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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.
Handwritten note on the back of this photo: "Summer 1938. My first straw hat, [which] Barley bought for me to go to ball games."
Originally posted on Ipernity: Pedal Car and First Straw Hat, 1938.
"NBC Radio City Hollywood Studio Tour. National Broadcasting Company, Inc. A Radio Corporation of America Service. Western Headquarters. The world's greatest broadcasting system. Sunset and Vine, Hollywood, California."
According to Wikipedia, "The West Coast Radio City opened in 1938 and served as headquarters to the NBC Radio Networks' (Red and Blue) West Coast operations.... The architect for the distinctive Streamline Moderne building at Hollywood and Vine was John C. Austin.... In 1964, the West Coast Radio City building was demolished, as NBC moved more of their West Coast television operations to the Burbank facility. The site is now occupied by a bank."
This is the old Prospect Diner near Columbia in Lancaster County, PA. It's been closed for a while, but still has that old time diner look and feel to it. Tried to work this shot for an old 40's-50's postcard look.
Watsonville, California; the former gas station was built in 1939 in the Streamline Moderne style. In use until 1989, the vintage building was restored and relocated to its present location in 2006.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Among the cars that Train No. 49 (Lake Shore Limited) is using on this trip is a heritage unit: Dining Car No. 8509. The car was built by Budd in 1958 as a Diner Lounge for the Northern Pacific Railway and was numbered 459. When the Northern Pacific Railway became part of Burlington Northern in 1970, the car passed onto them. A year later, in 1971, Amtrak took over most passenger service in the US and the car was subsequently conveyed to them. Amtrak initially numbered the car 8046. The car was later renumbered 8509.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
East Finchley station was built by the Edgware, Highgate and London Railway (EH&LR) and was originally opened as East End Station on 22 August 1867 by the Great Northern Railway (GNR) (which had taken over the EH&LR) in what was then rural Middlesex. The station was on a line that ran from Finsbury Park to Edgware via Highgate. The station was given its current name in 1886.
After the 1921 Railways Act created the Big Four railway companies, the line was, from 1923, part of the London & North Eastern Railway (LNER). The section of the High Barnet branch north of East Finchley was incorporated into the London Underground network through the "Northern Heights" project begun in the late 1930s.
For the introduction of London Underground services, the Victorian station was completely demolished and was rebuilt to an Art Deco/Streamline Moderne design by Charles Holden. As part of the rebuild, the station was provided with two additional platforms, giving four in total . This was necessary as the original intention of the "Northern Heights" project was that trains would be able to run south from East Finchley via two routes. One route would have run over the existing tracks to LNER's Highgate station (above ground and now derelict) and onwards via Crouch End to Finsbury Park: this route was never completed. The other route ran through newly-constructed tunnels running into a new deep-level Highgate station built under the LNER one and onwards to Archway, Camden Town and central London: this is the Northern Line's route south of East Finchley as it now exists.
The platforms comprise two parallel islands with tracks on both sides. The inner pair of tracks (where the train is on the right above) served the 'high level' route to Highgate, whilst the outer pair served the tunnel route. Underground trains first served the station on 3 July 1939 which acted as a temporary terminus for the Northern Line whilst the electrification of the line to the north was completed. Northern Line services to High Barnet began on 14 April 1940. The station continued to be served by LNER steam trains from Highgate (High-level) station until 2 March 1941 when that service was discontinued. The inner platforms are now generally used only by trains starting or terminating at East Finchley and those coming from or going to the depot south of the station.
After the war, most of the remaining plans of the "Northern Heights" project were cancelled and the section of the LNER line from East Finchley to Finsbury Park was not incorporated into the Northern Line. Underground services never ran from East Finchley through Highgate 'high level' station as planned although the line was occasionally used for Underground stock transfers up to its complete abandonment in 1970.
A strong feature of the station is the semi-circular glazed stairways (seen above) leading to the enclosed bridge over the tracks occupied by staff offices. These, combined with the station's block-like mass and the narrow deck-like platform buildings, lend the building the atmosphere of a ship.
This example of Art Deco or Art/Streamline Moderne architecture is slated for the wrecking ball. From the looks of it, there might not anything to salvage.
