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Kia Ora is located at 449-453 St. Kilda Road, Melbourne, 3004. It is on the east side of St. Kilda Road, half-way between Toorak and Commercial Roads.
Kia Ora was completed in 1936 in the style of Streamline Moderne. Kia Ora was commissioned by the Dixon family, who owned the "Kia Ora" cordial factory, and designed by architect Lewis Levy (1890-1970). When first built, they boasted wall panel hydronic heating, walk-in closets and modern kitchens.
Fawkner Park, one of Melbourne's larger inner city parks, graces the rear of Kia Ora, and the residents are fortunate to have a private gate to access the park.
The Colony and Boulevard Hotels in South Beach.
The Colony Hotel was built in 1935. It is considered one of the first Streamline Moderne hotels in South Beach.
The Colony Hotel's prominent, almost movie theater, masonry marquee makes it one of the most recognizable hotels on Ocean Drive. Long, Moderne-styled ribbons of windows with eyebrows that wrap around the corner offset the powerful vertical sign.
The Boulevard is a more recent hotel built in 1950 - long after the Art Deco movement.
Check out those curves! Sweet Art Moderne building and vintage neon sign in downtown Galveston. (Some people refer to it as Art Deco, but I think the rounded and streamlined elements make it more a Moderne-style design.) Texas State Optical (TSO) opened here in this location in the 1940s, and remains in business today.
The former State Government offices building in Ballarat's Camp Street was designed by Chief Government Architect Percy Everett (1888 - 1967) and opened in 1941 to house the local state government offices and courthouse. A commemorative plaque announcing that building was opened by the then Premier of Victoria, the Honourable A. A. Dunstan M. L.A. appears to the right of the main entranceway. Created of clinker brick and concrete in Art Deco style, it is remarkably similar in design to the Russell Street Police Station in Melbourne (also designed by Percy Everett), and a good example of the era. It features Functionalist Moderne windows and doors, hexagonal Art Deco lamps and very stripped back detailing. The main entranceway is crowned by Dieu et Mon Droit emblem on the King George VI which is painted and gilt.
It's curious that this beautiful building sits in Camp Street given its contrasting architectural style to the otherwise Victorian-influenced street. The building faces Sturt Street rather than Camp Street, and has been beautifully maintained.
The State Government Offices are now located in Mair Street, and the city's court house has moved to the corner of Albert and Dana Streets. This building is now part of the University of Ballarat's Arts Academy.
Percy Everett is also known for having designed Heatherton hospital (1945), the Fairfield Golf Clubhouse (1934),
Essendon Technical School (1939), the State Accident Insurance Office in Melbourne (1941), the William Angliss Food Trades in Melbourne(1941), the Russel Street Police Headquarters in Melbourne (1942–1943), F.G.Scholes Block (Wards) Fa Hospital in Fairfield(1949) and the RMIT Building 5&9 in Melbourne(1938).
Want even more from the National Museum of Transportation? Check out my gallery here:
route66.seemidtn.com/2mo/b2-nmt/index.html
or all my Route66 Galleries here:
While the National Museum of Transportation in the Kirkwood area of St. Louis is best known for their trains, they do have one building dedicated to Automobile travel. The museum is not directly on Route 66, but it's close enough to be featured in the museum. a 1926 Willy's Overland is parked in front.
From AI:
The Coral Court Motel, constructed in 1941 in Marlborough, Missouri—a suburb just outside St. Louis—was a quintessential roadside landmark along the historic U.S. Route 66, specifically on Watson Road. Designed in the Streamline Moderne style with distinctive yellow glazed brick facades, rounded corners, and private garages attached to each unit, it initially featured 20 rooms but expanded multiple times over the decades to accommodate up to 77 units by the 1980s. The motel gained notoriety as a "no-tell motel" due to its hourly rental options, discreet layout that allowed guests to park directly in garages for privacy, and its prime location catering to travelers on the Mother Road, making it a symbol of mid-20th-century American motoring culture and roadside architecture.
Despite being added to the National Register of Historic Places in 1989 for its architectural significance, the Coral Court Motel closed in 1993 and was demolished in 1995 to make way for a housing development, sparking controversy among preservationists and Route 66 enthusiasts. However, one complete unit from the motel was carefully dismantled brick by brick and relocated for preservation at the National Museum of Transportation in St. Louis, where it now serves as a display in the Earl C. Lindburg Automobile Center, offering visitors a glimpse into the motel's unique design and its role in automotive and travel history.
