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De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
The golden hour of photography falls in love again with the Studios. Three exposure HDR tonemapped and sharpened.
The golden hour (sometimes known as magic hour, especially in cinematography) is the first and last hour of sunlight during the day, when a specific photographic effect is achieved with the quality of the light. - wiki
From cinematreasures.org: "Opened in the early 1940s as the Delaware Theatre, it was designed by the architectural firm Blatner & Van der Bogert. It was operated by Stanley-Warner and had a seating capacity for 699, all on a single floor." As the Spectrum 8 Theatres it has been locally owned and operated since 1983. Albany, New York.
With its rhythmic vertical lines, scalloped roofline, and pale façade glowing against the sky, the apartment building at 851 Eddy Street in San Francisco’s Tenderloin/Van Ness corridor is a pristine example of Art Deco residential design. Located near the intersection of Eddy and Van Ness Avenue, this mid-rise gem is often overlooked—but for fans of historical architecture and streamlined design, it offers an elegant slice of 1930s modernity tucked into a busy urban block.
The building’s architectural details are classic Art Deco: fluted pilasters rise between the windows, giving the structure a sense of vertical lift and movement. Each parapet bay is topped with a sculptural, crown-like detail that mimics the appearance of cut stone or pressed concrete. The building's restrained palette—primarily white with subtle shadows cast by structural relief—lets the geometry speak for itself. Tall, evenly spaced windows allow ample natural light into the apartments and reinforce the emphasis on balance and proportion that defines the Deco style.
Constructed during the early-to-mid 20th century, this building likely emerged during San Francisco’s pre-war housing boom, when Art Deco was the architectural language of choice for hotels, cinemas, and residential towers alike. It joins a small but beloved group of Deco structures that dot the Tenderloin, Civic Center, and Nob Hill—adding vertical punctuation to otherwise flat, gridded streetscapes.
In this photograph, the building is captured from a low corner angle, emphasizing its towering symmetry and clean upward momentum. Trees soften the lower floors while deep blue skies and scattered clouds create a cinematic backdrop for the building’s whitewashed exterior. Neighboring Victorians and modern infill structures surround it, but the Deco building asserts its identity through confidence, not ostentation.
The fire escape, hugging the east elevation, adds texture without disrupting the vertical rhythm. And the subtle aging of the paint and plaster shows this building isn’t frozen in time—it’s a working piece of San Francisco’s living architectural history.
Whether you’re an Art Deco enthusiast, a cityscape photographer, or simply someone attuned to the small visual triumphs that make San Francisco so rich, 851 Eddy is worth noticing. It speaks to a moment in the city’s evolution when forward-looking design met practical urban housing—and the results remain quietly beautiful to this day.
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
The famous Tagliero Fiat garage in Asmara, a real marvel...
The airplane-shaped Fiat Tagliero garage, built by architect Giuseppe Pettazzi in 1938, similar to Frank Lloyd Wright's work. The design of the Tagliero garage was revolutionary for its time. The building has 98-foot-long concrete wings extending above the ground on each side.
With a tilt shift fx
© Eric Lafforgue
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.
Grade I listed. Built in 1936. Architects Mendelsohn and Chermayeff. The hanging lamp was designed for the stair well.
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:
De style art déco (style « paquebot »), il a été construit sur les plans de l'architecte perpignanais Léon Baille (1862-1951) entre 1928 et 1932 afin de permettre aux touristes devant attendre le changement d'essieux de leur train de passer la nuit. Il comprenait une salle de restaurant, une salle de cinéma et son bar, une scène de théâtre à l'italienne et un court de tennis sur le toit. Construit en ciment armé, il est restauré progressivement après avoir atteint un état de délabrement avancé.
The Malloch Building (Art Deco) - Built: 1937
Telegraph Hill
en.wikipedia.org/wiki/Malloch_Building
Muralist Alfred Du Pont's images decorate the facades.
The 1947 Hollywood movie, "Dark Passage" starring Humphrey Bogart + Lauren Bacall - used the Malloch Building as the apartment of Bacall's character (Irene Jansen).
en.wikipedia.org/wiki/Dark_Passage_(film)
sf.curbed.com/2016/4/8/11395718/art-deco-condo-telegraph-...
ARCHITECTURAL STYLE:
Streamline Moderne, or Art Moderne, is a late type of the Art Deco architecture and design that emerged in the 1930s. Its architectural style emphasized curving forms, long horizontal lines, and sometimes nautical elements.
Borden's ice cream parlor, Johnston Street, Lafayette, Louisiana, USA.
Please contact me to arrange the use of any of my images. They are copyright, all rights reserved.
This is one of only two known Pullman-Standard passenger coaches of the 8600 series built around 1947. This one is No.8673. Its succession of ownership was: The New Haven Railroad, The Penn Central, and The MBTA—who then leased it to the Cape Cod & Hyannis Railroad for one year in 1988. I believe that was the last time the coach was used. Current location: Willimantic, Connecticut.
Grade I listed. The new seafront building was the result of an architectural competition initiated by Herbrand Sackville, 9th Earl De La Warr, after whom the building was named.
The 9th Earl, a committed socialist and Mayor of Bexhill, persuaded Bexhill council to develop the site as a public building. The competition was announced in the Architects' Journal in February 1934, with a programme that specified an entertainment hall to seat at least 1500 people; a 200-seat restaurant; a reading room; and a lounge. Initially, the budget for the project was limited to £50,000, although this was later raised to £80,000. Run by the Royal Institute of British Architects, this competition attracted over 230 entrants, many of them practicing in the Modernist style. The architects selected for the project, Erich Mendelsohn and Serge Chermayeff, were leading figures in the Modern Movement. The aesthetics employed in the International Style proved especially suited to the building, tending towards streamlined, industrially-influenced designs, often with expansive metal-framed windows, and eschewing traditional brick and stonework in favour of concrete and steel construction.
