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Boyfriend playin gig then best friends bdy.
Hat (Topshop).
Dress (New York Laundry, from Woodsides).
Tights (M&S).
Shoes (Koi Couture (!), from Quiz).
Grado´s Wood-cartridges are built in solid bodies made of mahogany. The Statement Signature is a Moving-Iron-system (MI-system). It looks great and sounds good!
I used it for some time with my Alphason HR100S tonearm but exchanged it later by a Koetsu Black-system.
The Postcard
A Real Photograph Series postcard published by Raphael Tuck and Sons. The photography was by Langfier. Waller's statement and signature have been printed over the photograph.
The card has an undivided back. The divided back for postcards was introduced in the UK in 1902, so it it likely that the card was published in 1901 or earlier.
Mr. Lewis Waller
William Waller Lewis (3rd. November 1860 – 1st. November 1915), known on stage as Lewis Waller, was an English actor and theatre manager, well known on the London stage and in the English provinces.
After early stage experience with J. L. Toole's and Helena Modjeska's companies from 1883, Waller became known, by the late 1880's, for romantic leads, both in Shakespeare and in popular costume dramas of the Victorian and Edwardian eras.
He attracted a large number of female admirers, who formed themselves into a vocal and conspicuous fan club. He also tried his hand at management of tours in 1885 and 1893, and then became an actor-manager at the Theatre Royal, Haymarket in the mid-1890's.
Waller remained an actor-manager for the rest of his career, both in London and on tour.
Despite his commercial success in Booth Tarkington's 'Monsieur Beaucaire' and Arthur Conan Doyle's 'Brigadier Gerard', Waller greatly preferred acting in Shakespeare, in which his roles ranged from Romeo to Othello.
Among the roles he created was Sir Robert Chiltern in Oscar Wilde's 1895 comedy 'An Ideal Husband'.
Lewis Waller - The Early Years
Waller was born in Bilbao, Spain, the eldest son of an English civil engineer, William James Lewis, and his wife, Carlotta née Vyse. He was educated at King's College School in south west London, after which, intending to pursue a commercial career, he studied languages on the Continent. From 1879 to 1883 he was a clerk in a London firm owned by his uncle.
After acting in amateur performances, Waller decided to make a career on the stage, and was engaged by J. L. Toole in 1883. His first role was the Hon. Claude Lorrimer in H. J. Byron's 'Uncle Dick's Darling', in which he was billed as "Waller Lewis".
By May of the same year, he had adopted the stage name Lewis Waller. In that month he appeared at the Theatre Royal, Drury Lane, in a charity matinee for the Actors' Benevolent Fund with Toole's company and such contemporary stars as Rutland Barrington, Lionel Brough, Arthur Cecil, Nellie Farren, George Grossmith, Henry Irving and Ellen Terry.
He remained in Toole's company for a year, playing light comedy and juvenile parts. During this year, he married a young actress, Florence West (1862–1912).
He joined a touring company, playing the central role, the blind Gilbert Vaughan, in 'Called Back' by Hugh Conway.
Waller returned to London in March 1885 to play at the Lyceum Theatre in Helena Modjeska's company, as the Abbé in 'Adrienne Lecouvreur', and then toured with her, playing such roles as Mortimer in 'Mary Stuart', and Orlando in 'As You Like It'.
The Manchester Guardian said of the latter:
"He kept Orlando properly ingenuous,
and made him a taking and gallant
young wooer."
Towards the end of 1885, Waller ventured into management for the first time, touring a production of 'Called Back', taking the role of Dr. Basil North, in which The Manchester Guardian thought him:
"A trifle too melodramatic".
The tour was modestly successful, but not such as to lead Waller to mount further productions for some time.
Waller returned to the West End, working for a succession of managements. At the Strand Theatre in early 1887, he played Roy Carlton in 'Jack-in-the-Box', which his biographer describes as his first substantial success in London.
At the Opera Comique he played Ernest Vane in 'Masks and Faces', and Captain Absolute in 'The Rivals'. At the Gaiety Theatre he played Jacques Rosney in 'Civil War'.
Waller then joined William Hunter Kendal and John Hare at the St. James's Theatre, where he played the Duc de Bligny in 'The Ironmaster', Sir George Barclay in 'Lady Clancarty', and Lord Arden in 'The Wife's Secret'.
