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492_23 | Also, recycled crushed glass (on its own or in blends with natural or recycled aggregates) can be used in a range of road work applications including subbase, embankments material and drainage media in roads. |
492_24 | Glass as secondary raw material |
492_25 | The recovery and beneficiation of glass products produced via reuse or reprocessing of glass found in municipal wastes are very important goals from the environmental and economic point of view. Some technologies allow not only to reduce the volume of landfill waste but also to generate products of economic value by reuse, recycling and recorporation in manufacturing processes. Some of the recycling products from glass are; glass ceramics, slag, fly ash & bottom ash are known as secondary raw materials. Mixed with glass cullet, bottom ash can be easily transformed into homogeneous and inert glasses, which can be transformed into glass fibres or sintered glass-ceramics after controlled thermal treatments. Alternatively, bottom ash can be used to produce tiles, in particular glazed tiles containing vitrified bottom ash in the ceramic body, and possibly bricks. This work will however focus on the use of glass as a secondary material in construction industry. |
492_26 | Reusing glass packaging
The tendency in Europe is the increasing use of glass packaging to substitute plastic packaging. As a response to the increase of glass waste, the recycling and recovery rates has grown in the last 10 years.
To assure the circularity and recycling of glass packaging it’s possible to follow these principles applied to glass bottles:
Leave no bottle behind: Ensure consumers have a way to recycle every glass bottle at a cost lower than waste disposal.
Transform the recycling system: Develop infrastructure that is capable of economically sorting, processing, and transporting glass to manufacturing sites.
Drive collective action: Identify collaboration opportunities between the private and public sectors to forge a nationwide commitment to solve the recycling challenge. |
492_27 | Recycled glass in Construction
The alternative markets for recycled glass waste include the construction sector (using glass waste for road pavement construction, as an aggregate in asphalt, pipe bedding material, drainage or filler aggregate), the production of cement and concrete (using glass waste as aggregate, as partial replacement to cement, partial replacement for cement and aggregate in the same mixture or raw material for cement production, as well as decorative aggregate, abrasives, or filtration media. |
492_28 | Recycled glass in road pavement
Three different samples of recycled glass with different gradation curves produced from residential and industrial waste glass streams in Victoria were studied in this research to investigate their usage as a construction material in geotechnical applications. The Fine Recycled Glass (FRG) and Medium recycled Glass (MRG) were classified well graded (SW-SM) while Coarse Recycled Glass (CRG) was classified poorly graded (GP) according to Unified Soil Classifications System (USCS). Recycled glass specific gravity values were found to be approximately 10% lower than the values attributed to natural aggregate reported by Das (2007). |
492_29 | Results of standard and modified proctor compaction tests showed a higher maximum dry unit weight for MRG sample compared to FRG sample while the optimum water content of MRG was found to be lower than FRG sample. LA abrasion tests proved that the abrasion resistance of FRG and MRG samples is close to those of construction and demolition material, whereas CRG showed a higher LA abrasion value. Post compaction gradation curve analysis of FRG and MRG samples proves their stability during engineering operations including handling, spreading and especially compacting. The CRG source consisted of a sizable amount of elongated and flat shaped particles and high debris content. It was also found that the CRG source possesses little ability to absorb and hold moisture which impacts on its compaction behavior. These characteristics along with perceptible change in gradation curves of the CRG samples after compaction, and its high segregation potential led the authors to conclude that CRG |
492_30 | source is not an ideal material for geotechnical engineering applications. On the other hand, FRG and MRG samples proved appropriate characteristics close to those of natural aggregate within the same soil classification. |
492_31 | CBR tests indicate the superior shear resistance of MRG as compared to FRG. Direct shear test results indicate that the internal friction angle of MRG is slightly higher than those of FRG. The internal friction angle values obtained for FRG and MRG samples through direct shear test are comparable to those of natural sand and gravel mixtures with angular particles. Consolidated Drained CD triaxial shear test results confirmed the findings of direct shear tests. By and large FRG and MRG samples showed the geotechnical engineering behavior of natural well graded sand and gravel mixtures. |
492_32 | Hydraulic conductivity tests showed that FRG and MRG samples have medium permeability with good drainage characteristics. TC and Assessment of Safety Level and Safety Performance (ASLP) proved that FRG and MRG samples comply with requirements issued by EPA Victoria for using aggregates as fill material. Results of this study advocate using recycled glass in a range of geotechnical engineering applications. |
492_33 | Recycled glass in bricks
Polymer concrete, a material commonly used in industrial flooring, uses polymers, typically resins, to replace lime-type cements as a binder. Researchers have found that grounded recycled glass can be used as a substitute for sand when making polymer concrete.
According to research, using recycled glass instead of sand produces a high strength, water-resistant material suitable for industrial flooring and infrastructure drainage, particularly in areas subject to heavy traffic such as service stations, forklift operating areas and airports. |
492_34 | Economic impact of recycled Glass
Improving glass circularity will help retain more jobs, improve the economy’s GDP (over €9.5 billion is contributed to the EU GDP every year through the glass industry). Recycled glass is better for the environment if we consider the carbon footprint and water footprint, boosts the EU’s economy, saves energy, reduces the emission of CO2- 600 000T CO2 and generates safe non-renewable raw materials. |
492_35 | Environmental Impact of the recycling of glass
The opportunity provided by the use of glass in concrete is a potential solution that uses circular economy principles to unlock value and create new business opportunities: first, by finding a use for glass of higher value than landfill, and second by decreasing the negative externalities of the construction sector. By using glass in concrete, it would be possible to:
Re-utilize the 8 million tons of post-consumer glass that is landfilled each year.
Reduce the 90-million-ton annual demand for cement, whose production leads to 90 million tons of CO2 emissions (equivalent to nearly 20 million cars).
Minimize exposure to heavy metals and other potentially toxic components in concrete – especially during the renovation and demolition of buildings. |
492_36 | Challenges faced in the optimization of glass recycling.
Despite all the improvement in the waste and recovery processes there are still some challenges that need work on it:
Lack of incentive to recycle when inconvenient; opt-in and subscription models lead to low participation
Rising material recovery facility fees and pressure from the waste management industry have caused some municipalities to remove glass from curbside recycling
The lack of recycling mandates and high levels of contamination cause a significant portion of materials to be disposed of in landfills.
Low landfill tip fees for many MRFs (material recovery facilities) incentivize sending glass to the landfill.
The lack of capacity in certain areas hinders the ability to meet the market demand and reduces the incentive to invest in materials recovery facilities.
In some regions, strong demand for cullet from other end markets reduces potential supply for glass containers. |
492_37 | The distance between the sources of and markets for cullet requires long-haul shipping.