Reflected in the window is The Colonnade (1911)
Streamline Moderne building in Batavia, Illinois -- built in 1936 as a factory for The Campana Company. The company produced "Italian Balm" which was a popular hand lotion in the United States during The Great Depression. The tower is 100 feet tall.
The building is on the National Register for Historic Places and was for lease when we saw it.
From the TN trip. I couldn't believe my eyes when I saw this old Greyhound station. Unfortunately I didn't have much time to photograph it because we were on our way to the airport.
Edit: As it turns out, this Greyhound station is on the National Register of Historic Places!
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 Streamline Moderne Bus Depot at Ann Arbor looks great with the neon signs fixed.
Photographed using a Nikon F with the Photomic FTN meter and the Nikkor 35mm f/1.4 lens on Kodak Vision 3 500T tungsten balanced motion picture film. Developed in Rollei/Compard Digibase C-41.
The Kay opened on Main Street in 1947, the smaller of Rockdale's two movie houses (the larger being the Dixie). It was a Quonset-style building, with Streamline Moderne facade and decor. The Kay had a small balcony, originally for the use of African-American patrons in the era of segregation. The Kay operated until the early 60s.
A group has been organized, the Kay Theater Foundation, of Rockdale citizens who want to purchase and restore the long-vacant theater for use as a performing arts center. The group's goal is to raise $46,000 to acquire the theater from its current owner. It is estimated restoring the Kay will cost at least $400,000.
The Savanna Master is a Masterpiece by the legendary engineer Enrico Ferrarini, and a personal project of Damià Mateu, chairman of Hispano-Suiza. Mateu envisioned the car during a journey to the dangerous, unexplored wildlands of Africa. Tales say that in the deepest, most unknow regions of the savanna, he had a vision of a mighty, red haired lion.
How Mateu convinced the elusive, surly Italian genius remains a mystery. Exorbitant quantities of Money? Wondrous artifacts from Africa? Who knows...?
This is one of the few stairs that I know that looks good at all angles. The hanging lamp was designed for the stair well.
Grade I listed. The new seafront building was the result of an architectural competition initiated by Herbrand Sackville, 9th Earl De La Warr, after whom the building was named.
Distinctive and futuristic lights on the top of the oval building designed by Charles Holden in 1933.
On an earlier quest for this building I mistook my house and photographed a modern pastiche on the opposite side of the road. In fairness to myself I will say that I was not so ignorant as to mistake a completely new house for a 30s original; I assumed the original house had been renovated. Even so it is difficult to explain, unless by stupidity, how I came to miss the correct house, which must have been just over my shoulder when I was taking the earlier photos.
The house, known as "The Sun House", is a stone's throw from Addenbroke Hospital in leafy south Cambridge and is attributed to Mullet & Denton-Smith, for a client called William Cairns. It was built 1938-9.
Grade II listed. London Underground Station 1939 by Charles Holden and L H Bucknell as the terminus of the Northern Line. Red brick and concrete. Tall ticket-hall and office block with flat cantilever roofs over station entrances and tall triple window with decorative glazing. Stairs up to twin platforms.
I found the Music Room installation of Rone's "Empire" exhibition to be one of the most sad and moving rooms, partially because there was a haunting musical refrain accompanied by a ghostly cello playing throughout the space. This was a musical piece "Burnham Beeches - Summer" composed specifically for the exhibition as part of a larger suite of music by Nick Batterham. I happily acquired the Rone Empire CD at the end of the exhibition. However if you would like to listen to the piece I heard, you can find it here on YouTube: www.youtube.com/watch?v=JAxRASPFw1Q
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 Odeon Cinema designed by Andrew Mather, a specialist in cinema architecture; opened in 1936 to serve the suburban development in the Well Hall area of Eltham. -------- Image copyrighted.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It 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.
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 is one. 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.
Just off The Embarcadero in San Francisco, this curved pink building stops you in your tracks. With its rounded corners, horizontal bands of windows, and row of circular porthole details along the roofline, it’s classic Streamline Moderne—like a building that thinks it's a ship. It feels like a relic from the 1930s that somehow still belongs in today’s city. Nestled between glassy towers and a brick neighbor from an earlier era, it quietly holds its own. It’s not trying too hard, but it’s got style. A little retro, a little elegant, and totally San Francisco. You can’t help but smile at it.
Grade II listed. London Underground Station 1939 by Charles Holden and L H Bucknell as the terminus of the Northern Line. . Stairs up to twin platforms.
Platform buildings with wide cantilever concrete roofs and round glazed ends to north. Double-height glazed rounded ends at south housing spiral stairs to offices in overbridge. At the south end of the bridge is a metal statue of a kneeling archer by Eric Aumonier. The station is on the edge of the site of the Royal Forest of Enfield, where the court and commoners used to hunt.
Advertised in "The Argus" newspaper on Saturday the 21st of April 1934, the "Amelita" flats on Brighton Road were described as being 'luxurious flats of four and five rooms with hot water supply and every labour saving device.'
The "Amelita" flats are a two storey complex of four flats in the Melbourne suburb of Balaclava. Designed in Streamline Moderne style, the building has large windows and an entranceway featuring original Art Deco doors, an Art Deco stairwell window and the name emblazoned in stylised lettering beneath the small front portico. The complex still has its original electrified buzzer board (albeit painted over now) for each flat to the left of the front doors.
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 those found in the "Amelita" complex would have suited those of comfortable means who could afford to live in Balacalva, 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.
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.