When Rutland Barrington took over the management of the St. James's in 1888, Waller played George Sabine in 'The Dean's Daughter', and Ralph Crampton in 'Brantinghame Hall'.
Rudolph de Cordova, in a 1909 biographical sketch noted:
"During this period, few theatres
played regular afternoon performances,
so that the actors were, for the most part,
engaged only in the evening. Many
matinees were, however, given to introduce
new plays and new players; and in this way
Mr. Waller acted a large number of new parts,
all of an ephemeral character."
In particular he played several Ibsen roles in these matinees in the early 1890's, bringing him to the attention of people of influence in the theatre such as William Archer, Jacob Grein and Bernard Shaw.
Waller played Oswald in 'Ghosts', Lovborg in 'Hedda Gabler', Rosmer in 'Rosmersholm' and Solness in 'The Master Builder'. The ODNB commented that:
"Archer was delighted that an established
West End actor had contributed to the Ibsen
revival, but was aware that Waller could
overcome neither the play's inadequate
rehearsal period nor his background of
florid West End performances."
Lewis Waller - The Later Years
In October 1893, Waller returned to management, mounting a tour of Wilde's 'A Woman of No Importance', in which he played Lord Illingworth. The Manchester Guardian called it:
"A tolerable travelling company in
which nobody gains great distinction."
Returning to London, Waller, in partnership with H. H. Morrell, leased the Theatre Royal, Haymarket while its regular tenant, Herbert Beerbohm Tree was on tour in the US. He began with the premiere of Wilde's 'An Ideal Husband', playing Sir Robert Chiltern in a cast that included his wife as Mrs. Cheveley, Julia Neilson as Lady Chiltern and Charles Hawtrey as Lord Goring.
Waller and Morrell remained in management until 1897, when Tree invited Waller to join his company at the newly rebuilt Her Majesty's Theatre.
Waller remained with Tree for three years, playing a wide range of roles, including romantic leads in popular costume dramas and, in Tree's lavish Shakespeare productions, Laertes in 'Hamlet', Brutus in 'Julius Caesar', Faulconbridge in 'King John' and Lysander in 'A Midsummer Night's Dream'.
After leaving Tree's company, Waller returned to management. Although he loved playing Shakespeare, adding the roles of Romeo, Othello and Henry V to his repertoire, for commercial reasons he was best known as the star of swashbuckling romances. He was particularly identified with the title roles in the stage versions of Booth Tarkington's 'Monsieur Beaucaire' and Arthur Conan Doyle's 'Brigadier Gerard'. He starred in a film of the latter in 1915.
The critic Hesketh Pearson praised Waller for:
"His good looks and virile acting,
and his vibrant voice which rang
through the theatre like a bell and
stirred like a trumpet".
Waller had a large following of enthusiastic women fans, who formed a club known as the K.O.W. [Keen On Waller] Brigade. Pearson lamented:
"The puerile nature of the plays he
usually put on, and the adolescent
behaviour of his female admirers,
prevented many people from
appreciating his superb gift as a
declaimer of Shakespeare's rhetoric,
and frequently exposed him to ridicule."
In 1911 and 1912, Waller made a tour of the US, Canada and Australia. In his absence his wife died. His last play was May Martindale's 'Gamblers All', which opened at Wyndham's Theatre, London in June 1915, with Gerald du Maurier and Madge Titheradge co-starring.
The Manchester Guardian called the production:
"A personal acting triumph
for Lewis Waller".
Death of Lewis Waller
After the West End run, Waller took the play on tour, during which he contracted pneumonia, from which he died in Nottingham two days short of his 55th birthday.
Reference statements from the net:
"Collioure, a town only about 15 miles from the Spanish border and 18 miles from Perpignan, has an art history that goes back to when French artist Henri Matisse started painting in the small town over a century ago. The art scene in Collioure is constantly evolving, with some artists coming to the commune to work simply because of its reputation as an artists’ colony.
And then a quotation from artist Henri Matisse:
“There isn’t anywhere in France where the sky is bluer than the sky of Collioure. I just have to open the shutters of my room and I have all of the colors of the Mediterranean at my place.”
