View allAll Photos Tagged streamlinemoderne
The Co-Operative Department Store is the finest example of Pre-WWII Modernist building in Derby City Centre. It was built 1938-40 and designed in-house by Derby Co-Operative Society's own architect, Sid Bailey - and having been built by the D.C.S's own Building Department it is completely 'Made In Derby'. Can there be a finer example of Streamline Moderne glazing going round a street corner anywhere else in the UK?
This view shows the wooden panels that mark the end of Pre-WWII construction (the older building at the far left-hand edge should originally have been demolished to make way for the new) which somehow never ever recommenced - a very unusual and special feature which shows exactly where the ordinary, peacetime world came to an end to be replaced by the unplanned-for chaos of wartime.
This Streamline Moderne style building was constucted in the late 1930's to house the State's growing bureaucracy. It features horizontal window bands, punctuated by a central entrance bay with vertical emphasis.
The George Stanley designed Muse Fountain near the entrance of the Hollywood Bowl commissioned in 1937, it has recently been restored. Stanley is also the creator of the OSCAR statue.
Ann Arbor Railroad No. 3879 (EMD GP38). This engine was originally built in October 1969 as PC No. 7802. This engine was acquired by the Ann Arbor Railroad in the mid 1980s and subsequently received its current designation as WAMX No. 3879.
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 -
Some quick testing to make sure neon is hooked up correctly for when the wires go live.
It. Looks. SOCOOL!
(the missing readerboard panel needs to have it's frame re-soldered. No more duct tape!)
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
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.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
This 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 :>))
All the scallops, curves, decoration, pale pastel colors, etc. are very pleasing to my eye at least :>)
Steel casement windows, terra cotta detail and wraparound Bauhaus windows speak to the era of Art Deco in Orlando.
...And modernist or moderne or deco or artdeco or international or cubist or Bauhaus or whatever lovely labels anyone gives this 1930's architecture!! (I have another 80 shots with more info if you just put in Saltdean in a search of my stream!)
Renewed stainless-steel nautical-theme doors of the Aquatic Park Bathhouse Building, just re-opened in 2009 towards the end of a major refurbishment.
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/
A close up of the now-extinguished neon sign atop the center tower of the Campana Building. You can see a missing tube on the "p" and a piece hanging off the second "a".
I don't recall the last time I saw the sign actually lit up, although I know I have. When it's foggy, all you could see was the sign at the top.
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
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
A pretty classsic art deco three part front with pastels and decoration and the hotel name prominently displayed but those fancily cut "bays" at the bottom add a mediterranean flair - that's Miami Beach :>)
The two original signs were just begging to be photographed straight on so you could see and read them both :>))
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.
Excellent high-contrast can with fully functioning neon.
Unfortunately, cheap screws (probably zinc-plated) used by the installer has caused staining/streaking, though. Should have used stainless steel (opined a former professional).
Shot through a moving bus window caught me almost unawares:>) This building used to be in Ovingdean but now Ovingdean is part of Brighton - anyway, it was a complete happy surprise to me! "Blind Veterans UK opened its flagship training, convalescent, care and holiday centre in Ovingdean, Brighton in 1938. The Brighton centre was one of the very first buildings in Britain purpose-built for those with a disability and every aspect of its construction was specially designed for blind and partially sighted visitors and residents. Shortly after its opening, the Architect and Building News praised the centre’s "magnificent views over the Downs and out to sea", as well as the thought that had gone into making the building ideal for the blind. The centre's residents included World War I veteran Henry Allingham, born 1896, who was briefly the oldest man in the world until his death in 2009." Wikipedia
195 Raymond Avenue
at Rutland Street, Visitacion Valley, San Francisco
streamline moderne
built 1941
edited with pixlr,com
20230802_190814 Raymond and Rutland pixlr 3
"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...
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
So I stayed about 12 hours in SoBe on Sept. 19 - 20, drove 8 hours north to see my Mom for 3-4 days and then the rest of these photos are upon my return to SoBe for about 18 hours before flying home from FLL.
27 Hale Street, Portola District, San Francisco, California
20230708_IMG_4460, Canon Powershot HS260 HS
A mixture of Mediterranean, Art Deco and modern all slapped together to please the tourist :>) It does!
Gold's Gym, formerly Al's Motors. The automobile showroom was built in 1948 in Streamline Moderne style. Aluminum and plate glass curtain wall. Includes brick office and service garage extension to the rear. Adaptive reuse as a gym club in 2001. 3910 Wilson Blvd.
Al's Motors. National Register of Historic Places 03000628
The Sun Terrace Restaurant of the Midland Hotel, Morecambe, UK - laid for Afternoon Tea.
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.