Virgin materials are often cheaper than cullet, sometimes by as much as 20%. |
492_38 | See also
Baler
Castlemaine Tooheys Ltd v South Australia;
Container-deposit legislation
Glass crusher
Reuse of bottles
Waste management
References
External links
"Plant Chops Old Bottles For New", August 1949, Popular Science article on the basics of glass recycling
Glass chemistry
Recycling
Recycling by material
Glass production |
493_0 | Materials Research Science and Engineering Centers (MRSECs) are university based research centers supported by the MRSEC Program of the Division of Materials Research at the National Science Foundation (NSF). The centers support interdisciplinary and multidisciplinary research of fundamental and technological importance and integrate research with education. MRSECs require outstanding research quality, intellectual breadth, support for research infrastructure, and education outreach. MRSECs facilitate active collaborations between academic institutions, national laboratories, and industry, as well international collaborations. |
493_1 | Introduction
MRSECs form a significant component of NSF's center-based research portfolio, but are also of historical importance. MRSECs were established by NSF in 1994 but have their roots in the NSF Materials Research Laboratories (MRLs) started in 1972, which in turn evolved from the Interdisciplinary Laboratories (IDLs) initiated by the Department of Defense in 1960. These cross-disciplinary, center-based activities required significant changes in how materials research and education were carried out at academic institutions and the IDLs/MRLs are credited with contributing to the accelerating growth of Materials Science and Engineering Departments in the U.S. in the 1960s to 1980s. They also made significant contributions to the National Materials Program that emerged from the early post Sputnik era, leading to a vigorous growth in science and engineering graduate education and the development of university based experimental facilities. |
493_2 | Since much of the information regarding current MRSECs is available from websites only a brief overview of the current program is provided. The main purpose of this article is to review the historical aspects of MRSECs and the significance of their impact on materials research and education in the U.S.
Current MRSEC status
Program summary
The research carried out in MRSECs is carried out in interdisciplinary research groups (IRGs), teams of six to a dozen or more researchers working on a current research topic of national significance. MRSECs range in size from two to four IRGs. The topics of the IRGs within a center may be focused on closely related scientific or technological topics or can cover distinctly different areas of research. |
493_3 | Funding levels for a given MRSEC currently range approximately from $1.5 to $3.5 million annually, depending on the overall scope of the research program. Each center has considerable flexibility to distribute its funds consistent with its proposed and approved research and education proposal. In addition, the centers are strongly encouraged to apply a modest fraction of their funds for support of "seed projects," allowing them to respond quickly to promising new research opportunities.
MRSECs feature partnerships with other academic institutions, national laboratories, and industry as well as international collaborations. The centers also feature extensive experimental and computational facilities, which are generally accessible to outside users. A recently established facility network coordinates access to a broad range of experimental tools across the nationwide network of MRSECs. |
493_4 | A key mandate for these centers is the training and education of a future highly skilled workforce. The largest component of the center's funding is directed toward support of students (undergraduate and graduate), and postdoctoral researchers. In addition, MRSECS carry out a broad range of education and outreach activities involving K - 12 students and public education through collaborations with museums and other public institutions.
Recent competition results
Generally, MRSEC awards are for six years with competitions held every three years. Competitions are open to all US academic institutions and normally only one award is made per institution.
Nine awards were made based on the competition held in 2010/2011 and twelve awards were made based on the 2013/2014 competition, bringing the total to 21 awards currently (June 2016) supported by the program. |
493_5 | The 2011 class of MRSECs:
University of California at Santa Barbara - Materials Research Laboratory (3 IRGs)
Cornell University - Center for Materials Research (3 IRGs)
Duke University - Triangle Center for Excellence for Materials Research and Innovation: Programmable Assembly of Soft Matter (2 IRGs)
University of Michigan - Photonic and Multiscale Nanomaterials (2 IRGs)
Northwestern University - Multifunctional Nanoscale Materials Structures (3 IRGs)
University of Pennsylvania - Laboratory for Research on the Structure of Matter (4 IRGs)
University of Utah - New Generation Materials for Plasmonics and Organic Spintronics (2 IRGs)
University of Wisconsin-Madison - Nanostructured Materials and Interfaces (4 IRGs)
Yale University - Center for Research on Innovative Structures and Phenomena (2 IRGs) |
493_6 | The 2014 class of MRSEcs:
Brandeis University- Bioinspired Soft Materials (2 IRGs)
University of Chicago - Materials Research Center (3 IRGs)
University of Colorado - Soft Materials Research Center (2 IRGs)
Columbia University - Precision Assembly of Superstratic and Superatomic Solids (2 IRGs)
Harvard University - Materials Research Center (3 IRGs)
Massachusetts Institute of Technology - Center for Materials Science and Engineering (3 IRGs)
University of Minnesota - Materials Research Science and Engineering Center (3 IRGs) |
493_7 | University of Nebraska - Polarization and Spin Phenomena in Nanoferroic Structures (2 IRGs)
New York University - Materials Research Science and Engineering Center (2 IRGs)
Ohio State University - Center for Emergent Materials (3 IRGs)
Pennsylvania State University - Center for Nanoscale Science (4 IRGs)
Princeton University - Princeton Center for Complex Materials (3 IRGs) |
493_8 | Historical background
State of materials research prior to 1960 |
493_9 | The modern study of materials intersects many of the traditional scientific disciplines, including physics, chemistry, engineering, and increasingly the biosciences and mathematics. Until the middle of the 20th century the various disciplines approached the study of materials with their own distinctive methodologies. Interdisciplinary collaborations, especially at academic institutions, were not the norm. Past exceptions were the successful collaborative approaches leading to the intense technological developments during the Second World War, including the military and peaceful applications of nuclear energy production. |
493_10 | The late 1950s saw important developments in how the federal government could play an increasing role in supporting interdisciplinary, collaborative research at academic institutions. The successful launch of the Russian space satellite Sputnik on October 4, 1957 had a profound impact on how scientific and technological research was carried out in the United States. Within a year of this date the federal government established two new agencies: The National Aeronautic and Space Administration (NASA), which was to define US supported space exploration for the remainder of the century and beyond, and the Advanced Research Project Agency (ARPA, later DARPA) within the Department of Defense. ARPA was tasked with expanding the frontiers of technology and science, often with potential military applications. In addition, the National Defense Education Act of 1958 had the main purpose to greatly increase the number of trained engineers, scientists, and mathematicians, and included |
493_11 | provisions for financial assistance. |
493_12 | The post Sputnik enthusiasm for more investment in science research led to a broader recommendation in March 1958 for coordinating materials research in the United States by President Eisenhower's Science and Advisory Committee (PSAC). A subsequent report entitled "Strengthening American Science", was submitted to President Eisenhower in December 1958. This report led, by Executive Order of President Eisenhower on March 13, 1959, to the formation of the Federal Council for Science and Technology. One of the early actions of this council was the establishment of a "Coordinating Committee on Materials Research and Development" (CCMRD), which was chaired by John W. Williams, Director of Research of the Atomic Energy Commission (AEC). The ultimate outcome was the establishment of three university based Interdisciplinary Laboratories (IDLs) in mid 1960 under the supervision of ARPA., |
493_13 | The idea of an interdisciplinary laboratory in the solid state and materials sciences had already proved extremely successful in industrial laboratory settings (such as the Bell Laboratories and others) leading, for example, to the development of the transistor and the laser. The establishment of such laboratories in an academic environment arose naturally from the demands of the post-Sputnik era for a large, highly trained, scientific workforce. American universities were ideally positioned to provide the opportunity to combine their educational mission with the planned development of larger, modern state-of-the-art experimental facilities.