So there I am in this fine November afternoon. Standing in Port Avall with my small Canon G1X and my tripod - on my way back to our apartment. Of course I stop just there in the beginning of the blue hour and make this photo souvernir right at the beach looking towards the church Notre-Dame-des-Anges to the right of the high walls of Château Royal de Collioure while some small waves wisper silently at the shore.
Look at the bell tower at the church - who originally was not a church but a lighthouse - I think that I even red sometimes that it had been used as a prison. What a story for such a delight for the eye - as it was this afternoon.
When I fold together my tripod and pack the camera in my bag I know this work must be presented as: "The beautiful blue colors of Collioure"
A local mobilisation of anti-fascists matched in number a national demonstration called by the EDL in Birmingham with around 350 supporters from trade unions, community groups, faith groups and councillors demonstrating their opposition to the EDL in Birmingham.
The 'We are Birmingham - Don't let the racists divide us' rally organised by Birmingham Unite Against Fascism was supported by Salma Yaqoob, Carl Chinn, Roger Godsiff MP, Jack Dromey MP, Rabbi Margaret Jacobi from the Birmingham Progressive Synagogue, Muhammed Sarfraz Madni, Executive Member and Imam from Birmingham Central Mosque and Robert Brenchley from Ladywood Methodist Church.
A statement released by them as well a number of trade union general secretaries said "We, the undersigned, condemn the decision by the English Defence League (EDL) to come to Birmingham on Saturday 11th. October. We believe it is a cynical attempt by the EDL to use the appalling crime of child sexual exploitation in Rotherham to further its own selfish ends. We support and seek justice for all victims of sexual exploitation regardless of their social or ethnic background. We condemn and seek prosecution of all those responsible for these crimes irrespective of their ethnicity or creed."
"The EDL is a racist and fascist group dedicated to attacking Asian people and Muslims. Many former members of the fascist BNP, the Nazi National Front and other fascist organisations are active in the EDL and its splinter groups. These fascists and racists should be condemned and opposed. We must not give a quarter to those who would judge an entire religion, race or nationality by the actions of a few. Islamophobia – bigotry against Muslims – is as unacceptable as any other form of racism. Today they threaten Muslims, tomorrow it could be Jewish people, Hindus, Sikhs, black people, LGBT people, Travellers or Eastern Europeans."
The rally was entertained bands including Thatchers Lovechild, poets an singers as well as speeches from black students, local councillors trade unions, LGBT and disabled activists. The demonstation was also supported and addressed by the local Palestine Solidarity Campaign and a messae of solidarity was read out from Greek ant fascists opposing the the Golden Dawn, a fascist party growing against the back drop of brutal austerity measures in Europe.
Citing the examples of Nick Griffin being expelled from his own party, the BNP and Tommy Robinson resigning from the EDL, UAF pledged to confront racist and fascist organisations wherever they seek to "divide communities" with their "message of hate."
The EDL demonstration was less than an eighth of the size of last year but questions still remain over the policing of the operation. Contraversy hit the press after Bar Risa on Broad Street claimed they were "forced" by the police to faciliate two hours of drinking by the EDL before the demonstration in a move which was widely condemned.
Birmingham Unite Against Fascism became aware of claims that staff at the venue were advised only white staff should work the shift. GMB union called on the bar, which is not normally open at those times, not to open in order to protect all of its staff. Other venues on Broad Street have refused to open for the EDL regardless of police requests.
UAF protesters also condemned what they called heavy policing tactics at the beginning of the day. Despite being in negotiations with the police for weeks and publically calling their demonstration in Victoria Square they arrived to a section 14 notice threatening arrest and a "steel cage" in Chamberlain Square which they sought to force protestors into. UAF negotiated with the police to remove the barriers, allow freedom of movement and march into the square only after they believed the majority of protestors arrived.
Organisers of the UAF demonstration said "The people of Birmingham should not be punished and forced into a cage for standing up to racists in the city. We are surprised the police see the citizens of their own city as more of a public order issue than the EDL."
"When policing the EDL they appear to have undertaken an identical operation as last year, rolling out the red carpet, actively forcing a bar to facilitate drinking for two hours and then allow the EDL to spout their messages of hate by a war memorial of all places."
Last year the EDL caused hundreds of thousands of pounds of damage to the city, racially abused by-standers and even injured police officers during two hours of disorder. The court cases are still ongoing.
