<p>The Blue Hills Reservation Parkways are a network of historic parkways in and around the Blue Hills Reservation, a Massachusetts state park south of Boston, Massachusetts. It consists of six roadways  that provide circulation within the park, and that join the park to two connecting parkways, the Blue Hills Parkway and the Furnace Brook Parkway. The roadway network was designed by Charles Eliot in the 1890s, except for Green Street, which was added to the network in the 1940s. The parkways were added to the National Register of Historic Places in 2003.</p><br>
<h2>Blue Hill River Road, Segment One, and Hillside Street</h2><br>
<p>The first segment of Blue Hill River Road begins at a four-way junction with Washington Street (Massachusetts Route 138) and Royall Street (its western continuation) in Canton. It is about 1/2 mile in length, becoming Hillside Street at the Milton line. Its north side is dense forest with stone outcrops, and rising elevation into the hills. On the south side are a concrete sidewalk and a stone wall. The section of road provides access to Brookwood Farm, like the reservation administered by the Massachusetts Department of Conservation and Recreation (DCR).</p><br>
<p>Hillside Street is the major east-west roadway through the western portion of the park, and is where most of its administrative functions are located. It winds for 1.65 mi through the heart of the park, passing the park police headquarters among other facilities. Its first major junction is with the second segment of Blue Hill River Road, which exits to the south, just west of Houghtons Pond. After passing the headquarters area, it has junctions with Unquity Road and Chickatawbut Roads before crossing Pine Tree Brook near the reservations northern border. The parkway ends there, but the roadway continues as a Milton municipal roadway, traveling roughly northeast in a straight line until it meets Randoph Avenue (Massachusetts Route 28).</p><br>
<h2>Blue Hill River Road, Segment Two</h2><br>
<p>This segment of road consists of two sections, which are roughly at right angles to each other but were historically a single roadway. From its northern junction with Hillside Street, Blue Hill River Road runs south, bordering the reservation to the east and private lands on the west. It soon reaches a three-way junction, where Ponkapoag Trail continues south to an interchange with Interstate 93, and Blue Hill River Road continues east, into the reservation. It ends at a small circular turnaround at the southeastern corner of Houghton&#39;s Pond. A nearby parking area provides access to a picnic area and recreational fields. The total length of this segment is 0.87 mi.</p><br>
<h2>Chickatawbut Road</h2><br>
<p>Chickatawbut Road is the longest road in the reservation, running for nearly 3.75 mi through Milton, Quincy, and Braintree. It winds through the hills, generally providing only views of dense woods, from its western terminus at Unquity Road and Hillside Street to its eastern end at Granite Street (Massachusetts Route 37) in Braintree. It provides access, however, to the Chickatawbut Observation Tower, which affords some of the best views in the reservation.</p><br>
<h2>Green Street</h2><br>
<p>Green Street is a road discontinuous from the others, on the western side of the reservation in Milton and Canton. It runs from Royall Street in Canton northeast to a junction with Washington Street in Milton, skirting the westernmost edge of the reservation. This section of the reservation was acquired in the 1940s; the road was originally a municipal street.</p><br>
<h2>Unquity Road</h2><br>
<p>Unquity Road extends north from its junction with Hillside Street and Chickatawbut Road in the north-central section of the park, running in a curvilinear manner very roughly parallel to Pine Tree Brook, for 2.28 mi until it ends at a fourway junction with Canton Street (east-west) and the Blue Hills Parkway (north). It was originally planned as a southern continuation of the Blue Hills Parkway.</p><br>
<h2>Wampatuck Road</h2><br>
<p>Wampatuck Road runs for about 1 mi through the far easternmost portion of the park in Quincy. Its western terminus is with Chickawbut Road at a point where the latter turns more southeast, and its eastern terminus is with the Furnace Brook Parkway at a large rotary that spans (and provides ramps on and off from) Interstate 93. The road provides access to the Granite Railway, another DCR property.</p><br>
<p>The Gen. Sylvanus Thayer House, also known as the Sylvanus Thayer Birthplace, is an historic house at 786 Washington Street in Braintree, Massachusetts. It is operated by the Braintree Historical Society as the Thayer House Museum, which is open year-round.</p><br>