Opened in 1939 this iconic Los Angeles building has been a major passenger rail terminal and transit station ever since, I shot a series of photos, mostly of the beautiful Mission/Deco style interior and this is the sixth image of that series.
To read more about this amazing train station terminal check this link:
Prominent from the platforms at East Finchley London Underground Station and dominating the main entrance elevation, almost like a ship's figurehead, is a 3m-high statue by Eric Aumonier of a kneeling archer captured as if having just released an arrow along the railway line towards central London. (The Archer, a local community newspaper, is named after this landmark). The archer is intended to commemorate Finchley's ancient association with hunting in the nearby Royal Forest of Enfield. There is also a pun, in that it faces towards Archway. The underground part of the line starts just south of the Archer. This 27.8 km long tunnel was for many years the longest in the world (and is still the longest on the London Underground network). There was originally an arrow at Morden Station to match the archer at East Finchley, but this was stolen not long after that station was opened.
East Finchley station was originally built by the Edgware, Highgate and London Railway (EH&LR) and was opened as East End, Finchley on 22 August 1867 by the Great Northern Railway (GNR) (which had taken over the EH&LR) in what was then rural Middlesex. The station was on a line that ran from Finsbury Park to Edgware via Highgate. The station was given its current name in 1886. After the 1921 Railways Act created the Big Four railway companies, the line was, from 1923, part of the London & North Eastern Railway (LNER). The section of the High Barnet branch north of East Finchley was incorporated into the London Underground network through the "Northern Heights" project begun in the late 1930s.
For the introduction of London Underground services, the Victorian station was completely demolished and was rebuilt to an Art Deco/Streamline Moderne design by Charles Holden. As part of the rebuild, the station was provided with two additional platforms, giving four in total. This was necessary as the original intention of the "Northern Heights" project was that trains would be able to run south from East Finchley via two routes, over the existing tracks to LNER's Highgate station and onwards to Finsbury Park and also through newly-constructed tunnels running under Highgate station (where a new deep station was built) and onwards to Archway, Camden Town and central London.
Painted in crisp white, "Alan'ca" is a stylish Streamline Moderne Art Deco mansion in the Melbourne suburb of North Caulfield. The flat roof over the right hand side of the mansion, the rounded wall treatment and semicircular enclosed vestibule with its stepped parapet, speed lines and the minimal decoration across the building all pay homage to the chic, uncluttered lines of Streamline Moderne Art Deco architecture popular around the world in the 1930s. It almost has an elegant Hollywood mansion style about it as it basks in the sun. Even the angular, arrow like wrought iron in the narrow, elongated vestibule windows is very much in the spirit of the Jazz Age. A small piece of wrought iron in the Juliet balcony above the vestibule is equally Art Deco, as is the rounded, almost nautical porch light in its wrought iron frame. The original low fence with its wrought iron gate is also very Jazz Age and typical of the era.
"Alan'ca" has a smart terraced garden to complement the mansion.
Alan'ca is a place with a very small population in the province of Bilecik, Turkey. The closest major cities include Eskisehir, Bursa, Gebze and Istanbul. Perhaps the original owners went to Alan'ca before their home was built, thus inspiring the name emblazoned in elegant script on the front fence next to the gate.
The clouds and colors at the Studio's during "Magic Hour" were unreal. I love the architecture and ties to Los Angeles / Hollywood past throughout the studios.
From Wikipedia:
Designed by Robert V. Derrah and built in 1936, the Crossroads of the World has been called America's first modern shopping mall. Located on Sunset Boulevard and Las Palmas in Los Angeles, the mall features a central building designed to resemble an ocean liner surrounded by a small village of cottage-style bungalows.
Not a planned shot, I just happened to be passing at the time. I liked the idea of capturing the colours of the sunset clouds while standing in the shadow of St Andrew's House, concealing the luminous ferocity of the sun behind the building, and having the shaded end of the building in the photograph. It's the headquarters of the devolved administration of Scotland. In style it's a combination of art deco and streamline moderne, with touches of fascist rationalism.
I've only taken a few sunset photographs, enough to know that the huge dynamic range is a problem, especially if you want to see some shaded detail. A quick experimental shot confirmed the problem, blowing out the bright clouds while the facade of the building was still concealed in black shadow.