PP22 - Policy Statements
H.E. Mr Claudio Araya
Undersecretary of Telecommunications
Undersecretariat of Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
The closing statements in the case The Prosecutor v. Dominic Ongwen were scheduled for 10-12 March 2020 before Trial Chamber IX of the International Criminal Court ("ICC" or "Court") in The Hague, The Netherlands. The Prosecution, the Legal Representatives of Victims and the Defence will present their final arguments. Trial Chamber IX is composed of Judge Bertram Schmitt, Presiding judge, Judge Péter Kovács and Judge Raul Cano Pangalangan.
UNESCAP member states in the session to deliver country statements.
Date: 27 November 2019 at 10:30–17:20
Venue: ESCAP Hall, UNCC Bangkok.
Photo: UN Women/Pornvit Visitoran
continuing my exploration of faux metal setting for glass and gems; large iridescent black glass cab set with rhinestones, pearls and glass beads--will be posted to my shop next week.
Maura, Melanie and Cassandra at Albuquerque Uptown, taken during a Random Acts of Dance shoot with Kevin Eddy and Myself
SB800 X2 fired with Pocket wizard
I've been learning to work with the coolest new media in jewelry making - PMC (Precious Metal Clay) since last spring and I'm finally starting to list pieces of jewelry that are made of it. So here is the first piece of many :) - PMC Oak leaf ooak statement necklace wire wrapped 14K Gold filled pendant with gemstones - Amber, Carnelian, Citrine, Garnet, and Pyrite.
This image was captured in New Delhi, in December 2013 around the time of India's national election. When you vote, your index or ring finger are inked to indicate that you have voted. This symbol has the middle finger inked and is a political statement for "Don't Vote".
Don't_Vote_7798ec
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
Policy Statements ITU PP-22
Mr Don Graves
Deputy Secretary of Commerce
United States Department of Commerce
Bucharest, Romania
26 September 2022
©ITU/Rowan Farrell
Kit: M3 April 2017 Add On Elements by Little Butterfly Designs at the-lilypad.c...3-April-17.html
Background Paper: Girl Power Papers(August 2017 BYOC) by Little Butterfly Wings at the-lilypad.c...irl-Papers.html
Style(Title): Style 242 Metals by Mommyish at the-lilypad.c...Stylin-242.html
Stitches: Hold It Together Stitched Backgrounds byErica Zane at Sweet Shoppe Designs at www.sweetshop...365&cat=&page=1
Fonts: Birch Std and Calamity Jane
PP22 - Policy Statements
H.E. Mr Latsamy KEOMANY
Ambassador, Permanent Representative
Permanent Mission of the Lao PDR to the UN Office and Other International Organisations in Geneva
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Dress: A Grecian Turn Dress, Rubber Ducky via ModCloth
Cardigan: Charter School Cardigan in Raspberry via ModCloth
Bracelets: Nordstrom (blue bracelet), Talbots (orange and pink bracelet), and vintage (gold bangles)
Necklace: Statement of the Art Necklace in Sun via ModCloth
Laptop Bag: Marc by Marc Jacobs via Nordstrom
Photo by Pat Zimmerman
Local accession number: 11_03_000083
Title: Bloomerism in practice
Statement of responsibility: A. W.
Genre: Political cartoons; Lithographs; Prints
Date issued: 1861 (approximate)
Physical description: 1 print : lithograph ; 14 x 8 in.
Summary/Abstract: Mrs. Turkey reposing on her laurels, waiting for breakfast. Mr. Turkey mending his coat-tail. Enters master Turkey crying: 'Oh Ma! Breakfast will never be ready, for Biddy says she wants to be like Missus and won't cook anymore sez she!' (First disappointment.)
General notes: Title from item.; Caption on item: The morning after the victory.
Subjects: Suffragists; Family members
Collection: Americana Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
PP-22 - Policy Statements
Ms Eka Kubusidze
Head of Communications, Information and Modern Technologies Department of the Ministry of Economy and Sustainable Development of Georgia
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
Singapore Ministry of Foreign Affairs Press Statement: State Visit of President of the Republic of Indonesia Dr Susilo Bambang Yudhoyono, 2 to 4 September 2014
President of the Republic of Indonesia, Dr Susilo Bambang Yudhoyono, will make a State Visit to Singapore from 2 to 4 September 2014 at the invitation of President Tony Tan Keng Yam. President Yudhoyono will be accompanied by his wife Ibu Ani Bambang Yudhoyono, and a high-level delegation.