<p>The 2-1/2 story wood frame house was built in 1720 by Nathaniel Thayer and was subsequently expanded in the 1760s and again in the 19th century. General Sylvanus Thayer, known as the "Father of West Point," was born in the house in 1785 and resided there until 1793. In 1958, the parcel of land on which the house sat was purchased by the Walworth Steel Company; rather than tearing the old house down, it was dismantled and moved approximately one mile down Washington Street to its present location. Roughly 60% of the timbers in the house are original, while the others have been replaced during restoration with materials appropriate to the late 18th century. The house is furnished to represent a middle-class agricultural household, like the Thayer family, in 1785-1793.</p><br>
<p>The house was listed on the National Register of Historic Places in 1974. The Braintree Historical Society constructed a reproduction post-and-beam dairy barn to complement the Thayer House Museum in that same year. Both contain exhibit galleries and are open to the public.</p><br>
<p>The "Big Gun" cannon located at the house is in very poor condition. One wheel has completely fallen off and the other is on its last stand. The Braintree Historical Society is working on repairing the cannon and its wheels before Braintree&#39;s 375th Anniversary.</p><br>
<p>The North Abington Depot is an historic former passenger and freight railroad depot at 101 Railroad Street in North Abington, Massachusetts. It is located across from the intersection of Harrison Avenue and Railroad Street, along what is today the Massachusetts Bay Transportation Authoritys Plymouth/Kingston Line, and is now home to the Abington Depot restaurant. The single-story Richardsonian Romanesque granite-and-brownstone building was designed by Bradford Lee Gilbert and built in 1893 by the New York, New Haven and Hartford Railroad . Construction on the building was begun immediately following the "North Abington Riot", in which railroad laborers and local townspeople fought over the towns right to allow a grade-level streetcar crossing over the NYNH&H track. The legal case over this issue set a precedent in state legal jurisprudence that a single Massachusetts Supreme Judicial Court justice was sufficient to render binding interpretations of the law.</p><br>
<p>The building was listed on the National Register of Historic Places in 1976.</p><br>
<p>The Cambridge Grant Historic District is a 322 acre historic district located on Russell Hill Road and Wilker Road in Ashburnham, Massachusetts, at an elevation of 1240–1300 feet above sea level. It was added to the National Register of Historic Places in 2001.</p><br>
<h2>Early history</h2><br>
<p>The 1,000 acre district was granted to the town of Cambridge in 1734 as compensation for that town&#39;s responsibility in maintaining the first bridge across the Charles River connecting Boston to towns to the north, built in 1662. Known as the Cambridge Bridge Farm, it remained unsettled until 1770, when John Adams of Menotomy (West Cambridge Parish) became the first settler with his new bride, Joanna Munroe. He was soon followed by other family members, including his father, Thomas Adams, Sr., a brother, Thomas Adams, Jr., a sister, Lucretia Adams Wetherbee, and a nephew, Thomas Russell. A community of interrelated settlers from the Adams and Russell families of Menotomy evolved. The principal occupation of many of the early settlers was the tanning of goat or sheep skins into Morocco leather. This Adams family had been early settlers in West Cambridge and were not related to the Presidential Adams family of Braintree.</p><br>
<h2>Revolutionary period</h2><br>
<p>The Adams and Russell families were closely connected to Revolutionary figures in Menotomy and Lexington. Joanna Munroe, wife of first settler John Adams (later known as the Centenarian), was the sister of Ebenezer Munroe, a Minuteman who may have fired the first shot on the British on Lexington green, April 19, 1775 in the Battles of Lexington and Concord. and of Isaac Munroe, who was slain by the British that day. Ebenezer Munroe later removed to Ashburnham. Early settler Thomas Russell (a nephew of John Adams) was a second cousin of Jason Russell, owner of the Jason Russell House, who was killed in his kitchen in Menotomy by enraged British regulars on their return to Boston following their engagement at Concord.</p><br>
<p>Shortly after the Battle of Lexington and Concord, the first settlers were joined by Ethan Wetherbee and his wife, Lucretia Adams, a sister of John Adams the Centenarian. Wetherbee had been keeper of the Black Horse Tavern in Menotomy, where the Massachusetts Committee of Safety and Committee of Supplies had met; by locking the tavern door he had saved Charles Lee, Azor Orne and Elbridge Gerry from capture by British troops passing through on their way to Concord on the night of April 18–19, 1775.</p><br>
<h2>Twentieth century</h2><br>