The former State Government offices building in Ballarat's Camp Street was designed by Chief Government Architect Percy Everett (1888 - 1967) and opened in 1941 to house the local state government offices and courthouse. A commemorative plaque announcing that building was opened by the then Premier of Victoria, the Honourable A. A. Dunstan M. L.A. appears to the right of the main entranceway. Created of clinker brick and concrete in Art Deco style, it is remarkably similar in design to the Russell Street Police Station in Melbourne (also designed by Percy Everett), and a good example of the era. It features Functionalist Moderne windows and doors, hexagonal Art Deco lamps and very stripped back detailing. The main entranceway is crowned by Dieu et Mon Droit emblem on the King George VI which is painted and gilt.
It's curious that this beautiful building sits in Camp Street given its contrasting architectural style to the otherwise Victorian-influenced street. The building faces Sturt Street rather than Camp Street, and has been beautifully maintained.
The State Government Offices are now located in Mair Street, and the city's court house has moved to the corner of Albert and Dana Streets. This building is now part of the University of Ballarat's Arts Academy.
Percy Everett is also known for having designed Heatherton hospital (1945), the Fairfield Golf Clubhouse (1934),
Essendon Technical School (1939), the State Accident Insurance Office in Melbourne (1941), the William Angliss Food Trades in Melbourne(1941), the Russel Street Police Headquarters in Melbourne (1942–1943), F.G.Scholes Block (Wards) Fa Hospital in Fairfield(1949) and the RMIT Building 5&9 in Melbourne(1938).
Kia Ora is located at 449-453 St. Kilda Road, Melbourne, 3004. It is on the east side of St. Kilda Road, half-way between Toorak and Commercial Roads.
Kia Ora was completed in 1936 in the style of Streamline Moderne. Kia Ora was commissioned by the Dixon family, who owned the "Kia Ora" cordial factory, and designed by architect Lewis Levy (1890-1970). When first built, they boasted wall panel hydronic heating, walk-in closets and modern kitchens.
Fawkner Park, one of Melbourne's larger inner city parks, graces the rear of Kia Ora, and the residents are fortunate to have a private gate to access the park.
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 New York Central K-5b Pacific Class 4-6-2 steam locomotive #4915 with Henry Dreyfuss' streamline design. Originally manufactured in 1926 by the American Locomotive Company (ALCO), no. 4915 and her sister no. 4917 were streamlined in 1936 to lead The New York Central’s most luxurious experience on rails.
This project is my first MOC and has taken about a year and a half to complete with many challenges arising in trying to obtain the beautiful "streamline moderne" styling. Perseverance paid off however and through 1/2 steps, 1/3 steps and even 1/6 steps I have ended with a final version that I hope you all will enjoy.
The model is 8-wide, built to 1:48 scale and is designed to fit all standard lego track geometry. The locomotive is powered by two Power Functions M motors.
Directions to the build can be found here:
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.
Main Stairway of the Midland Hotel, Morecambe, UK.
Designed in Streamline Moderne style by architect Oliver Hill, with sculptures by Eric Gill, the hotel was built by the London Midland & Scottish Railway and opened in 1933. It finally closed in 1998 and lay derelict until it was restored in 2006-2008 and reopened as a hotel again.
The Neptune & Triton Medallion above the stairway is by sculptor Eric Gill.
The Camberwell Police Station and Court House Complex on the Corner of Camberwell Road and Butler Street in the Melbourne eastern suburb of Camberwell, was designed by Public Works Department architect, Percy Edgar Everett (1888 - 1967).
The complex was built by W. A. Medbury between 1938 and 1939. in the Streamline Moderne style which had been influencing Australian architecture since its first appearance in the early 1930s. The complex is set on a diagonal axis. The buildings are constructed of red, brown and manganese bricks and contain Percy Everett's trademark pattern detailing.
The complex still retains a law enforcement function to this day, as the court house is now used for Administrative Appeals Tribunals and the police station still functions.
Percy Everett's other architectural works include; the Fairfield Club House in 1934, the Essendon technical School in 1939 and the Russell Street Police Headquarters in 1942 and 1943.
Due to the National Train Day event in Toledo, Train No. 49 (Lake Shore Limited) (New York, NY – Chicago, IL) has pulled into another track at the Martin Luther King Jr., Plaza.
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.