The Interdisciplinary Laboratories (IDLs) 1960-1972 |
493_14 | The creation of three Interdisciplinary Laboratories, at Cornell University, the University of Pennsylvania, and Northwestern University, was officially announced by ARPA on July 11, 1960. The contracts required that these universities "shall establish an interdisciplinary materials research program and shall furnish the necessary personnel and facilities for the conduct of research in the science of materials..." In the following year (1961) eight additional IDLs were created: |
493_15 | Brown University, University of Chicago, Harvard, University of Maryland, Massachusetts Institute of Technology, University of North Carolina, Purdue University, and Stanford University.
A 12th IDL was added at the University of Illinois in 1962, which was administered by the Atomic Energy Commission (AEC). Subsequently, there were three more AEC contracts and two contracts through NASA. The role of the AEC in establishing a strong materials research community was well known since the advent of nuclear reactors and the importance of materials in reactor cost, efficiency, and safety. As early as 1955 John von Neumann, renowned mathematician and contributor to the Manhattan Project, in his role as commissioner of the AEC and member of the AEC General Advisory Committee (GAC), strongly endorsed a materials-focused institute in an academic setting. |
493_16 | The impact of the IDLs on the training of students was significant. By 1969 over 360 new doctorate degrees were awarded. A report by the National Academy of Sciences concluded that these center based programs were instrumental in defining "materials science and engineering" as a new interdisciplinary activity which was evidenced by a rapid increase of materials science departments between 1960 and 1970 and beyond. In addition, to the building of new facilities infrastructure these centers of excellence led to the training of not only materials scientists, but also physicists, chemists, engineers and other professionals. |
493_17 | The National Academy study noted that though the IDLs were considered a success, there was room for growth of interdisciplinary collaborations among faculty from different university departments. However, it was acknowledged that joint block funding and joint use of shared experimental facilities by students and faculty from diverse departments had planted the seeds for increased interdisciplinarity in materials research.
The Materials Research Laboratories (MRLs) 1972-1994 |
493_18 | In late 1969 an amendment to the Military Authorization Act, sponsored by Senator Mike Mansfield, placed restrictions on the funding of long-term basic research by agencies of the Department of Defense, including ARPA/DARPA. (ARPA was changed to DARPA in 1972). Consequently, a decision was made in 1970 to transfer the IDLs to the National Science Foundation. The block type IDL grant for multidisciplinary research and shared facilities would mean a distinct departure of NSF's funding approach at that time which was support of predominantly small, single investigator grants in a particular discipline. After an in-depth review by NSF of the IDL program a transfer of the then existing 12 IDLs to NSF was recommended. However, the transfer came with several major critical provisions. These included the following: |
493_19 | "The laboratories, now renamed 'Materials Research Laboratories', would retain locally administered block (or 'core') funding intended to 'facilitate research in materials science and engineering which is either difficult or unfeasible to carry out under traditional funding of individual research.' Most importantly, the new component added by NSF was that 'scientific excellence is viewed as a necessary, but no longer sufficient, condition to qualify for MRL core support.' In addition, the MRLs would be judged by their ability to foster 'coherent, multidisciplinary and multi-investigator projects requiring the expertise of two or more materials related disciplines.' These so-called thrust groups are the heart of the current core funding at MRLs; at their best they have achieved a transformation in the way materials research is done at universities and in the way graduate education proceeds." |
493_20 | Acceptance by NSF of the new materials laboratories in 1972 led to the creation of the Division of Materials Research (DMR). Its initial portfolio consisted of the MRL program as well as individual investigator programs closely related to materials science which were drawn from other parts of NSF. Initially, the MRL program made up approximately 40% of the DMR budget. By 1985, with the growth of individual investigator and small group programs, the MRL program was funded at a level of about 20% of the total DMR budget.
Between 1972 and 1985, a number of additional MRLs were added and some of the existing centers were phased out. The following table summarizes this information: |
493_21 | TABLE 1 Interdisciplinary Laboratories (IDLs) and Materials Research Laboratories (MRLs) 1960-1996. Laboratories were identified as IDLs between 1960 and 1972 and MRLs starting in 1972. Laboratories terminated in 1994 and 1996 were eligible to participate in competition with other institutions for the new Materials Research Science and Engineering Centers (MRSECs) in 1994 and 1996, respectively. |
493_22 | MRL technical accomplishments are significant and have been detailed in a number of studies. Another important impact has been the cultural change at U.S. universities in how research could be conducted across traditional departmental boundaries. This trend was initiated by the IDLs but greatly strengthened by the MRL program because of the new NSF guidelines concerning requirements for interdisciplinarity. A new generation of students would be trained in a highly collaborative and interdisciplinary environment and the experiences of the IDL/MRL programs in the fields of materials and condensed matter sciences would be the proving ground for other center type endeavors in a wide range of fields.