<p>In the early twentieth century, the district became an active summer arts community. Home to writers and artists, it was noted for popular outdoor theatrical performances sponsored by the successful stage actor, Aldrich Bowker (1875–1947), one of its summer residents. Bowker succeeded Henry Travers in the role of Grandpa in George S. Kaufmans You Cant Take It with You on Broadway, and played it for over 500 consecutive performances in New York and Chicago. When Kaufman won the Pulitzer Prize for the play in 1937, Bowker was the presenter. He went on to play character roles in 25 motion pictures between 1939 and 1942, including The Major and the Minor and Abe Lincoln in Illinois. Aldrich Bowker&#39;s brother, Frank Bowker, also a district resident, was the author of Ashby Four Corners, a play about life in a small New England town whose setting is Russell Hill. Clara Burbank (1862–1927), a successful still life artist, was a neighbor in the district, as was Amy L. Burbank (1875–1948), a popular New England landscape painter.</p><br>
<h2>Significance</h2><br>
<p>Such one-or-two family neighborhoods constituted a familiar settlement pattern in Massachusetts and Maine land grants in the eighteenth century, but most are no longer recognizable due to building loss and subsequent development. Cambridge Grant is nearly unique in retaining a significant number of early homes and outbuildings in their original settings, with almost no encroachment from later building episodes. Today the Cambridge Grant Historic District contains seven Federal Architecture period homes dating from 1787/88 to 1834, together with barns and outbuildings, plus the Russell-Burbank family cemetery (1848). In addition, the Walter Russell House contains two of the earliest known murals by an itinerant wall painter of the Rufus Porter school.</p><br>
<h2>Notable Ashburnham residents born in Cambridge Grant</h2><br>
<p>Isaac Hill (1788–1851), a grandson of John Adams the Centenarian, New Hampshire State Representative, New Hampshire State Senator, Comptroller of the United States Treasury in the Andrew Jackson administration, USA Senator from NH, and Governor of New Hampshire</p><br>
<p>Ivers Adams (1808–1890), Massachusetts State Representative, 1851</p><br>
<p>Samuel G. Adams (1825–1886), Superintendent of Police for the City of Boston</p><br>
<p>Ivers Whitney Adams (born 1838), founder of the Boston Red Stockings, first professional baseball team in Boston</p><br>
<p>Melvin Ohio Adams (1847–1920), lawyer for Lizzie Borden</p><br>
<p>Luther B. Adams (born 1829) and Andrew Jackson Adams (1828–1911), officers of the Boston Chair Manufacturing Company of Ashburnham, an aggressive innovator in mass production techniques and one of the three largest chair manufacturers in the United States in the third quarter of the nineteenth century</p><br>
<p>The Pequoig Hotel is an historic former hotel building at 416 Main Street in Athol, Massachusetts. Built in 1894 by a leading local developer, it is downtown Athol&#39;s largest and most prominent building. After serving as a hotel into the 1950s, it was converted into a senior living facility in 1982. The building was listed on the National Register of Historic Places in 1978.</p><br>
<h2>Description and history</h2><br>
<p>The former Pequoig Hotel stands in on the north side of Main Street in downtown Athol, at the northeast corner with Exchange Street. It is a tall four-story masonry structure, built out of red brick with granite and terra cotta trim. Its Main Street facade is eleven bays wide; the outer four bays on each end are articulated by paneled pilasters, and have paired windows topped by granite lintels. The top-floor windows have round-arch tops, and the roof line above has a deep projecting cornice. The center three bays have tripled windows around a central projecting oriel bay, rising to a terra cotta parapet. The Exchange Street facade continues the detailing of the adjacent Main Street bays. The ground floor storefronts have undergone alterations over the years in response to changing commercial needs.</p><br>
<p>The hotel was built in 1894 by Lucien Lord, a major local real estate developer, and is the best-preserved of the town&#39;s late 19th-century commercial buildings. It was at the time of its construction the largest non-industrial building in the town, and it served as a hotel until the 1950s. Its ground floor spaces continued to serve commercial purposes into the 1970s. After a period of vacancy, it was converted into a senior living center.</p><br>
<p>The South Harwich Methodist Church is a historic Methodist church building on 270 Chatham Road in South Harwich, Massachusetts, USA. Built in 1836, it is a well-preserved example of a typical Cape Cod church of the first half of the 19th century. It was the town&#39;s second Methodist meeting house, and was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The South Harwich Methodist Church is locate on the north side of Chatham Road, at its junction with Old Country Road. It stands on a parcel of land that includes a cemetery established in 1829. It is a single-story wood frame structure, set on a brick foundation and covered by a gabled roof. Its exterior is clad in wooden clapboards, and has a combination of modest Greek Revival and Gothic Revival features. The corners of the building have pilasters, which rise to an entablature and gable returns at the roof edge. The main facade is symmetrically arranged, with two entrances flanking a central double window. Each of these elements is topped bya lancet-arched louver. The side walls each have three windows, also topped by lancet-arched louvers. A round-arch bay projects from the building rear. The interior is notable for its trompe-l&#39;œil paintings and generally intact original features; the only major modification has been the removal of a balcony at the rear. Oil lamps originally used for lighting have been electrified.</p><br>
