View allAll Photos Tagged streamlinemoderne
A late-1930's moderne/early modern house on Edmund Boulevard facing the Mississippi River in south Minneapolis.
1940, Wischmeyer, Arrasmith & Elswick
Redeveloped in 1991: Keys, Condon, Florance, Eichbaum, Esocoff, King
Surprising find of a streamline moderne former train depot in Nyssa, Oregon. The depot appears to now be a private business. The rail line is Union Pacific. I could find no information on the depot itself.
Within Southgate Station
Southgate was designed by Charles Holden and opened March 1933.
The brick, concrete and glass building was designed in a Streamline Moderne style. The circular concrete roof is supported on a central column in the ticket hall.
Add the Di Lido Hotel in and how much more could you ask for? Do you realize how efficiently I used my time in SoBe and my camera shots??
Please view any and all of my Miami Beach South Beach beach or art deco architecture photos - I'll be back later to write more :>)
One of two avant-garde feature chairs in the first floor lift lobby.
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.
Looking at Southgate Station.
Southgate was designed by Charles Holden and opened March 1933.
The brick, concrete and glass building was designed in a Streamline Moderne style. The circular concrete roof is supported on a central column in the ticket hall.
800 Canal Street
Central Business District, New Orleans
Was Gus Mayer Co.
Gus Mayer was founded in 1900; the original Gus Mayer department store was located on Canal Street in downtown New Orleans. At one time, there were more than 20 Gus Mayer stores across the Southeast and Southwest. 2 branches still carry the name today, neither in Louisiana.
Its New Orleans flagship was located on the corner of Canal and Carondelet Streets, from 1949-1987. The department store maintained its Canal Street presence for nearly ninety years: from at least 1900 an earlier Gus Mayer Co. store had been across the street at Number 823, although it eventually came to extend through Number 827.
The New Orleans firm of Favrot and Reed designed the Moderne structure at 800 Canal, which was constructed during the latter half of 1948.
DSC08737
Midland Hotel, Morecambe.
Many celebrities have passed through this portal, from Laurence Olivier to the Rolling Stones!
Costello, of Abbott and Costello, was once evicted for bad behaviour then driven round town in a taxi to find alternative accommodation, only to find there was none available, so he had to return on bended knee and was readmitted!
The first floor corridor.
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.
Please view and enjoy my last few hours of photographing 9-24-08 in a dreamy beyond imagination place :>)!
Park Central Hotel in SoBe has several old cars parked in front for photographic purposes but the mannequin is a little much, I thought!
See another of my photos of these art deco bus shelters from my first trip to Birghton in 2007: "Brighton, on Britain’s south coast, is one city which has lost its tramway. But it hasn’t lost everything. Brighton’s most famous building is the Royal Pavilion, a bizarre and flamboyant piece of sunny faux Orientalism plonked on the grey and drizzly shores of Britain at the behest of King George IV (one of the less popular members of the British royal family). It’s Grade I listed by statutory heritage organisation Historic England and is probably one of the most eye-catching buildings in Britain.
Yet readers of this blog may find their eyes drawn instead to a collection of buildings just outside the Pavilion. On Old Steine stand some rather super survivors of Brighton’s tram system in the shape of three waiting shelters. Estimated to have been constructed around 1926, probably by Borough Engineer David Edwards, this trio of tram shelters are in what Historic England terms “International Style”. But they look Streamline Moderne to me. They have rounded ends, and matching overhanging roofs. Construction is of concrete, with metal glazing bars. They are open to the road side (for getting on and off trams) but glazed on the pavement side (for preventing draughts).
Historic England’s predecessor English Heritage listed the shelters at Grade II. Best of all, they are still in use in as bus shelters to this day. They are nearly 90 years old but continue to serve the public transport users of Brighton admirably and stylishly." thebeautyoftransport.com/2013/09/11/gimme-stylish-shelter...
So I flew in & out of Orlando in June to see my Mom in the north of FL and on my way back went an older "scenic" road and in the midst of terrible thunderstorms took these serendipitous photos of an old dry cleaners. I was really brave folks to get out of my car, a lone woman after dark in this neighborhood and with lightning all around me - no flash here as usual -
A rare example of Art Deco/Streamline Moderne in Annapolis
The marquee reads "Subway"
I have found no records of this ever having been a movie theater. More likely it was a diner. See the discussion here: www.flickr.com/photos/army_arch/406452389/
Franklin, PA
Some solid WPA-era goodness goin' on here...or maybe a bit earlier, come to think of it.
1941, Harold G. Stoner for the Stoneson Brothers real estate development group
see www.examiner.com/x-26565-SF-Architecture-Examiner~y2009m1...
Harold G. Stoner: www.mtdavidson.org/harold_g._stoner
The First Church of Deliverance at 4315 S. Wabash Ave. was completed in 1939. The towers were erected in 1946.
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.