Impact of IDLs/MRLs on other NSF Centers |
493_23 | The mid-1980s saw a convergence of a number of favorable trends for the establishments of NSF center based activities in a wide range of different fields. There was a strong interest in government investments in basic science that could be leveraged by matching funds from industry and other sources. In addition, the role of multidisciplinary teams in conducting research and educating students was widely appreciated. |
493_24 | The first new centers-based initiative at NSF was the creation of the Engineering Research Centers (ERCs) in 1985. Although the role of the previous 25-year history of funding the materials laboratories in preparing universities to accept a wider role in conducting interdisciplinary research was instrumental for the creation of new types of centers, this historical connection was not widely appreciated. Both NSF and the Office of Science Technology Policy, viewed the creation of ERCs as the major new initiative in 1985 for leveraging NSF funds. The following description of the announcement of the ERC program in 1985 is illuminating: |
493_25 | "George A. Keyworth II, President's Reagan Science Advisor and Director of the Office of Science Technology Policy, refers to the creation of the ERCs by the National Science Foundation as:
'the single most important thing that we've done as an Administration in increasing efficiency and effectiveness of federal R&D dollars.' He said the centers address a widely recognized need in various fields of science and technology: |
493_26 | 'Continued pushing of the frontiers in those fields was constrained by the difficulty of assembling multidisciplinary teams to work on the problems. Our universities are, justifiably and understandably, structured to pursue disciplinary research. On the other hand, we increasingly find ourselves as a nation confronting the solving of problems that have technically based solutions. We need to expose our young people to a problem-solving environment....These Centers - I'd rather call them Science and Technology Centers - are multidisciplinary mechanism by which chemists, physicists, neurobiologists, engineers, etc, can get together and solve exciting, intellectually demanding, real-world problems.' " |
493_27 | It was pointed out by William O. Baker that the above comments about the economic potential of the ERCs are nearly the same as those describing the original IDLs in the early 1960s. Baker concludes that "it is refreshing indeed to find such current agreement on the concept that has involved so significant a portion of our best academic talent."
The first six ERC awards were made in 1985. These awards are generally for five years with one other 5 year renewal possible for a total funding length of 10 years. In the same year NSF made five-year awards for five supercomputing centers and made plans for the development of a program for Science and Technology Centers (STCs) that would ultimately touch all areas of NSF programs. The first 11 STCs were established in 1988. The 13 centers that are part of the 2013 class of STCs cover a wide range of subjects ranging from studies of brain and intelligence to modeling of atmospheric processes to the study of quantum materials. |
493_28 | Because of concerns about the impact on center funding on individual investigator awards the National Science Board required that center awards cannot be renewed without open recompetition. Since the establishment of ERCs and STCs a large number of other centers have been established across all major NSF disciplines and now represent an essential element of the NSF funding portfolio.
Establishment of MRSECs (1994 - 1996) |
493_29 | As can be seen from Table 1 the majority of MRLs were started between 1972 and 1984 with only a few later additions. The MRL competition of 1992 led to the start of only one new center: the MRL at the University of California Santa Barbara. The lack of new awards, coupled with the National Science Board re-competition requirement, provided one impetus for the development of the NSF Materials Research Science and Engineering Centers (MRSEC) program. Previously, MRLs, once funded, could be continually supported without a need to compete against other center candidates. The MRSEC program limits awards to a fixed time period, currently six years. Additional support is possible, but only on the basis of a new proposal that competes nationally against all other applicants. |
493_30 | The transition from the MRL to the MRSEC programs occurred through two competitions held in 1993/4 and 1995/96, respectively. The competitions were open to all US academic institutions, including those with then current MRL awards. Institutions with awards made under the Materials Research Group (MRG) program, which was initiated at NSF in 1984, were eligible to participate in the competition. All MRL and MRG awards were discontinued after 1996. In all, 10 MRLs and 17 MRGs participated in the competitions of 1994-96. As seen in Table 2, nine of the MRLs were successful in transitioning to MRSECs, and six MRSEC awards went to institutions with prior MRG awards. Importantly, new MRSEC awards were made to six institutions that never had any substantial NSF center or large group support in materials research. |
493_31 | TABLE 2 Materials Research Science and Engineering Centers established after open competitions in 1994 and 1996. Those institutions with existing Materials Research Laboratories (MRLs) or Materials Research Groups (MRGs) in 1994 or 1996 are indicated, while "new" refers to institutions that did not have a current MRL or MRG award. The MRL and MRG programs were discontinued after 1996.
Subsequent MRSEC competitions were held every two years (with a four-year award cycle) and, every three years starting in 2002 (with a six-year award cycle). The required open competition for any center that wishes to be supported for more than the initial six-year award period is consistent with the re-competition requirements set by the National Science Board.
National Academy study of MRSEC program (2007)
An assessment of the MRSEC program was published by the National Academy of Sciences in 2007. The Executive Summary summarizes the impact of the program: |
493_32 | "MRSEC awards continue to be in great demand. The intense competition for them within the community indicates a strong perceived value."
The report lists a number of key areas where the MRSEC program has an impact, including providing the resources and environment that fosters:
interdisciplinary, collaborative research;
interdisciplinary training for the future scientific and technical workforce;
rapid response to new ideas, including support for higher-risk projects, than is possible with single-investigator grants;
increased institutional, local, and/or state support for materials research;
attraction of high quality students and junior faculty;
development of infrastructure helpful for organizing and managing experimental and computational facilities and educational and industrial outreach. |
493_33 | Among the report's recommendations are an increase in the grant size of the centers, which would allow adequate resources for education and outreach, while ensuring that the support for research activities is not compromised. Recent MRSEC competitions have responded to the recommendations by increasing award sizes, notably by requiring that each new award will support a minimum of two interdisciplinary research groups (IRGs). In addition, the NAS study recommends strengthening the cooperative aspects of MRSECs and continue the progress made in the past toward building a national cooperating network of centers. The report concludes that such a network, once fully established, would "strengthen materials science and engineering in the United States as a discipline and as a factor in U.S. competitiveness."
References
Further reading
External links
National Science Foundation—Materials Research Science and Engineering Centers |
493_34 | Research institutes in the United States
Materials science institutes |
494_0 | George Hotel is a heritage-listed former hotel at 631 George Street, Sydney, Australia. It was added to the New South Wales State Heritage Register on 2 April 1999.
History |
494_1 | Two separate land grants for 631–635 George Street were issued in 1831. The first was to John Dickson with the second grant to James Blanch on the same day of 8 March 1831. By 1866, Patrick and Mary O'Dowd had purchased land that consisted of both Dickson's' and Davis' grants. In 1880, Mary died and what is now known as 631 George Street, Haymarket, was left to her husband and her brother, and they in turn leased it out to George Barr, who then setup the Haymarket Music Hall. In 1891, the site was then signed over to 'St Joseph's Investment and Building Society' which with the cooperation of O'Dowd, created plans to add an extra two storeys to the building (original construction date unknown). There is evidence that this extension may actually be the current 631 George street site. The original building was only designed for two storeys and it can be seen there are significant interior design differences between the lower and upper floors. Examples include the columns in the central |
494_2 | wing and plaster mouldings and detailing to arches around the lobbies. |
494_3 | There were constant changes to the owners and occupiers of the building. In 1898 it was known as the Crescent Hotel and its proprietor was Jeffery Monfries. 1899 saw it renamed the Crescent Hotel and Coffee Palace, with proprietor John Eggleton. Between 1907 and 1916 it was known once again as the Crescent Hotel and had five different proprietors.