<p>Methodism was introduced to Cape Cod in the 1790s by Reverend Jesse Lee. The first Methodist church was built in East Harwich in 1799, and this, the towns second, was built in 1836 on land given to the congregation by John Paine Eldredge. The congregation was initially termed reform Methodist in belief, but underwent a schism over slavery and the nature of its services, and the building was retained by a more conservative faction. In 1878 it was united with the East Harwich Methodist Church, sharing a minister. By the time of the churchs listing on the National Register, its congregation had dwindled in size to less than two dozen.</p><br>
<p>The Osterville Baptist Church is an historic Baptist church building at 824 Main Street in the Osterville village of Barnstable, Massachusetts. The white clapboarded wood-frame structure was built in 1837 for a congregation formed two years earlier. It is one of the older buildings in Osterville, and is a fine example of the Greek Revival with Gothic Revival elements. The church was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Description and history</h2><br>
<p>The Osterville Baptist Church is set prominently in the center of Osterville on the north side of the junction of Main Street and Wianno Avenue. It is rectangular single-story wood frame structure, with a gable roof, vinyl siding, and a brick foundation. Its exterior features a mix of Greek Revival and Gothic Revival styling, with corner paneled pilasters rising to entablatures running along the sides of the building, and lancet-arched panels above its windows. Its facade is symmetrically arranged, with a pair of entrances, each framed by sidelight windows and pilasters, with an entablature and cornice on top, and sash windows above. A single lancet-arch panel adorns the center of the gable end. The church has a two-stage square tower, with a plain first stage topped by a belfry with lancet-arched louvered openings, and a steeple above.</p><br>
<p>The church congregation was organized in 1835 as the Second Barnstable Baptist Church, and this church was dedicated in 1838, having been built on land given by Captain George Lovell. Its steeple is a reconstruction of the original, which was lost in a hurricane in 1945. The church interior was remodeled in 1889, at which time a heating system was added. Further additions have been made to the rear of the building, adding classroom, meeting, and office spaces.</p><br>
<p>The Universalist Society Meetinghouse is an historic Greek Revival meetinghouse at 3 River Road in Orleans, Massachusetts. Built in 1834, it was the only Universalist church built in Orleans, and is architecturally a well-preserved local example of Greek Revival architecture. The Meeting House is now the home of the Orleans Historical Society and is known as the Meeting House Museum. It was listed on the National Register of Historic Places in 1999.</p><br>
<h2>Description and history</h2><br>
<p>The meetinghouse is set on a short piece of River Road, between Main and School Streets, in the village center of Orleans not far from the town offices. The building is a two-story rectangular wood frame structure, set on a granite foundation, with a gable roof. The roof ridge runs parallel to River Road, which lies to the north, and the main gable-end facade faces roughly east. The walls are finished with painted wooden shingles, with broad paneled pilasters rising at the corners to an entablature that encircles the building below the roof line. The main facade is symmetrically arranged, with two entrances each flanked by pilasters and topped by an entablature. Above each entrance at the second level is a sash window. The gable end is fully pedimented, with a small lancet-shaped window at the center.</p><br>
<p>The interior of the building has a single large space, with a balcony gallery on three sides (excepting the west end). The original box pews were removed from the main floor, probably before 1900, with congregants apparently using folding chairs; box pews remain in the gallery. A 19th-century pressed metal ceiling obscures the original domed ceiling. The building now houses museum displays.</p><br>
<p>The Universalist congregation of Orleans took form as early as 1832, when a number of congregants left the local Congregational Church over their theological differences. The new congregation was formally organized in 1833, and its new meetinghouse was built by David Taylor, Jr. on land donated by David Taylor, Sr., a former ship&#39;s captain and the local postmaster. The building was enlarged sometime in the 19th century by the addition of about 15 ft to the west end; this probably took place between the 1840s and 1860s, when the congregation was at its largest.</p><br>