This is the kind of problem HDR was made for, and happily my current camera does rather nice in-camera handheld HDR. I set it to its max of a 6 stop difference over 3 shots. The bright clouds are still a bit blown, and I had to lift the shadows a bit to get the above effect, so I suspect a wider racketing range and post-porcessed HDR would have been better.
Original: DSC07795_ptX
Sears is closing its northwest Houston, Texas, store at 4000 N. Shepherd Drive after 70 years of business at this location. It is not yet known what will become of the Streamline Moderne bus shelter with the fab Sears neon sign integrated into the top of it.
After this store closes, the Houston area will be left with only one Sears store, located approximately 21 miles away in the city of Pasadena.
More: medium.com/@mollyblock/historic-houston-store-to-close-af...
The recently restored “Beresford Hotel” building in Sauchiehall Street is probably Glasgow’s finest art deco building.
Park Royal. Piccadilly Line. London, England, UK.
Please contact me to arrange the use of any of my images. They are copyright, all rights reserved.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
This is another small Streamline Moderne house in Nutana. Apart from the windows and door, there appears to be no sharp corners anywhere. The corners of the house, archway, overhangs and even the stairs are rounded.
Explore #306 on Monday, July 9, 2007
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
The Golden Gate Bridge spans 8,981 feet across the Golden Gate, the opening of the San Francisco Bay onto the Pacific Ocean, connecting San Francisco on the northern tip of the San Francisco Peninsula to Marin County. Designed by engineer Joseph Strauss and architect Irving Morrow, it was the longest suspension bridge span in the world when it opened on May 27, 1937. It has since been surpassed by eight other bridges, but still has the second longest suspension bridge main span in the United States after the Verrazano-Narrows Bridge in New York.
Before the bridge was built, the only practical route across the Golden Gate was by boat, which held San Francisco's growth rate below the national average. However, many experts believed that the 6,700-foot strait could not be bridged. It had strong swirling tides, strong winds, and reached depths of 500-feet at its center.
In 1916, former engineering student James Wilkins wrote an article with a proposed design for a crossing in the San Francisco Bulletin. The City Engineer estimated the cost at an impractical $100 million and challenged bridge engineers to reduce costs. Joseph Strauss, an ambitious but modestly accomplished engineer, responded with a plan for bookend cantilevers connected by a central suspension segment, which he promised could be built for $17 million. Strauss spent the better part of the next decade drumming up support and construction began on January 5, 1933.
As chief engineer in charge, Strauss, with an eye towards self promotion downplayed the contributions of his collaborators who were largely responsible for the bridge's final form Architect Irving Morrow designed the overall shape of the bridge towers, the lighting scheme and Art Deco elements, and used the International Orange color as a sealant. And Charles Alton Ellis, collaborating remotely with Leon Moisseiff, was the principal engineer, producing the basic structural design, introducing Moisseiff's "deflection theory" by which a thin, flexible roadway would flex in the wind, greatly reducing stress by transmitting forces via suspension cables to the bridge towers
In 2007, the Golden Gate Bridge was ranked #5 on the AIA 150 America's Favorite Architecture list.
California Historical Landmark No. 974, San Francisco Landmark No. 222 (5/21/1999)
Door in the Frank Fisher Apartments at 1209 North State Street in Chicago, Illinois. Designed by Andrew Rebori. Seen as part of the Open House Chicago 2012 event arranged by the Chicago Architecture Foundation.
Coca-Cola Bottling Company in downtown Los Angeles, built in 1939 and designed to look like a ship.
Architect: Robert V. Derrah
Jerry's Famous Deli occupies a wrap-around corner building built in 1940. The building is classic Streamline Moderne with its strong horizontal lines running down each street facade.
When looking at the building from a catty-corner angle, it resembles a tugboat with its central 'smokestack' rising above the door. The portholes along the roof line add to the nautical effect.
Built in 1936 by architect Walter Mason, "Taradale" is a three-storey complex of flats built in the Melbourne suburb of Elwood.