In 1921, renovations were underway to include a shop tenancy on the ground floor. The reason for this was mainly due to the decline in business for pubs due to the government restriction of 6 pm closures.
On 18 December 1924 a sublease to Tooheys Limited occurred and another name change. The building was now renamed the George Hotel. The name of George was probably after the moustached man who was the company logo from 1894. During this time, many renovations continued in an attempt to provide better airflow and fresher air into the building as well as more light and better use of the small rooms. |
494_4 | In 1939, Tooheys Limited purchased the hotel, and had plans approved to completely rebuild the hotel to a new modern design by Coperman Lemont and Keesing. This was approved by the licensing board but work never commenced.
In 1940 an application was approved to delicence the majority of the building. Those affected included the whole of the west wing, the south side of the central wing on the first floor, all of the central wing of the second floor and the entire third floor. In 1941, Tooheys transferred their hotel licence to the New Elizabeth Hotel. |
494_5 | The following year Tooheys offered the building to Sydney City Council for amenities. The Church Life and Work Committee of the Presbyterian Church (NSW) were looking for a location for a Hospitality Centre for servicemen and leased the building for one pound a year. Extensive work must have been undertaken at this time to make the building habitable. Volunteers staffed the centre, which offered 120 beds, full meals, recreation rooms, information, chapel, showers and an ironing and mending facility. British servicemen were particularly attracted to the homely quality of the centre. The end of the war, in conjunction with increasing operating costs, lead to the closure of the centre in 1946. After a failed auction an agreement was reached with St Vincent de Paul, who hoped to provide shelter to the homeless. The Commonwealth, however, intervened in 1948 to acquire the property to allow for the expansion of the neighbouring Haymarket Post Office. |
494_6 | Since it was sold in 1993 by Australia Post, it remains vacant except for a retail arcade through 631 George Street.
Description |
494_7 | Externally 631 George Street is a four-storey high building of face brickwork. Facing east, towards George Street, is a parapeted facade of the Victorian Free Gothic Style. This side is substantially intact and features decorative brickwork and low pointed arches. Much of this detail has been obscured however, by paint. Windows are framed from timber and with the rise of each level, they decrease in size. Shopfronts on the ground floor have been largely altered.
The wall to the north of the building is original at east end and the west end of the wall was rebuilt in the 1950s using steel windows with the west wall being rebuilt in the 1940s with possible use of materials from elsewhere in the building. The post office obscures the south wall of the building; however, it is believed that many original windows to the west would be surviving within that wall. Other than the ground floor shops, much of the building is in poor condition.
Heritage listing |
494_8 | The George Hotel, which reached its present form 1892, is a fine, example of a Victorian free gothic style hotel building surviving in the inner city area of Sydney. The facade is largely intact and features an exuberant use of face brickwork. The general layout and character of the main rooms of the hotel, including the fine timber stair, are reasonably intact.
George Hotel was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.
The former George Hotel is of local significance as a surviving late Victorian hotel building in the inner city area built at a time when the hotel industry was enjoying high prosperity.
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history. |
494_9 | The former George Hotel is of local significance for its associations with Tooheys Limited, one of Australia's oldest brewing companies.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
The former George Hotel is of local significance as a fine example of the Victorian free gothic style, as applied to a commercial building.
The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The former George Hotel is of local significance for its associations with the work of the Presbyterian Church (NSW) and servicemen during World War II.
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. |
494_10 | The site is of State significance. The early development of the area and the development of the site indicate there is a high probability of archaeological remains of the early use of the area.
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
The former George Hotel is of local significance as a fine representative example of a city hotel in the Victorian free gothic style.
References
Bibliography
Attribution
External links
New South Wales State Heritage Register
Pubs in Sydney
Articles incorporating text from the New South Wales State Heritage Register
1892 establishments in Australia
Commercial buildings completed in 1892
George Street, Sydney |
495_0 | David Roentgen (1743 in HerrnhaagFebruary 12, 1807), was a famous German cabinetmaker of the eighteenth century, famed throughout Europe for his marquetry and his secret drawers and poes and mechanical fittings. His work embraces the late Rococo and the Neoclassical styles. |
495_1 | Chronology
In 1753 his father Abraham Roentgen, who had trained in London in the workshop of William Gomm, migrated to the Moravian settlement at Neuwied, near Coblenz, where he established a furniture factory. David learned his trade in his father's workshop, inherited the paternal business in 1772, and entered into partnership with the clockmaker Kintzing. By that time, the name of the firm was well known, even in France. Oddly he is remembered in France as one of the foreign cabinetmakers and workers in marquetry who, like Jean-François Oeben and Jean Henri Riesener, achieved distinction during the closing years of the Ancien Régime. Since Paris was the style center of Europe, he opened a show-room, but his furniture was made in Neuwied. The engraver Willerters recorded his appearance in Paris, initially on August 30, 1774, that |
495_2 | Roentgen was first and foremost an astute man of business. His outlet did not prosper as expected. The powerful trade corporation of the maîtres ébénistes disputed his right to sell in Paris furniture of foreign manufacture. In 1780 he resolved this restriction by inventing new style of marquetry, which attracted a good deal of attention. Instead of representing light and shade by burning, smoking or engraving the pieces of veneer, DR arranged intricate patterns of wood inlay to create the impression of pietra dura. His great rivals admitted him to their exclusive guild.