<p>Faced with declining participation, the Universalists and Congregationalists reunited their congregations in 1939, holding services in the Congregational church and using this meetinghouse as a Sunday school. The building was sold to the Orleans Historical Society in 1971.</p><br>
<p>The Poor House and Methodist Cemetery  is an historic poor house and cemetery on 744 Main Street in Falmouth, Massachusetts. It served the poor and mentally ill from 1812 until 1963. The property was added to the National Register of Historic Places in 1998, along with the Methodist Burial Ground next door where many Poor House residents were subsequently buried.</p><br>
<p>The building is owned by the Town of Falmouth, and is called the Edward Marks Jr. Building. Since1963, at different points it housed the Falmouth Retirement System and the Falmouth Historical Commission. The building used to be the home of the Falmouth Artists Guild prior to the construction of the Falmouth Art Center. At present it is vacant.</p><br>
<p>A list of those interred in the cemetery and photographs of many of the monuments is maintained by Find A Grave</p><br>
<p>The Edgartown Village Historic District is a historic district encompassing the traditional center of Edgartown, Massachusetts, on the island of Marthas Vineyard. The district is roughly bounded by Water St.  and Peases Point Way , and encompasses some 500 acre. The buildings within the district primarily represent the period of Edgartown&#39;s growth in the 19th century, featuring the elaborate houses of wealthy ship captains, as well as significant public buildings such as the Dukes County Courthouse and Jail, the Federated Church, and the Whaling Church. The district was listed on the National Register of Historic Places in 1983.</p><br>
<p>Edgartown was settled after the area was granted in 1641 to Thomas Mayhew, having previously been occupied by the Wampanoag people, and was incorporated in 1671, when Martha&#39;s Vineyard was part of New York. Only portions of First Period construction have survived in Edgartown; one example is the Captain D. Fisher House on North Water Street (c. 1704). Most of the 18th century houses that survive are vernacular in their construction methods; the Thomas Cooke House (c. 1765) is a typical Georgian five-bay house with a central chimney.</p><br>
<p>Edgartown&#39;s heyday during the 19th century was roughly during the second quarter of the 19th century, when the whaling industry dominated its economy. As a result, a large portion of its architecture is in the most popular style from that time, the Greek Revival. However, side-hall plans that were typical of this time in other parts of Massachusetts were uncommon here, Most of the buildings from this period were cottages of one and a half stories, with modest styling such as corner pilasters. The Fisher House on Morse Street is probably the most elaborate Greek Revival house in the village. Because of the decline in the whaling industry and the village economy, there are comparatively few Victorian period buildings. Between 1895 and about 1930 a number of summer houses were built, predominantly in Colonial Revival styling.</p><br>
<p>The Gay Head–Aquinnah Town Center Historic District is a historic district encompassing the center of the American town of Aquinnah, Massachusetts. The district includes six contributing buildings and two monuments, based around the intersection of South and Church Streets in Aquinnah.</p><br>
<h2>History</h2><br>
<p>Prior to the arrival of English colonists, the island of Martha&#39;s Vineyard was occupied by Wampanoag Indians. English settlement began in the 1640s in the eastern part of the island, and the Gay Head area in the far west remained reserved to the natives. Following American independence in 1783, the Wampanoags became de facto wards of the state, but their lands at Gay Head remained under their control.</p><br>
<p>By the first decades of the 19th century, there were two church congregations, and a school in the area. The church congregations declined in size, and were eventually absorbed into that of nearby Holmes Hole (present-day Vineyard Haven).</p><br>
<p>In the early 1830s, a town center began to take shape along Old South Road. The Gay Head congregants organized a new church in 1832, which met in the schoolhouse. It is unclear whether this refers to the schoolhouse in the district, whose existence is only definitely dated to 1844. The small congregation received a donation for the construction of a new church, which was dedicated in December 1850.</p><br>
<p>The town of Gay Head was incorporated in 1870; it was renamed Aquinnah in 1998.</p><br>
<p>A new town center began to take shape following incorporation, and the surveying and construction of what is now South Road. By 1907, the church, school and parsonage house had all been relocated to their present setting near the intersection of South and Church Roads.s To these were added the present town hall, and a post office with residence for the postmaster.</p><br>
