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    LUCIENArt Deco - univerzální dekorativní styl | architekruta, design, kultura, zabava...
    KUTIL_TIM
    KUTIL_TIM --- ---
    LUCIEN: to teda jo, este v kombinacii s tou zebrou na stene :)
    KUTIL_TIM
    KUTIL_TIM --- ---
    Jean Dunand
    KUTIL_TIM
    KUTIL_TIM --- ---
    A vase by Rene Jules Lalique, circa 1925

    ROPEADOPE
    ROPEADOPE --- ---
    prototyp BMW R7, 1934


    LUCIEN
    LUCIEN --- ---
    tak to je nemalej luxus
    KUTIL_TIM
    KUTIL_TIM --- ---
    co tak art deco fotbalek?



    KUTIL_TIM
    KUTIL_TIM --- ---
    Bank of Montreal

    KUTIL_TIM
    KUTIL_TIM --- ---
    Sports Center José Martí - Havana, Cuba

    Probably it is by the hand of architect Max Borges Recio. Elegant concrete colums arise from the grond and become nearly abstract floral themes. The sports center is located in the Havana suburb of Vedado at the corner of the Malecón and Calle G.

    KUTIL_TIM
    KUTIL_TIM --- ---
    Caversham Court, Mornington

    The Mornington Peninsula Shire Council Heritage Study prepared in 1994 by Graeme Butler & Associates lists that Caversham Court was designed in 1947 by architect CG MacKennal and built the following year. The block consists of 10 separate flats throughout the two and three storey building.



    MSB
    MSB --- ---
    BARUNKA: Diky :-) Snad tam na neco narazim!
    BARUNKA
    BARUNKA --- ---
    MSB: ja miluju snad vsechny sperky z obdobi art deca.zkus se podivat na www.eantik.cz obcas tam maji nejaky sperky z art deca za prijatelny ceny :)
    LUCIEN
    LUCIEN --- ---

    Art Deco facade, Folies Bergere, Paris
    LUCIEN
    LUCIEN --- ---


    Inside the art deco ANZAC War Memorial in Hyde Park, Sydney. A representation of a youthful dead soldier carried on his shield, as was supposed to occur in ancient Sparta. Controversial for its male nudity on completion in 1934
    LUCIEN
    LUCIEN --- ---

    Art Deco sculpture on the wall of the George's Dock Building, Liverpool.
    LUCIEN
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    George's Dock Building. Home of The Mersey Tunnels Board , Liverpool.

    The Art Deco Ventilation Station and Tunnel Offices were designed by Sir Basil Mott and J. A. Brodie with Herbert J. Rowse as architect and built between 1931 and 1934.

    It is one of a number of buildings on both sides of the river constructed to serve the Mersey Road Tunnel. The central angular ventilation shaft dominates the building and takes the form of a stylised obelisk.
    LUCIEN
    LUCIEN --- ---


    The Stock Exchange Tower located at 155 Sansome Street was designed by noted San Francisco architects Miller & Pflueger under the direction of Timothy L. Pflueger (1892 -1946). The building opened in 1930 and housed the offices of the brokers who worked 'on the floor' of the adjacent San Francisco Stock Exchange. That imposing structure, fronting on Pine Street, with its facade of stately Doric columns, was constructed in 1910 as a United States Sub-treasury and was adapted to serve as the exchange's trading floor as part of the 155 Sansome Street project. The two monumental sculptures that flank its entrance are the works of sculptor Ralph Stackpole (1895-1973) and are named 'Agriculture' represented by feminine figures and 'Industry' represented by masculine figures. Believing that great art should be an integral part of great architecture, Pflueger, one of California’s earliest architects to incorporate Classic European Modernism into his work, commissioned a number of the era’s most renowned artists and craftsmen to work on the project. The Pacific Stock Exchange Lunch Club (1930-1987), now The City Club, is considered the best interior in the Art Deco style in San Francisco, and among the best in California.
    LUCIEN
    LUCIEN --- ---
    Oh!!


    William Livingstone Lighthouse 56 - Belle Isle, Detroit
    LUCIEN
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    LUCIEN
    LUCIEN --- ---
    Hoover Dam Art Deco Sculpture
    LUCIEN
    LUCIEN --- ---


    The Sculpter is Francois Pompon who was one of the most sought-after assistants in Paris, hewing blocks of marble for Auguste Rodin and Camille Claudel. But after 1905, in reaction to Rodin's expressionism, Pompon abandoned the human figure and turned to the animals that he observed at the Jardin des Plantes. Polar Bear is the finest achievement in this vein; when it was exhibited at the Salon d'Automne in 1922, it brought the artist tardy recognition, at the age of sixty-seven.
    Stripping away the trappings and details, he abandoned any realistic rendering and focused on "the very essence of the animal". This economy of means gives the work a presence which draws its true force from its monumental scale
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