He appears to have curried considerable favor with the queen, Marie Antoinette, whose first language was also German. On several of his journeys throughout Europe, she charged him to deliver her presents and dolls dressed in the latest Paris fashions. They were intended to serve as patterns for the dressmakers to her mother and her sisters. |
495_3 | Because of his proficiency in constructing furniture with amusing mechanical features, the queen appointed Roentgen ébéniste-mechanicien. Popular in the late eighteenth century, ladies' dressing tables were designed to appear as a desk, drawing table or other less personal furniture, to conceal toiletries. A spring trigger, hidden catch or button revealed its dual purpose. |
495_4 | David mastered this style, dubbed Harlequin after the theatrical character, whatever the reference to archetype implied. His mechanical inventiveness outshone more accomplished cabinetry. The extent of his fame is shown by Goethe mention of him in Wilhelm Meister. The box inhabited by the fairy during her travels with her mortal lover is compared to Roentgen's desk in which a single pull released many springs, latches, hidden drawers, secret compartments and mechanical devices. Before he lost his head, Louis XVI paid him 80,000 livres for such a desk. Outwardly it looked like a commode. Marquetry panels showed Minerva, Roman goddess of arts, hanging the portrait of Marie Antoinette on a column engraved with her name. Above the riot of architectural details was a musical clock (the work of the partner Peter Kinzing), topped by a cupola representing Parnassus, party peak. The interior of this monumental effort, high, was a marvel of mechanical precision. It disappeared during the First |
495_5 | Empire under Napoleon. |
495_6 | Roentgen did not confine his attentions to Paris, or even to France. He traveled about Europe accompanied by furniture vans of his factory's products. Undoubtedly his aptitude as a commercial traveler was remarkable. He had shops in Berlin and Saint Petersburg. On one of his visits to Russia, he sold to the Empress Catherine furniture invoiced at 20,000 roubles. She added 5000 roubles and a personal present, a gold snuff-box, for quick fulfillment of an unexpected request. When news arrived of the Russian navy's victory over the Turks at Cheshme, DR ingeniously mounted a clock commemorating the date and time onto the Czarina's personal secretaire desk. This suite of furniture is believed to be in the Palace of the Hermitage, with vaults of so much remarkable art uncatalogued outside Russia. To the protection of the queen of France and the empress of Russia, David added the king in Prussia, Frederick William II, who in 1792 made him a Commerzienrat, commercial agent for the Lower Rhine |
495_7 | district. The French Revolution and the Napoleonic Wars eclipsed Roentgen's star as many other great cabinetmakers of the period. In 1793 the Revolutionary government, declaring him an émigré, seized the contents of his showrooms, inventory and personal belongings. After that, he did no further business in Paris. Five years later, the French invasion of Germany, Prussia and Austria led to the closing of his factory in Neuwied. He died half ruined at Wiesbaden on 12 February 1807. |
495_8 | The most complete collection of his work in private hands remains that of the ducal house of Saxe-Coburg and Gotha, exhibited at Callenberg Castle in Coburg, north Bavaria. In 2012 Wolfam Koepp of the Metropolitan Museum of Art discovered a particular type of Roentgen table with removable legs for easier transport. Was this table the earliest form of flatpack? A team from the Victoria and Albert Museum investigated further and confirmed Koepp's process and conclusions in March 2014, shedding new light on the inventor of flat-pack / ready-to-assemble furniture. Until then, Gillis Lundgren held that title from 1951 for IKEA. Its blame has now been traced back 200 years before the pretender. David Roentgen not only mastered intrigue but flat-pack home assembly without an allen key. |
495_9 | Assessment |
495_10 | According to his biography in the Encyclopædia Britannica Eleventh Edition of 1911, Roentgen was not a great cabinetmaker: "His forms were often clumsy, ungraceful, and commonplace; his furniture lacked the artistry of the French and the English cabinetmakers of the great period which came to an end about 1790. His bronzes were poor in design and coarse in execution; his work, in short, is tainted by commercialism. As an inlayer, however, he holds a position of high distinction. His marquetry is bolder and more vigorous than that of Riesener, who in other respects soared far above him. As an adroit devisor of mechanism he fully earned a reputation which former generations rated more highly than the modern critic, with his facilities for comparison, is prepared to accept. On the mechanical side he produced, with the help of Kintzing, many long-cased and other clocks with ingenious indicating and registering apparatus. Roentgen delighted in architectural forms, and his marquetry more |
495_11 | often than not represents those scenes from classical mythology which were the dear delight of the 18th century." He is well represented at the V&A Museum in London, and other collections. |
495_12 | See also
Louis XVI furniture
Louis XVI style
References
Manuel Mayer, 2018. Die Verwirklichung eines Möbels. Der Schreibsekretär von Abraham Roentgen in der Residenz zu Würzburg., in: Mainfränkisches Jahrbuch für Geschichte und Kunst, Bd. 70, Archiv des Historischen Vereins für Unterfranken und Aschaffenburg, Bd. 141, Würzburg 2018, p. 239-259.
Hans Huth, 1974. Roentgen furniture: Abraham and David Roentgen, European cabinet-makers
Dietrich Fabian, 1992. Abraham und David Roentgen: Von der Schreinerwerkstatt zur Kunstmöbel-Manufaktur
Josef Maria Greber, 1980. Abraham und David Roentgen: Möbel für Europa : Werdegang, Kunst und Technik einer deutschen Kabinett-Manufaktur
Rosemarie Stratmann-Döhler, 1998. Mechanische Wunder, edles Holz: Roentgen-Möbel des 18. Jahrhunderts in Baden und Württemberg
Fabin, Dietrich. Kinzing und Roentgen Uhren aus Neuwied. 1984.
Kreismuseum Neuwied: Kinzing & Co. Innovative Uhren aus der Provinz. 2003. |
495_13 | External links
Koeppe, Wolfram. "Abraham and David Roentgen". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (June 2013)
David Roentgen Papers collection from the Metropolitan Museum of Art Libraries
Extravagant Inventions: The Princely Furniture of the Roentgens, exhibition at the Metropolitan Museum of Art
Explore | David Roentgen | Flat-Pack
Flatpacked! | V&A
German furniture designers
Furniture makers
1743 births
1807 deaths |
496_0 | Frederick Albert Hale (December 25, 1855 – September 6, 1934) was an American architect who practiced in states including Colorado, Utah, and Wyoming. According to a 1977 NRHP nomination for the Keith-O'Brien Building in Salt Lake City, "Hale worked mostly in the classical styles and seemed equally adept at Beaux-Arts Classicism, Neo-Classical Revival or Georgian Revival." He also employed Shingle and Queen Anne styles for several residential structures. A number of his works are listed on the U.S. National Register of Historic Places.
He was also known for his singing ability, especially in Denver, where he performed in several theatrical presentations during his time there. |
496_1 | Biography
Hale was born in Rochester, New York on December 25, 1855, to parents John Albert Hale and Julia Lucetta Wiggins Hale. In 1860 he moved to the Central City-Blackhawk mining area in Colorado where his father had a gold mine. He went to school in Central City, Colorado until 1864, when he returned to Rochester to continue his education. During his schooling in Rochester, he worked for two local architects in the city. He worked for two years after graduating high school as a teacher before enrolling in Cornell University in Ithaca, New York in April 1875. He was allowed to skip the general curriculum classes with permission from the head of the architecture department, so he only stayed at Cornell for two years until 1877, again working for local architects during his summer breaks. After receiving his degree, he got a job working as an assistant to James Goold Cutler, a Rochester architect. He remained with Cutler for two years before leaving in 1879.