Went downtown tonight to get some exposure shots of buildings I've scouted out. I totally dig the art deco design to the Robert Parker Adams architect firm. It also has a civil rights history with the Freedom Riders.
And don't think i didn't get a shot of those doors.
Robert Parker Adams Architect firm in disguise as a Greyhound Bus station
More information here (second entry)
Jackson, Mississippi
Train No. 49 (Lake Shore Limited) (New York, NY – Chicago, IL) is stopped at Toledo for passengers and a new engineer.
The D & R Theatre in Aberdeen, WA was built in 1923 and continues to shine with neon. I'll bet it is dazzling at night. I was here during the daytime and fortunately, the neon was turned on and the building was in the shade. Notice, too, the rarity of having an array of light bulbs on the underside of the marquee.
These stark, yet sleek Art Deco flats named "San Diego" are in the inner Melbourne suburb of St Kilda. Very Streamline Moderne in style, they have rectangular Functionalist style metal window frames picked out in black against the white concrete walls. The "speed lines" along the roofline are picked out similarly in black. The flats' name is cast in Functionalist Art Deco script. Stylised rounded Art Deco balconies feature along the left-hand side of the building. Even the downpipes are deliciously Deco!
The whole complex is surrounded by its original streamline Art Deco stuccoed brick fence and gabled gate with red brick horizontal lines and wrought iron detailing.
Althought built in the late 1930s, "San Diego" could have been built yesterday, as it is still so contemporary.
A very famous SoBe architect Peter Miller has a "house" here on Collins Ave. Don't know if he ever lived in it or why it bears his name but I photographed it for you anyway!
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.
Mary Colter designed the interior of the Harvey House restaurant. Why it has never been reopened when 1,606,121 people go through the station every year, I just don't know.
Union Station was designed by John Parkinson and Donald B. Parkinson who also designed the Los Angeles City Hall among many other landmarks. The structure is an interesting combination between Mission Revival and Streamline Moderne style. It opened in 1939 and is the last great train station constructed in the United States. Amtrak, Metrolink, the Metro Red line, Metro Gold line, and buses serve the station. It is on the National Register #80000811 (and really should also be a National Historic Landmark).
Train No. 49 (Lake Shore Limited) (New York, NY – Chicago, IL) is stopped at Toledo for passengers and a new engineer.
Originally opened in 1912, the Leongatha Masonic Hall on the corner of Bruce Street and Masonic Lane has served the local community for one hundred years.
The current building of clinker and brown brick is a more recent construction, enveloping the original 1912 hall with a new facade and adding to the lodge in the 1930s. Low slung and minimal in detail, the Leongatha Masonic Hall is typical of architecture of the Streamline Moderne movement. Unlike many Art Deco buildings which focussed on a vertical emphasis, Streamline Moderne buildings often featured horizontal emphasis. This is evident in the wide entranceway to the lodge on Bruce Street. This section, constructed in the 1930s also features a flat roof which is another common feature of Streamline Moderne buildings. The gable on the left hand corner of the Bruce Street facade is in fact the original 1912 lodge with a more modern facade. The Functionalist metal windows installed beneath the gable are accentuated by the addition of ornamental buttresses which are capped with neat stone carvings. The entrance itself is flanked by classically inspired columns with Ionic capitals.
Leongatha is a town in the foothills of the Strzelecki Ranges, South Gippsland Shire, Victoria, Australia, located 135 kilometres south-east of Melbourne. The town is the civic, commercial, industrial, religious, educational and sporting centre of the region. The Murray Goulburn Co-operative Co. Limited, is a farmers' co-operative which trades in Australia under the Devondale label, and has a dairy processing plant just north of the town producing milk-based products for Australian and overseas markets. First settlement of the area by Europeans occurred in 1845. The Post Office opened as Koorooman on 1 October 1887 and renamed Leongatha in 1891 when a township was established on the arrival of the railway. The Daffodil Festival is held annually in September. Competitions are held and many daffodil varieties are on display. A garden competition is also held and there are many beautiful examples throughout the provincial town. The South Gippsland Railway runs historical diesel locomotives and railcars between the market and dairy towns of Nyora and Leongatha, passing through Korumburra.
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.
I've uploaded this poster to show the Streamline Moderne design of the Normandie for my group Streamline Moderne. www.flickr.com/groups/streamlinemoderne/ There are more photos and pictures of the ship in the group.
