More Art Deco In Ranfurly?

The funny thing was only the hotel was promoted in the tourist brochures as being in the Art Deco style. With the Spanish styled tiled roof and metal balconies I didn't see it.

The columns were particularly off putting though the font of the hotel name is 1930s.

But once inside the old part I saw this magnificent Art Deco style ceiling that really played with the 'step' form.

3 inter-locking arched mirrors is so AD.

The light fixtures and female figure ornaments where characteristically in the AD style also.

But as far as the outside of the building, I think this rabbit hutch has more Art Deco features.

Art Deco in Ranfurly, New Zealand

When travelling I like to look out for Art Deco architecture and decorative arts.
While in the small town Ranfurly, in the centre of New Zealand's South Island, I came across some fine examples of Art Deco architecture in the main street.

 

 

The stepped roof line was a popular shape in buildings and motifs of that era.

Plain doors made elegant with a few simple lines.

Art Deco or the later Moderne style?

The stepped roof line suggests Art Deco.

Inspiration for Fundy Post Cards

The inspiration for Post Cards # 4 and #5 came from the Age of Sail Museum http://www.ageofsailmuseum.ca/, the sailor's costume for Post Card #4 and these woolen quilts for Post Card #5.

The quilts appear to be made from woolen clothing, particularly men's suits.

One of my favourite textile researchers is Anne Hollander. She has written extensively on the role the suit has played in society. Her books read like novels as she reveals the story. 

In the Post Card I incorporated 3 different horse hair textiles traditionally used to interface suit jackets. I collected these fabrics last November while exploring Toronto's textile district with other Articulation members.

Another important source of information for this series of work has been Allen Penney's book Houses of Nova Scotia.

Post Cards from Fundy #5

The 5th post card covers the mid to late 19th century when Gothic Revival architecture was all the rage, particularly in the UK. Here is the 'stamp' for the post card, a simple wooden version of the style as built around the Bay of Fundy.

Here is a magnificent example of the Gothic Revival style translated in wood, found in the sea port of Yarmouth.

Two identical houses were built (1877-78) side by side by a father for his son and daughter.

This one survives after the other unfortunately burnt down in 1992.

Loving attention was given to the gable and window detailing.

 

Post Cards from Fundy #3 Arcadians

The 3rd post card is one from the Arcadians who settled in the Bay of Fundy area from the early 17th century.
Here is the 'stamp' in progress showing a typical house with animal shelter attached and dykes the people made. 

The Arcadians brought with them a high level of textile skills so their garments were made from a variety of sophisticated materials: fulled, felted, woven, dyed wools; bleached linens; soft, adorned leathers; fine lace; woven ribbons.
I have made decisions about which fabrics I will work with and arranged them by colour scheme, value scale and intensity.

Assembly of the post card. 

Auditioning different materials for the printed lines found on post cards.

A Day at the ROM

My 1st visit to the Royal Ontario Museum was a most interesting experience.
I got totally engrossed in artifacts displayed in the more traditional vitrines.
(above - woman's 'apron', Brazil)

In the newest area of the museum there are more contemporary display methods.
(Above - early 18th century silk on silk embroidery made to be an apron).

New display methods allow for satisfyingly close inspection of artifacts.
(Gilt and silver threads worked with silk threads).

Supporting images and artifacts cut down on the need for much text and help to place the artifact in context.
(Painting of early 18th century English drawing room where the women wore the heavily embroidered aprons).

However, the enjoyable viewing experience was deflated every time I had to move to another display area within architect Daniel Libeskind's 5 interlocking crystal forms built between 2 older wings of the museum. I found no natural flow from one area to another but I did find many dead ends. The architect's ego seems to have got in the way of meeting human needs within a space.

Yes, that door is on a disturbing angle.
Random lines on the floor appear and disappear making the walls feel insubstantial and temporary.

No, the left door can't be fully opened.
Acute angles are dust traps the cleaners' machines obviously can't get into.
People repeatedly kick unexpected wall protrusions and knock their heads on acutely angled walls then put their hands out for protection. The whole place is building up the patina of  a well used obstacle course.
If large mirrors were added to the walls it could possibly be more successful as a fair-ground type, mirrored, fun house maze. Ooops, that's a bit harsh.

Actually, there was one display area where I felt the jarring, discordant spaced worked. It was the most serious and emotionally intense exhibition - photographs of victims tortured by the Khmer Rouge regime in Cambodia between 1975 and 1979, Observance and Memorial, Photographs From S-21, Cambodia.  www.rom.on.ca/cambodia
Check this link and look at the images on the right hand side. The 2nd to bottom one, where the book is open for people to sign. I hit my head while trying to get in a line to sign the book - awkward!

Design: Building Facades

Old building with ornate wooden facade.

 

Old building newly painted with an oxidising paint to make it look older.

New building with a sculptural graphic facade.

R & R On the Devon Coast

After a demanding graduation week in London, we spent a relaxing and rejuvenating week on the Devon coast, based in the idyllic beach resort village of Budleigh Salterton.
I like that the woman is wearing the same colours as the beach huts are painted.

 

 

 

Beach art using the famous Budleigh Salterton beach pebbles. 

The vernacular Devon boat

A picture-perfect village.
Again, those soft English colours.