Colorado |
496_2 | Hale moved to Denver, Colorado to begin his own practice as an architect in 1880. He worked for the first three years thereafter under the direction of Robert Roeschlaub, a well-known architect in the city. During this time he returned to Rochester to marry Mary Frances (Minnie) O'Grady on April 18, 1888, but returned to Denver immediately after the wedding. The couple had four children, three of whom were born in Denver. Their first child and only daughter, Edyth Mae Hale, was born on February 4, 1883; then came their first son, Girard Van Barcelu Hale, in 1886; and Frederick Albert Hale, Jr., on January 29, 1888. A fourth child (and third son) was born on March 17, 1895, when the family was in Salt Lake City, Utah. |
496_3 | Hale left Roeschlaub to partner with H. B. Seeley in 1883. The name of the firm appears in the literature in both orders, i.e. "Hale and Seeley" as well as "Seeley and Hale." Hale left the partnership with Seeley in 1886 and returned to Roeschlaub, this time as a full partner in the "Roeschlaub and Hale" firm. In 1887 Roeschlaub and Hale drafted the foundation design for the Trinity United Methodist Church. |
496_4 | Hale left Roeschlaub in 1887 to begin his own practice. Hale is credited with designing several buildings in Denver, such as the 1888 Curry-Chucovich House. He also designed at least one hospital, a courthouse, a baseball park, a power station, two banks, three schools, eight churches, several dorms for the University of Colorado, and eight commercial blocks. Hale is also responsible for several important buildings in other parts of the state. Among them are the 1889 Woodbury Hall on the campus of the University of Colorado at Boulder; the Aspen Community Church, Cowenhoven Block, and Aspen Block, all in Aspen; and Longmont College in Longmont. Hale also designed at least four buildings in Pueblo, including the 1887 Graham-Wescott Building on Union Avenue, and three buildings constructed 1889: the Nathaniel W. Duke House, the First Congregational Church, and the First Presbyterian Church. Also, Hale is credited during this time with designing Old Main, a building on the campus of the |
496_5 | University of Wyoming. |
496_6 | During his time in Denver, he was also known for his voice. In fact, some record indicate he was known more for his signing ability than for his architectural skills. He performed in several theatrical presentations, operas, and operettas at the Tabor Opera House during his time there. He was described as "an accomplished singer who was widely acclaimed for his fine voice."
Salt Lake City |
496_7 | Hale remained active in Colorado until 1890, when he moved to Salt Lake City, Utah, after being called to design the Commercial National Bank Building. He designed several prominent buildings in Salt Lake City, including the Alta Club, the Eagle's Club, the Old Hansen Planetarium, the Continental Bank Building, the David Keith Mansion and Carriage House, and the Salisbury Mansion. He is also attributed as architect of the Auerbach Brothers Block, the Beason Block, the Summit Block, the Eagle Block, the American Linen Supply Company, the Masonic Lodge, and the Elks Club. In total, Hale received permits to construct 107 buildings in Salt Lake City between 1891 and 1916, including 34 commercial buildings between 1892 and 1914 and 47 for private residences. |
496_8 | He became partners with Richard K. A. Kletting and Walter E. Ware during his practice in Salt Lake City and was very popular among the wealthy there. While his partners were known for their commercial buildings, Hale was more widely known in the city for his residential designs. One reason Hale may be lesser known for his commercial designs is that by 1986, most of his commercial buildings had been demolished. Only 8 of the 34 original commercial projects remained standing at that time.
Hale was a member of several organizations in the city, including several for whom he built the clubhouse. The included the Alta Club, the Elks Club, and the Salt Lake Country Club. He was also a member of the Utah chapter of the Sons of the American Revolution by virtue of his great-grandfather John Hale, a colonel in the New Hampshire Militia and a surgeon in the First New Hampshire Continental Line. Hale was the director of the Salt Lake Chamber of Commerce and served on the Board of Public Works. |
496_9 | Hale died in Salt Lake City on September 6, 1934.
Notable works
Notable works by Hale include:
In Aspen
Aspen Community Church, NRHP-listed
Cowenhoven Block
Aspen Block
In Denver
Curry-Chucovich House, NRHP-listed
Trinity United Methodist Church (with Roeschlaub)
In Pueblo
Nathaniel W. Duke House, NRHP-listed
First Congregational Church, NRHP-listed
Charles H. Stickney House, NRHP-listed
Elsewhere in Colorado
Longmont College (1886), 546 Atwood St., Longmont, Colorado, NRHP-listed
Woodbury Hall (1889), "the first building on the University of Colorado's campus to have electricity and hot and cold running water"
In Salt Lake City, Utah
First Methodist Episcopal Church, NRHP-listed
David Keith Mansion and Carriage House, NRHP-listed
Keith-O'Brien Building, NRHP-listed
McIntyre House, NRHP-listed
William A. Nelden House, NRHP-listed, an early and "pure" example of Georgian style in Utah
Old Hansen Planetarium, NRHP-listed |
496_10 | In Ely, Nevada
Nevada Northern Railway East Ely Yards and Shops, NRHP-listed
In Laramie, Wyoming
Old Main, University of Wyoming campus, NRHP-listed
References
19th-century American architects
Cornell University College of Architecture, Art, and Planning alumni
Architects from Rochester, New York
Architects from Denver
Architects from Salt Lake City
1855 births
1934 deaths
People from Central City, Colorado
20th-century American architects |
497_0 | Beatie Wolfe is an Anglo-American award-winning, pioneering artist known for "seeing music differently" and creating new tangible formats for albums in the digital era. These musical innovations, which include a Space Broadcast via the Holmdel Horn Antenna and the world's first live 360° AR stream, have gained Wolfe critical acclaim with the Victoria and Albert Museum inviting Wolfe to exhibit her 'world first' album designs in a solo exhibition; the Barbican Centre commissioning a documentary on Wolfe's work; Wired featuring Wolfe as one of 22 changing the world and UN Women selecting Wolfe as one of nine innovators for a global campaign for International Women's Day. In January 2020, Wolfe received the She Rocks Innovator award alongside Suzi Quatro, Gloria Gaynor, Linda Perry and Tal Wilkenfield. |
497_1 | Wolfe is also the co-founder of a "profound" research project looking at the Power of Music for people living with dementia and in March 2020 gave a TEDMED talk about the power of music as medicine and her work in the field.