There will be an official Welcome Ceremony in honour of President Yudhoyono at the Istana on 3 September. Following that, President Yudhoyono will have separate meetings with President Tan and Prime Minister Lee Hsien Loong. Prime Minister Lee will host President Yudhoyono and his delegation to lunch, while President Tan and Mrs Tan will host a State Banquet in honour of President Yudhoyono and Ibu Ani the same day. Emeritus Senior Minister Goh Chok Tong will call on President Yudhoyono on 4 September 2014.
During the visit, President Tan will confer the Order of Temasek (First Class) on President Yudhoyono in a ceremony at the Istana. The Order of Temasek (First Class) is Singapore’s highest honour for foreign leaders. It is being conferred on President Yudhoyono for his positive contributions to the relationship between Singapore and Indonesia during his ten years in office.
President Yudhoyono and Prime Minister Lee will also witness the signing of the Treaty between the Republic of Indonesia and the Republic of Singapore relating to the Delimitation of the Territorial Seas of the Two Countries in the Eastern Part of the Strait of Singapore on 3 September 2014.
President Yudhoyono last made a State Visit to Singapore in 2005.
08/07/2020. London, United Kingdom. Summer Statement Cabinet. Chancellor of the Exchequer Rishi Sunak on his way to brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
PP22 - Policy Statements
H.E. Mr Puthyvuth Sok
Secretary of State
Ministry of Post and Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Eric Lebédel-Delumeau
Ambassador
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
NHL
Melbourne Cricket Ground
Source: Go to the National Heritage List for more information.
Identifier: 105885
Location: Brunton Av, Jolimont
Local
Government: Melbourne City
State: VIC
Country: Australia
Statement of
Significance: The Melbourne Cricket Ground (MCG) was established in 1853 when Lieutenant-Governor La Trobe provided 10 acres of land in Yarra Park to the Melbourne Cricket Club. In the intervening 150 years the MCG has developed into one of the largest, most recognisable and modern sports stadiums in the world.
The MCG is the home of the Melbourne Cricket Club, the first cricket club in Victoria and a major contributor to the development of cricket in Victoria and Australia from the middle of the nineteenth century. The Melbourne Cricket Club organised the inaugural inter-colonial first-class cricket match between Victoria and New South Wales on the MCG in 1856. The first test match between Australia and England was also played on the MCG in 1877.
In 1858 Tom Wills and other members of the Melbourne Cricket Club devised the rules of the Melbourne Football Club, which became the codified rules of Australian Rules football. Football was played on the MCG for the first time in 1859 and since the late nineteenth century the MCG has been the symbolic home of football, first in Victoria and, with the establishment of the Australian Football League, in Australia as a whole.
The MCG has become associated with many of the finest sporting achievements of Australia’s, and many of the world’s greatest athletes. It was the site of the 1956 Olympic Games, the first in the southern hemisphere.
There is a continuity of use of the MCG for domestic cricket from 1856, international cricket from 1877, and Australian Rules football since the 1880s. Spectator and playing facilities at the ground have evolved to support on-going use and contemporary standards. Of the little remaining pre-1992 fabric, approximately 30% of the wrought iron fence around the playing arena, dating from 1884, is in situ and is a significant aspect of the place.
The significance of the MCG extends far beyond that of a mere sports stadium. It is an integral part of the fabric of Melbourne and the nation, and has gained an egalitarian image as ‘the people’s ground’.
Description: The Melbourne Cricket Ground (MCG) is the largest sporting arena in the city of Melbourne and has the highest seating capacity of any outdoor stadium in Australia. It is used principally for international and domestic cricket and Australian Rules football. It was the main stadium for the 1956 Olympic Games and in March 2006 will be the centrepiece of the 2006 Commonwealth Games.
The MCG playing surface is an oval, 160 metres long and 138 metres wide at its centre. It is a natural (grass) surface and a turf cricket pitch is prepared and dropped in to the playing arena for international and domestic cricket. The oval is surrounded by a metal railing fence.
A major redevelopment of spectator facilities at the ground commenced in 1990. Current spectator facilities consist of the Great Southern Stand, completed in 1992, and the new Ponsford and Northern Stands which commenced in 2002 and have been progressively opened for public use. The final stage of construction, the Northern Stand, is due for completion in January 2006.
