs that began popping up in England after the war.
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 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 an earlier visit: www.flickr.com/photos/40262251@N03/6088446999 The only real differences are that this villa has different picked out brick patterns and that it has a latticed nook to the far left of the house, whereas the other villa has an arched window in the same shape.
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 maid or two to assist the mistress of the house keep the villa well maintained.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Cleveland Pressed Glass Portrait Plate, ca. 1884
Political Party: Democratic
Election Year: 1884
Date Made: ca. 1884
Measurement: Plate (diameter): x 11.5 in.; x 29.21 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5z8r
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
This wonderful Metroland Art Deco Villa buried amid a lush garden may be found in the provincial city of Ballarat.
Well proportioned, this small stand alone villa of red brick features banding under the eaves of the building. There are also red feature bricks on the villa's three very tall stuccoed chimneys, and feature bricks over the archways of the porch. The archways enclosing the vestibule are Spanish Mission inspired.
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 is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted. Adding to its modern appearance, it features geometric fan style Art Deco leadlight windows at the side and the latticed bay windows on the front facade.
The Alexandria Tea Rooms at 26 to 34 Lydiard Street in the provincial Victorian city of Ballarat, was apparently constructed for the Commercial Club in 1872.
The building is designed in the conservative Classical Revival style. The iron verandah is distinctive in design and the balustrade panel motif is most unusual and may be of local origin. The use of the triple window motif for the windows at first floor level is unusual. A double storey cast iron verandah faces the building, with paired columns at each end and supporting the central gabled section, a motif repeated in the balustraded parapet. The iron verandah balustrade is distinctive. Roman Doric pilasters and columns face the ground floor and a triple window motif is repeated above.
The Alexandria Tea Rooms forms part of an important streetscape of Lydiard Street in the centre of Ballarat's business district and is part of the townscape of historic Ballarat. It is historically important and is of architectural consequence for its detailing and verandah.
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
White decorative concrete breeze blocks wall with mid century geometric pattern in modern architecture.
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 stylied Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury, has sadly fallen into decay since it was built.
The whole property is surrounded by a low fence with plain pillars and wrought iron gate featuring a geometric Art Deco pattern.
The facade of a Spanish Mission style villa in the Melbourne suburb of Preston. The stucco wall finish geometric design above the window and ornamental crenellation above the porch pay homage to the Spanish Mission style.
The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.
Tessellation designed by Eric Gjerde, folded by me. Photo from exhibition. 32 x 32 x 32 triangle grid.
This block of Art Deco flats in East Melbourne has a wonderful entranceway with geometric Jazz Age designs around it.
This block of flats is typical of the Art Deco architecture that came out of England after the war. They are as chic today as when they were first built in the 20s or early 30s.
This stylised white stuccoed brick Mock Tudor villa in the Melbourne suburb of Preston, hides amid a lush garden of mature trees.
Set well back from the road, this house with its high gabled roof line features white stucco work, picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves and an ornamental band of Mock Tudor red and brown brick nogging two thirds of the way up the wall.
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.
Made of and red, brown bricks this neat Metroland villa in the provincial Victorian city of Ballarat, would have been perfect for a middle-class family.
This house with its stepped roof line features mottled terracotta tiles and cottage like windows, giving it a cozy and simple elegance which so popular across Britain and her dominions during the 1920s and 1930s.
The Metroland style, was most popular between the two World Wars, 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 built homes in the burgeoning suburbs around old town centres around the world. Comfortable and very English, it would have represented the ability to afford chic modernity rather than the fusy Victorian and Edwardian villas of their forebears.
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 Mock Tudor 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 Malvern (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This Mock Tudor, or Turoresque style house with its stepped gabling, stucco work between wooden latticing, brown and red bricks, stylised stepped edgeing beneath the eaves,and Mock Tudor latticed windows 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. Even the name: "The Windsor" is British!
Australia was still a British Colony when this house was built, and styles in the Motherland were mirrored in Australia.
This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.
Well proportioned and symmetrical, this villa is smaller than its older neighbours and may have belonged to an aspiring middle class family with less money than other families in the street. Nonetheless, the mistress of this house would have required the assistance of a "daily" woman to keep it maintained.
The villa features biscuit coloured stuccoed brick walls with picked out brown and red feature bricks in geometric patterns, most noticeably around the enclosed vestibule and on the chimney. The whole house has a red and brown brick fence around it. 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.
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.
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.
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.