View allAll Photos Tagged streamlinemoderne
Image from a photo album (AL-231) showing San Diego during the 1930s and the Canal Zone in Panama. Unknown Donor.
Repository: San Diego Air and Space Museum Archive
With people wishing to have smaller and more easily managed houses after the Great War (1914 - 1918), architects began designing new ways of living in the 1920s and 1930s including flats and maisonettes.
This wonderfully stylised 1930s Streamline Moderne pair of maisonettes (two houses joined by a shared central wall), is a perfect example of this new way of living during the Interwar period.
One maisonette in this photograph shows a honeyed clinker brick wall with horizontal bars of brown bricks and geometric patterns in concrete between the streamlined windows, which is completely different to its pair which has round porthole feature windows, speed lines and a stuccoed brick wall treatment.
This way, even though the maisonettes were joined, the owners did not have to sacrifice their individuality!
Hradec Kralove is one of the most important czech cities. It is renowned for its fabulous mix of old and modernist architecture. Especially the early 20th century buildings are unparalleled. Luckily the authorities respect this town heritage and let the tradition live - some of the new additions to the town landscape have already won architectural competitions. Hradec Kralove is well worth visiting for anybody interested in functionalism, cuubism, late art deco, constructivism and modernist urban planning.
Opened 1949 as a regular movie theater built in the streamline moderne style. By 1973, it was showing porn films, switched back to a non porn in 1977, only to have the adult films return a year later, which the theater showed as such until 2000, when it was shut down by the County of Santa Clara. The theater has been stripped of it's seats and the screen by the new owner, but not much can operate in the building given the lack of parking at the theater site.
This streamline moderne design caught my eye right away as we drove by so on the way back, we stopped so I could chronicle it for me & you :>))
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.
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 Wellesley House is an awesome Art Deco building with streamline elements, designed by Sudlow, Ballardie and Thompson and located at 7 Red Cross Place in Kolkata.
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.
One of my favorite buildings in Seattle - a stylish but simple example of Streamline Moderne architecture
Treasure Island is an artificial island in San Francisco Bay and a neighborhood of the City of San Francisco. Built 1936–37 for the 1939 Golden Gate International Exposition, the island's World’s Fair site is a California Historical Landmark (No. 987). The exposition celebrated the ascendancy of California and San Francisco as economic, political and cultural forces in the increasingly important Pacific Region. Shown here are Building 1 (Administration Building, Streamline Moderne architecture, intended after the expo as the Pan American World Airways terminal) and Building 2 (Hangar 2) (being intended for post-exposition use by Pan Am Clipper flying boats). From 1939 to 1944, the Island was the landing site for flights of the China Clipper flying boat into Clipper Cove. Treasure Island was a U.S. Naval Station from 1941 to 1997. Clipper Cove is to the right of Building/Hangar 2.
Revving up at the lights...and it's go! Originally The Maybury Roadhouse - aptly situated next to one of Edinburgh's busiest road junctions - it was designed by Patterson and Broom, 1935-36. This is a striking dominant Art Deco building, refurbished sympathetically with original features remaining when it became a casino in 1990. The original interior details are just as impressive as the stunning exterior. I’m quite sure it wasn’t expected that the road outside would get quite so busy when this was built!
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 first image of that series.
To read more about this amazing train station terminal check this link:
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.
Actually, it is the parking garage for the Mayo Hotel across the street (where we stayed. I can't find out anything about a "Mayo Motor Inn" other than this Streamline Moderne Art Deco parking garage.
This was also the last day of our vacation! Hope you enjoyed.
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.
5 January 2013. Park Royal tube station, Ealing, London, England, UK. Noon 5x4 pinhole camera, Polaroid Polapan type 54 ISO100 black and white instant sheet film. Exposure of 2 minutes 30 seconds, f/207 with a development time of 60 seconds. The film is well beyond its expiry date of December 2004.
A Year in Pictures image 5 of 365.
As the Sunset District and surrounding areas developed rapidly between 1925 and 1950, opposing architectural approaches prevailed. Developer Henry Doelger championed similar floor plans for the stucco-covered homes he built. His houses, which varied in the embellishments of their facades and not much else, became the inspiration for the anti-conformity song "Little Boxes" that Pete Seeger made a hit. Other developers and architects like Oliver Rousseau favored a more individualistic approach. The result is an area where you find blocks of barrel-front Mediterranean Revival houses, examples of Streamline Moderne design and various Period Revival styles. all of which can sport bright colors, turrets, balconies and painted beam ceilings. In this photo, the district is framed by the Pacific Ocean and the edge of Golden Gate Park. (For the S.F. Planning Department's Historical Context Statement on Sunset, see bit.ly/1Vxz8Xs)
This building at the San Francisco Maritime National Historical Park caught my eye with its nautical details, streamline moderne style, and exterior spiral staircase.
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.
Checkout the portholes and curved, banded windows.....A closer look reveals that it is a lane apartment of 4 units.
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.
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 fourth image of that series.
To read more about this amazing train station terminal check this link:
Illuminated "Stamps" sign inside the former USPS Rincon Annex, currently part of the Rincon Center.
San Francisco, California.
June, 2010
This interior was even more modern than the art deco hotel interior next door but I only shot this one through the decorative door.
VP-14/VP-102/VPB-102 Special Collection
From the album entitled VP-14 to VP-102
SOURCE INSTITUTION: San Diego Air and Space Museum Archive
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.
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 second image of that series.
To read more about this amazing train station terminal check this link:
This charming Streamline Moderne gate sits slightly ajar, encouraging the passerby to take a look in the garden beyond. Streamline Moderne buildings often featured horizontal emphasis, which is why the gate features horizontal stripes in its design. It also has wonderful little curls; a motif very popular in the 30s, which was used to soften the angular lines of the Art Deco period.
This building is located next to the old hospital, which is being torn down. I don't know if this is still in use or will be torn down as well.
6-2019 UPDATE: This building has now been demolished. I am very happy that I had the opportunity to shoot it before it disappeared.
Opened 1949 as a regular movie theater built in the streamline moderne style. By 1973, it was showing porn films, switched back to a non porn in 1977, only to have the adult films return a year later, which the theater showed as such until 2000, when it was shut down by the County of Santa Clara. The theater has been stripped of it's seats and the screen by the new owner, but not much can operate in the building given the lack of parking at the theater site.
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 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.
Armazém Frigorífico do Peixe, 1933
Arq. Januário Godinho e Engº Correia de Araújo
Alameda Basílio Teles, Massarelos, Porto
Imóvel de Interesse Público, Decreto nº 129/77 de 29 de Setembro
www.ippar.pt/patrimonio/itinerarios/arquitectura/arq_lota...
___________________________________________
Exausto
Eu quero uma licença de dormir,
perdão pra descansar horas a fio,
sem ao menos sonhar
a leve palha de um pequeno sonho.
Quero o que antes da vida
foi o sono profundo das espécies,
a graça de um estado.
Semente.
Muito mais que raízes.
ADÉLIA PRADO
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.
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.