<h2>District elements</h2><br>
<p>The district was added to the National Register of Historic Places in 1999. It includes the following six contributing buildings:</p><br>
<p>a schoolhouse, known to exist in 1844; this building now serves as the Aquinnah town library</p><br>
<p>the Gay Head Community Baptist church, constructed 1850; it is the only church in town</p><br>
<p>the minister&#39;s parsonage house, constructed 1856</p><br>
<p>the town hall, constructed 1929</p><br>
<p>the former post office and residence, constructed in the 1920s</p><br>
<p>a small outhouse on the church property, not used in living memory</p><br>
<p>Two monuments, commemorating the town&#39;s contributions to World War I, are also contributing elements to the district. Non-contributing elements include the modern town office building and the Gay Head Fire Station.</p><br>
<p>The William Street Historic District is a historic district in Vineyard Haven, Massachusetts, on the island of Martha&#39;s Vineyard. The district includes houses on William Street from Woodlawn Avenue in the north to several houses south of Camp Street. It represents the single best preserved area of mid 19th century houses in Vineyard Haven.</p><br>
<h2>History</h2><br>
<p>One of the earliest English settlements on the island of Marthas Vineyard (now in Massachusetts) was a place called Holmes Hole. Eventually incorporated as part of the larger town of Tisbury, Holmes Hole was eventually renamed Vineyard Haven, reflecting its status as the islands major port.</p><br>
<p>Williams Street was the second street of note laid out in the town, running parallel to Main Street. The street was developed by Thomas Bradley, who also counted among his businesses a mill in West Tisbury. Laid out in 1831, a series of houses were constructed along the road between 1830 and 1860, most in the Greek Revival style. These houses were all built by local builders, apparently without the benefit of architectural guidance. Most of the houses have not had significant alterations, and some continue to be owned by descendants of the original purchasers. The first houses built were typically 1.5 story structures with 4 windows.</p><br>
<p>The historic district encompasses all of the properties from Woodlawn Avenue in the north to Camp Street, extending about three houses south of the latter. There are only a few modern houses in this stretch, as well as an old schoolhouse. The district was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Edwin DeVries Vanderhoop Homestead, is an historic house at 35 South Road, Aquinnah, Massachusetts, United States. The c. 1890s house is the first built by a member of the Vanderhoop family, which is prominent in the town politics of Aquinnah and in the tribal organization of the Wampanoag Tribe of Gay Head. The house was listed on the National Register of Historic Places in 2006.</p><br>
<p>It is now operated as a museum called the Aquinnah Cultural Center and features exhibits on tribal history and culture.</p><br>
<h2>History</h2><br>
<p>William Adriann Vanderhoop (b. 1816) was the first member of the Vanderhoop family to move to what is now Aquinnah, Massachusetts on the island of Martha&#39;s Vineyard, but was then a reservation of the Wampanoags of Gay Head. In 1837 he married a Wampanoag woman and raised a large family, whose descendants continue to be prominent in the affairs of the town and tribe. In 1869 the Commonwealth of Massachusetts began the process of incorporating the town of Gay Head (as Aquinnah was called before 1998) by dividing the tribal lands among its members. Vanderhoop purchased one of the tracts defined by the state from a tribal member in 1890 for $40, and immediately signed it over to his son, Edwin DeVries Vanderhoop. He was a whaling captain, and the first Wampanoag to sit in the state legislature.</p><br>
<p>Sometime between 1890 and 1897 the younger Vanderhoop constructed a house on the property. With only modest changes to its structure, and the addition and loss of outbuildings on the property, it has retained its original character. The house was acquired by the non-profit Aquinnah Cultural Center, and has been converted into a cultural center and museum. Most of the land owned by Vanderhoops was acquired by the Martha&#39;s Vineyard Land Bank at the same time.</p><br>
<h2>Description</h2><br>
<p>The house is located on a windswept tract on the far west side of Gay Head, about one mile (1.6 km) west of the town center of Aquinnah. It marks the western end of South Road, the main road connecting Aquinnah to the rest of Martha&#39;s Vineyard. There are currently no outbuildings, although there had been in the past. The historic tract extends down to Rhode Island Sound, with expansive views of the ocean.</p><br>