The redevelopment has involved demolition of the Western Stand (Ponsford Stand), the Members’ Stand and the Northern Stand (Olympic) to allow for new stands on the western and northern sides of the ground. When the new Northern Stand is completed in January 2006, the capacity of the stadium will be restored to 100,000 seats. The new grandstands incorporate many of today’s most advanced design features and provide world-class viewing facilities for spectators. The Great Southern Stand won the Royal Australian Institute of Architects (RAIA) Sir Zelman Cowan Award for public buildings and the RAIA Victorian Chapter Award in 1992.
The erection of six lighting towers, first used in February 1985, has enabled both cricket and football to be played at night.
VHR Statement of Significance
What is significant?
The Melbourne Cricket Ground was established in 1853 when 10 acres of land at Yarra Park in Jolimont was set aside for the use of the Melbourne Cricket Club, the purpose of the reserve being 'to promote the recreation and amusement of the people and ... to provide a site or place for the playing of cricket within the City of Melbourne in our said Colony.' Since 1862, the ground has been administered by a government-appointed trust (the MCG Trust) which continues to delegate its day-to-day management to the Melbourne Cricket Club. From its beginnings as a simple paddock-like ground with a modest pavilion and with limited grandstand and other facilities scattered around the perimeter, the Melbourne Cricket Ground has evolved and expanded through a process of phased redevelopment and renewal into a major piece of sporting infrastructure serving the metropolitan area and the State as a whole. Currently, the stadium comprises four principal stands, the MCC Members Pavilion (the third on the site, designed by Stephenson and Meldrum and completed in 1927), the Northern (Olympic) Stand (designed by AW Purnell and completed in 1956), the Western (Ponsford) Stand (designed by Tompkins, Shaw & Evans and completed in 1968) and the Great Southern Stand (designed by Daryl Jackson in association with Tompkins Shaw & Evans and completed in 1992), the oval, light towers (1984) and Australian Gallery of Sport (1986).
How is it significant?
The Melbourne Cricket Ground is of historical, social, aesthetic and architectural significance to the State of Victoria.
Why is it significant?
The MCG is of historical and social significance at a State, national and international level, as one of the oldest and largest capacity contained sporting venues in the world and one of the best-known of international cricket grounds, and as the pre-eminent venue for top-level cricket in Australia since the mid to late nineteenth century. Since the late nineteenth century it has also been the main venue and symbolic home of Australian Rules Football in Melbourne, making it of great historical and social significance in a State and metropolitan context, and - following the expansion of the Australian Football League to include interstate clubs - in a national context. The MCG is also historically and socially significant as the main venue and ceremonial focus for the 1956 Melbourne Olympic Games, and for its associations with numerous other sports and events.
The MCG is also of historical and social significance for its association with the Melbourne Cricket Club, the oldest club in Victoria and a major force in the development of cricket and other sports in Victoria from the nineteenth century. This association is reflected in the Members Pavilion, which is the third such pavilion constructed for the purpose. As well as being the repository of Victoria?s cricketing traditions, the pavilion occupies the prime position for viewing events, particularly cricket, and allows members access to a range of private facilities such as the dining room and the long room.
In the broader context, the MCG is also of historical and social significance for its egalitarian image as the 'people's ground' and its long tradition of serving the people of Victoria. The MCG is socially significant as a living icon, a focus of attention in which importance lies in participating in events as well as experiencing the place itself.
The MCG is of aesthetic significance primarily for its overall form and scale. The MCG is a landmark on the edge of the city, a vast stadium which retains its traditional parkland setting. Whether full or empty, the stadium is of considerable aesthetic power and significance and is a place of energy and great atmosphere.
Within the broader conception of the MCG, there are elements with their own architectural significance. Firstly, the Members Pavilion by Stephenson and Meldrum (1927), is architecturally important as a large and relatively intact grandstand from the interwar period, although an appreciation of its impressive facade is marred by the somewhat intrusive Australian Gallery of Sport of 1986. Secondly, the Great Southern Stand by Daryl Jackson in association with Tompkins Shaw and Evans (1992) has been the recipient of a wide range of design awards and has generally been received with acclaim by architectural critics.
Year Construction Started 1927
Architect / Designer Stephenson & Meldrum