Early life
Wolfe was born in Sands End, South London, to an English mother and American father. She attended the Young Blood Theatre group at the Riverside Studios between 2000 and 2004 where she wrote and performed in a number of plays at the Riverside Theatre and Lyric Theatre. Wolfe attended Ibstock Place School from age 3 to 16. Following Ibstock, she attended Goldsmiths, University of London where she studied English literature. For her dissertation, Wolfe wrote about Canadian singer-songwriter Leonard Cohen, which she received a first for and it was subsequently published online. This led to her musical interpretation of Cohen's poem "Thousand Kisses Deep" and correspondence with Cohen and his team. |
497_2 | Early music career
On 10 – 12 November 2007, Wolfe was invited to play the Jack Kerouac Festival at the Marquee Club alongside American performers Carolyn Cassady, Saul Williams and David Amram. David Amram, who declared Wolfe to be "the Baroness of bob", invited the London singer songwriter to perform at his residency night at the Cornelia Street Cafe in New York. On 7 April 2008, Wolfe performed her first of several New York shows with Amram at Cornelia Street Cafe, alongside The Sopranos star John Ventimiglia. She also performed at New York clubs Rockwood Music Hall, The Living Room, Pete's Candy Store and on East Village Radio a residency with Punchdrunk's theatre show Sleep No More.
Burst EP (2010–2011)
Wolfe's debut EP, Burst was released in January 2010 as an iPhone App as was one of very few artist apps available. GQ Magazine reviewed the launch concert at St Pancras Old Church as "the best concert [they'd] been to all year." |
497_3 | In July 2011, Wolfe performed at Secret Garden Party in Huntington. In August 2011, she was selected by EMI and Roundhouse to be featured in its 30/30 compilation album. This was released in December 2011 on Roundhouse Records. In August 2011, Wolfe shared the bill with American jazz musician Wynton Marsalis at Ronnie Scott's Jazz Club. Following the show, Wolfe and Marsalis became friends and he became an important musical influence and mentor. |
497_4 | Debut album 8ight: 2013 – 2014
In July 2013, Wolfe released her debut album 8ight as a vinyl, lyric book and 'world's first' 3D interactive album app which British GQ premiered in its magazine, online and via its app, titled "Beatie Wolfe enters a new dimension: How folk's sultry songtress gave depth to her debut album." The album was positively reviewed by GQ as "updating traditional sounds with themes from modern life... she enraptured us with her smoky, captivating melodies about love and loss." It was also positively reviewed by Monocle as "Beautiful, it's hitting me like lovely records do" and Wolfe appeared on the front page of the Archant's Ham&High with a double album page review, which described 8ight as: "Raw, brooding and so diverse it features everything from spongy bass to ukuleles, the record is an irresistible collection of melodious three-minute pop nuggets." |
497_5 | 8ight's Innovations
Wolfe's "world’ first" format was positively received by various critics such as Wired magazine who described it as an "ingenious 3D layered view that beautifully brings to life her captivating folk sounds" and British GQ magazine who stated that Wolfe "continues to innovate with her beautiful new album 8ight". Several magazines noted that Wolfe was "the first artist to introduce Palm Top Theatre to her product".
8ight Tour
Following her 3D Interactive App release, Apple Inc. invited Wolfe to perform at its worldwide flagship event theatres – London, New York & Berlin – to present her App in a live interview and perform tracks off her album 8ight. Live interviewers included Spin and Billboard editor & chief Craig Marks, GQ's commissioning editor Charlie Burton and Debug Founder Sascha Kösch. |
497_6 | Prior to the US tour for 8ight, Wolfe appeared on Monocle 24's Review Show to talk about the influences behind the album, which coincided with a review in Monocle Mediterraneo 2013 summer publication. In September 2013, Wolfe performed a US tour including headline shows in San Francisco, San Diego, LA, New York and Boston. UK tour performances included The Stables in Buckinghamshire, Hare & Hounds in Birmingham and 606 Club in London. European performances included Hamburg's Nochtspeicher, CeBIT in Hanover and the Berlin Kurfürstendamm theatre. In November 2013, Wolfe was invited to present her App and perform at Wireds creative salon in Old Street. Her "8" App was later reviewed in January 2014's Wired Insider, as a highlight of the night. |
497_7 | Album Lyric Book – Words of 8ight
On 19 February 2014, at Mayfair's Maggs Bros Ltd on Berkeley Square – one of the longest-established antiquarian booksellers in the world – Wolfe launched the first edition of 'Words of 8IGHT', her lyric book to accompany the album.
Album: Montagu Square: 2015 – 2016
Wolfe's second album Montagu Square was conceived and recorded at 34 Montagu Square – the former home of Jimi Hendrix, Ringo Starr, Paul McCartney, John Lennon & Yoko Ono – and the album's single "Take Me Home" was recorded in the room where McCartney wrote ‘"Eleanor Rigby" & Hendrix penned "The Wind Cries Mary." |
497_8 | Montagu Square received positive reviews with The Independent newspaper calling the album "absolutely gorgeous" and praising Wolfe for being a "pioneering songwriter", Forbes calling it "extraordinary," The Huffington Post highlighting its "strong percussive sound with a bluesy overtone" and praising its "refreshingly low fi and honest" sound and Monocle Magazine describing the album as: "pure and simple; a short, sharp flip-it-over-and-listen-again LP of well-made, expertly played, beautifully sung chamber pop."
Following Montagu Square's release, Wolfe was nominated for Google Play Music's "Best Digital Artist" alongside the 1975. |
497_9 | Montagu Square's Innovations
Musical Jacket |
497_10 | Following on the innovations of 8ight, Montagu Square was released as a woven album jacket made by legendary tailor Michael Fish (fashion designer). Wolfe recorded the album at 34 Montagu Square, Marylebone, the former home of Jimi Hendrix, Paul McCartney, Ringo Starr, John Lennon & Yoko Ono and in the room where "The Wind Cries Mary" and "Eleanor Rigby" had been written. Wolfe's live recording – complete with its ambient sound, resonance of the room – was translated into a woven fabric and cut by tailor Michael Fish (fashion designer) (who dressed Jimi Hendrix, David Bowie & Mick Jagger in the 60s and 70s) as the first Musical Jacket of its kind. The Jacket has been NFC-enabled, allowing people to hear the music by tapping their phone onto the fabric. Wolfe's jacket has been featured in the Evening Standard, Craft Magazine, Creative Review, Huffington Post, Wired, Forbes, Recode, The Next Web, Tech Crunch and Fast Company. Tech Crunch called the Musical Jacket "spectacular" and |
497_11 | praised Wolfe for "making music physical again, in a very literal way." |
497_12 | Wolfe has told the story of her Musical Jacket at Digital Life Design in Munich alongside Arianna Huffington; at Apple HQ's Steve Jobs Theatre in Cupertino; at an audience with Her Majesty Queen Elizabeth II in Liverpool; at South by Southwest and in the Victoria and Albert Museum alongside David Bowie's designer Jonathan Barnbrook for the 'Records and Rebels' exhibition. |
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