<p>The house sits near the road at a location that begins to drop off sharply toward the coast. The main body of the house consists of two large Cape style sections whose ridge lines run east-west, but at an offset from each other. Each section has a central chimney. The two sections appear to have been constructed relatively near each other in time, since the construction methods appear to be similar. It is possible that one of the two sections was built before 1890 and moved to the site.</p><br>
<p>The north block of the house measures 24 by 16, with three window bays on the long dimension and two on the short. A two-story entry block projects from the center of the north elevation, and is flanked by porches. The main north block is offset by 5 ft from the south block, which measures 22 by 16, and has a single-story block protruding from the center of its south elevation.</p><br>
<p>Inside the house, the northern section contains a living room and parlor, while the southern section houses the kitchen, pantry, and dining room. Four bedrooms and a bathroom occupy the second floor. The walls and ceilings are plaster throughout the house, and the floors are painted pine. Modifications to the first floor have been limited: a fireplace was added to the living room, and doorways have been widened between the entry and living room, and between the living and dining rooms.</p><br>
<p>The Old Mill is an historic mill building at 690 Edgartown-West Tisbury Road in West Tisbury, Massachusetts, on the island of Marthas Vineyard. The current structure was built c. 1848, and occupies a site that has seen industrial use since the 17th century. The property is currently owned by the Marthas Vineyard Garden Club.</p><br>
<h2>History</h2><br>
<p>The Old Mill is located just outside the center of West Tisbury, Massachusetts, in the central-western portion of Martha&#39;s Vineyard. The site has seen industrial uses since the 1650s, not long after English settlers arrived on the island. The property was purchased in 1845 by Captain Thomas Bradley for $1,800, at which time it included a "dilapidated... mill". Bradley constructed a new, 2.5 story mill building on the site. It was used as a woolen mill until about 1873. After that, the property went through a succession of owners and uses including a tea room, art gallery, and auction house.</p><br>
<p>The building has been the headquarters of the Martha&#39;s Vineyard Garden Club since 1937. The club purchased the property in 1942, and it was listed on the National Register of Historic Places in 1984.</p><br>
<h2>Setting and architecture</h2><br>
<p>The mill building is a modest 2.5 story brick and wood frame structure on 26 acre of land, most of which is south of the Edgartown-West Tisbury Road. The building sites near the road, just to its south, and is set into a south-facing hill. The mill pond is the only major part of the property that is on the north side of the road. A parking area near the mill is screened by trees, and most of the land is naturally landscaped.</p><br>
<p>The mill itself consists of a rectangular main block, 7 bays wide and 4 deep, with an ell of 1.5 stories extending from its eastern elevation. Each floor of the building consists of a single open room. A stairway provides access between the first and second floors, and a modern pulldown ladder provides access to the top floor. A deck, a variant of an earlier one, adorns the east side of the building, as does a small modern addition providing modern plumbing facilities. The building is built on a foundation of rubble, with brick on the lower levels that are exposed from the hillside. The mill&#39;s power supply, Red Brook, flows through a conduit under the mill, although there are no visible signs remaining of how its power was harnessed.</p><br>
<p>Union Chapel  is an historic octagon-shaped church building in Oak Bluffs, on Marthas Vineyard, Massachusetts. The church was built in 1870 as a non-sectarian worship space in an area dominated by the Methodist summer camp meeting known as Wesleyan Grove. Acquired in 2002 by the nonprofit Marthas Vineyard Preservation Trust, the building continues to be used for nonsectarian religious services, and also serves as a community center and performing arts space.</p><br>
<h2>History</h2><br>
<p>The area now called Oak Bluffs, Massachusetts on the island of Martha&#39;s Vineyard began to develop in the 1830s with the establishment of a Methodist summer camp meeting which became known as Wesleyan Grove. The popularity of the camp prompted the formation of the Oak Bluffs Land and Wharf Company to develop areas adjacent to the camp as a resort area.</p><br>
<p>The chapel was built in 1870 as a non-denominational house of worship for vacationers who were not Methodist. The church, an eight-sided structure with an open internal plan, was designed by local architect Samuel Freeman Pratt, whose work for the Company included its headquarters building.</p><br>
<p>The church was listed on the National Register of Historic Places on June 7, 1990. In 2002 the building was acquired by the Martha&#39;s Vineyard Preservation Trust. The building continues to be used for services on a seasonal basis, and is also used for community events and as a performing arts space.</p><br>