Daringly Modernist, these flats stand out against their older and newer neighbours. Built in Streamline Moderne style, they are very representative of all that was "moderne" in the mid 1930s. The clean uncluttered lines of the flats, the building's large windows, rounded balconies, speed lines and even the horizontal metal letters of "Taradale's" name are very Streamline Moderne in design and spirit. Even "Taradale's" gates are Streamline Moderne in style! If they stand out today, imagine how they shocked and surprised people in 1936!
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.
Flats like "Taradale" would have suited those of comfortable means who could afford to live in Elwood, and dispense with the difficulties of keeping a large retinue of staff. With clean lines and large windows, it mirrored the prevailing uncluttered lines of architecture that came out of England after the war.
Modernist architect Walter Mason designed many flats around Melbourne's bayside suburbs like Brighton, Mentone and Elwood before the Second World War, and then houses after it. Although his work is little recognised these days, one of his most iconic buildings is the Revlova Redressing Laundry built on Punt Road in Richmond in 1937. This, together with his own Modernist home in Mount Eliza and the "Taradale" flats in Elwood make up his most recognisable works.
The main screen at the recently closed Mission 4 Drive-In Theatre in San Antonio, Texas.
Night, 1/4 moon & sodium vapor lamps to camera left, with red-gelled strobe.
Looking for even more Route 66? Check out multiple galleries here:
Glenrio is essentially a ghost town along Route 66 at the border of Texas and New Mexico. New Mexico had a higher gasoline tax, so all the gas stations were in Texas. Essentially, everything left in town is part of the National Register of Historic Places as the Glenrio Historic District.
This Texaco was built in 1950 with a Streamlined Moderne style. It was built by Joe Brownlee, as well as the diner next door (in the background) and the State Line Bar in NM.
Joe's family owned a 1930's bungalow house to the right of this station. Joe's daughter still lives in that house and is now the town's only resident. Joe's son-in-law was murdered while working at a gas station in Adrian in 1976. That's his 1968 two door Pontiac Catalina on the left.
Located at 30 Rockefeller Plaza, the historic GE Building houses the headquarters of the NBC television network, its parent General Electric, and its local owned & operated television station, WNBC (Channel 4). NBC moved into its Rockefeller Center studios in 1936, and has remained there since. Originally called NBC Radio City Studios, countless radio radio personalities broadcast their shows from these studios, including Howard Stern, Don Imus, Wolfman Jack, and Cousin Brucie.
NBC's most famous studio is Studio 8H, the home of Saturday Night Live since 1975. 8H was once the largest radio studio in the world, originally home to the NBC Symphony Orchestra, conducted by Arturo Toscanini. It was converted into a television studio in 1950. Studio 6-A has been home to Late Night with Conan O'Biren since 1993, when David Letterman left the network and the studio space he called home since 1982. The Tonight Show was taped in studio 6-B during the Jack Paar and early Johnny Carson years from 1967-1972 before moving to Burbank. Studio 6-B is now WNBC-TV's main news studio. Studio 3-C houses NBC Nightly News; Studio 3-B houses Dateline NBC; and Stdui 3-K is home to NBC Sports
Rockefeller Center was designated a landmark by the New York City Landmarks Preservation Commission in 1985.
In 2007, Rockefeller Center was ranked #56 on the AIA 150 America's Favorite Architecture list.
Rockefeller Center National Register #87002591
Explore: Apr 10, 2007
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
An excellent example of Streamline Art Deco at 541 Marine Parade on the seafront in Napier. Streamline Art Deco is more typical of Miami Beach, FL and this is Napier's only example of the style. The building was put up in 1938, thus making it one of the later examples of Art Deco in the town, which had mainly been reconstructed by this time.
The designer was William John Green and A Garnett was the architect. It has a concrete exterior and a Rimu and Matai interior.
Another Charles Holden Design. The design of Osterley Station is dominated by a tall, square-plan brick tower, carrying the London Underground roundel on the left and right-hand sides. The tower is surmounted by a concrete 'obelisk' finial with rectangular light fittings. At night, the illuminated obelisk acts as a beacon on the skyline.
This impressive Miss Havisham style champagne glass fountain was one of the standout installations of the Rone "Empire" exhibition. Long after the champagne, and the love, has dried up, the glasses remain as a reminder of what once was.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.