This poster shows the very clean straight smooth line of the liners details as it sweeps to the back and also how the bow is designed to cut the wind and slip through the stream.
By stretching the boat backwards it made the ship look longer and also emphasized the horizontal stretch seen in Streamline design.
Ribbons of windows sweeping back horizontally were incorporated into Streamline Moderne architecture and are a signature of the style. Notice also that the bridge, instead of being a flat surface facing the wind, it is swept back in a gentle curve to slide through the wind.
Oscar’s Hotel and Café Bar is a beautiful Art Deco, boutique hotel in the heart of the Victorian provincial city of Ballarat. Located at 18 Doveton Street, it is the perfect base when sightseeing around the city, as it is so close to many beautiful and historical Ballarat buildings.
Oscar’s, when it was first built in the 1860s was originally the Criterion Hotel, a popular venue in the gold rush days. However, as the Gold Rush dwindled and was replaced with wealth generated through grazing and agriculture in the surrounding area, so the Criterion Hotel changed.
In the 1930s, it was completely refurbished inside. It is this interior with its Streamline Moderne liner style staircase, acid etched frosted glass windows and skyscraper style fireplaces that you see today after a recent restoration.
On a personal note as someone who has stayed there, Oscar’s offers a stylish and comforatable hotel experience at a reasonable price. It also has great food and excellent service.
Kia Ora is located at 449-453 St. Kilda Road, Melbourne, 3004. It is on the east side of St. Kilda Road, half-way between Toorak and Commercial Roads.
Kia Ora was completed in 1936 in the style of Streamline Moderne. Kia Ora was commissioned by the Dixon family, who owned the "Kia Ora" cordial factory, and designed by architect Lewis Levy (1890-1970). When first built, they boasted wall panel hydronic heating, walk-in closets and modern kitchens.
Fawkner Park, one of Melbourne's larger inner city parks, graces the rear of Kia Ora, and the residents are fortunate to have a private gate to access the park.
Night view of the very cool Thamada (aka Tamada) Cinema in Yangon ( Rangoon ), Myanmar ( Burma ).
Thamada
Rm 5. Alanpya Pagoda Rd.. Corner of. Yaw Min Gyee St., Yaw Min Gyi Ward
Dagon Township
Phone No : 246962. 246963. 252118
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.
Doorway on old apartment building off Zhapu Lu. Sun-Ling remembers going there to visit school mates. When we went by in early 2007, 2/3 had been torn down. Only one wing of the U shaped building remains.
2 sec exposure on B setting.
Fisheye2 Camera, 35mm Fuji Superia X-TRA 400. 20 Feb 2011.
Streamline Moderne design in a Malt Shop
The facade of a pretty and very stylised cream stucco Art Deco villa in the Melbourne suburb of Fairfield . The speed lines picked out in yellow around the walls, the stepped chimney, the scalloped edging around the garage (with its original green metal door) and the streamlined windows all pay homage to the chic, uncluttered lines of Art Deco architecture. The low fence with its plain pillars and wrough iron decoration is also very Art Deco.
"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.
Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa features the clean uncluttered lines of Streamline Moderne design, including windows of leadlight and stained glass set in geometric patterns.
Long Beach airport. The airport is known as an example of Streamline Moderne architecture. From the angle this doesn't really capture that the front of the building is curved, or the detail on the windows.
These wonderful Functionalist Moderne red and brown brick flats with a rounded porch, porthole windows (featuring leaping gazelles) and Functionalist windowframes achieve the refreshingly sleek style that was popular in the mid to late 1930s. Unlike many Art Deco buildings which focussed on a vertical emphasis, Functionalist Moderne buildings often featured horizontal emphasis. Even the balustrade to the far right of the photograph, and the two lamps on the wall just above it are Functionalist Moderne in design.
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 Trvancore (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens.
Kia Ora is located at 449-453 St. Kilda Road, Melbourne, 3004. It is on the east side of St. Kilda Road, half-way between Toorak and Commercial Roads.
Kia Ora was completed in 1936 in the style of Streamline Moderne. Kia Ora was commissioned by the Dixon family, who owned the "Kia Ora" cordial factory, and designed by architect Lewis Levy (1890-1970). When first built, they boasted wall panel hydronic heating, walk-in closets and modern kitchens.
Fawkner Park, one of Melbourne's larger inner city parks, graces the rear of Kia Ora, and the residents are fortunate to have a private gate to access the park.