Art Deco Style Quotes

at the Ahwahnee Lodge in Yosemite National Park. Built in the 1920s, the Ahwahnee is a sprawling pile of stone, concrete, and timber designed in a style that mixed Art Deco, the Arts and Crafts movement,

We drove north to Kramer’s motel and turned east through the cloverleaf and then north on I-95 itself. We covered fifteen miles and passed a rest area and started looking for the right State Police building. We found it twelve miles farther on. It was a long low one-story brick structure with a forest of tall radio masts bolted to its roof. It was maybe forty years old. The brick was dull tan. It was impossible to say whether it had started out yellow and then faded in the sun or whether it had started out white and gotten dirty from the traffic fumes. There were stainless-steel letters in an art deco style spelling out North Carolina State Police all along its length.

Musk burst in carrying a sink and laughing. It was one of those visual puns that amuses him. “Let that sink in!” he exclaimed. “Let’s party on!” Agrawal and Segal smiled. Musk seemed amazed as he wandered around Twitter’s headquarters, which was in a ten-story Art Deco former merchandise mart built in 1937. It had been renovated in a tech-hip style with coffee bars, yoga studio, fitness room, and game arcades. The cavernous ninth-floor café, with a patio overlooking San Francisco’s City Hall, served free meals ranging from artisanal hamburgers to vegan salads. The signs on the restrooms said, “Gender diversity is welcome here,” and as Musk poked through cabinets filled with stashes of Twitter-branded merchandise, he found T-shirts emblazoned with the words “Stay woke,” which he waved around as an example of the mindset that he believed had infected the company. In the second-floor conference facilities, which Musk commandeered as his base camp, there were long wooden tables filled with earthy snacks and five types of water, including bottles from Norway and cans of Liquid Death. “I drink tap water,” Musk said when offered one. It was an ominous opening scene. One could smell a culture clash brewing, as if a hardscrabble cowboy had walked into a Starbucks.

Maxwell D. Kalist is a receiving teller at a city bank, Orwell and Finch, where he runs an efficient department of twenty two clerks and twelve junior clerks. He carries a leather-bound vade mecum everywhere with him – a handbook of the most widely contravened banking rules. He works humourlessly (on the surface of it) in a private, perfectly square office on the third floor of a restored grain exchange midway along the Eastern flank of Květniv’s busy, modern central plaza. Behind his oblong slate desk and black leather swivel chair is an intimidating, three-storey wall made almost entirely of bevelled, glare-reducing grey glass in art-deco style; one hundred and thirty six rectangles of gleam stacked together in a dangerously heavy collage.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

Designed in a 'Pueblo Deco' style, which blends Mission with Art Deco influences, the DCA tower is a composite modeled after real Hollywood landmarks built in the 1920's; possible influences include the Hollywood Tower at 6200 Franklin Avenue, The Hollywood Roosevelt Hotel at 7000 Hollywood Boulevard and the Chateau Marmont at 8221 Sunset Boulevard.

It was art deco that made these buildings unique and that caught the eye of Hollywood, which saw something romantically American in the optimism and innovation of a style that blends cubism, futurism, modernism and, most of all, a sense of movement.

Academic terms did not concern them. American architects never called their style Art Deco at the time,