<p>The Dr. Harrison A. Tucker Cottage is a historic summer cottage at 61 Ocean Avenue in Oak Bluffs, Massachusetts. The cottage took shape in the 1870s as a combination of several smaller structures that were joined together by an addition. Doctor Tucker was a leading resident of Cottage City, as Oak Bluffs was then known, playing host to luminaries including Ulysses S. Grant. Tucker was also a leading figure in the Oak Bluffs Land and Wharf Company, which spearheaded development of the town outside the Methodist meeting camp known as Wesleyan Grove. The house was listed on the National Register of Historic Places in 1990,</p><br>
<h2>Description</h2><br>
<p>The Tucker Cottage is set on Ocean Avenue, a curving street which overlooks Ocean Park and Nantucket Sound. It is part of a neighborhood of large 19th century summer cottages which are laid out on concentric roads arrayed around Ocean Park, a seven-acre park. Ocean Avenue is the innermost of these roads, directly abutting the park.</p><br>
<p>Dr. Tucker was a Massachusetts native who made his fortune in the production and sale of patent medicines, and had been vacationing at Oak Bluffs for several years before he built his cottage in 1872. He was a major social force in the summer life of Oak Bluffs, was a cofounder of its Trinity Episcopal Church, and may have paid for the bandstand visible from his cottage. The cottage was originally in Stick style, and was designed by Hartwell and Swasey, but little is known of the original design, for the cottage was extensively remodeled in 1877 to designs by John Hammond, giving it its present Queen Anne styling.</p><br>
<p>The cottage has an asymmetrical T shape with irregular massing. It is predominantly plank-framed, and has a variety of porches and belvideres; its most prominent feature is the tower at its northwest corner, which is 46 ft high. Each of the tower&#39;s three levels has a porch with Stick-style balustrade, and the tower is topped by an open gabled roof with more Stick decoration. The central portion of the main facade is recessed from the tower, with a porch on the second floor above a first floor with a truncated overhanging roof line. The left (south) side of the main facade has a projecting gable section with porches above and below, and a small turret-topped side projection immediately behind it. The tower was destroyed during the New England Hurricane of 1938, and rebuilt in the 1980s. The exterior decorations include numerous wood carvings, including depictions of lion heads, doves, dragons, and falcons.</p><br>
<p>The Ritter House  is an historic house on Beach Street in Vineyard Haven, Massachusetts, USA, and is listed on the National Register of Historic Places. It has had a succession of occupants and uses, and as of 2007 served as a retail establishment.</p><br>
<h2>History</h2><br>
<p>The house was built in 1796 on what was then known as “Quality Street“, next to the Mansion House hotel in Vineyard Haven, Massachusetts, the main port of the island of Martha&#39;s Vineyard. Originally built by Jirah Luce, it was occupied early by the highly respected Connecticut physician Dr. Rufus Spaulding (1760–1830) until about 1812, when he returned to his home state.</p><br>
<p>Dr. Spaulding ran the house as an inn, and Spaulding himself was described by historian Charles Banks as "doctor, postmaster, justice, village librarian, inn-keeper, and Master of the lodge of Masons." Other sources note that this house was at one time a tavern, and later became the first post office and library in the town of Tisbury. The house was inherited by Dr. Spaulding’s daughter Sophronia and her husband, Thomas West.</p><br>
<p>Another early resident was Stephen deNeuville (1778–1816), aka "Stephen New", a young French sea-captain.</p><br>
<p>The house was inherited by his daughter Hannah Chase DeNeuville and her husband Orrick Peck Branscomb (1809–1859), a shoemaker and general store owner who moved to the island from Maine in the early 1830s. This house is often referred to as the “Branscomb House” in many older references. The house barely survived a major fire in 1883, which destroyed the entire downtown portion of Vineyard Haven right to the edge of this property.</p><br>
<p>Retired whaling captain Gilbert L. Smith (1832–1928) bought the house in 1902. Mr. & Mrs. Henry A. Ritter purchased the house in the early 1900s. Henry Ritter was principal of the Tisbury School for many years and was remembered as an excellent teacher but a stern schoolmaster. By the 1920s the home was owned by Mrs. Evangeline Merrill Ritter, known to many as "the Vineyard Weaver."</p><br>
<p>The Ritter House was purchased by the Martha&#39;s Vineyard Historical Preservation Society in 1976, and was listed on the National Register of Historic Places in 1977. From 1981 to 1988 the Society rented the house out to the Tisbury Museum. The Museum merged with the Dukes County Historical Society in that year, and the Society undertook a restoration of the property. It has since been converted to a retail property.</p><br>
<p>The Montville Baptist Church, now known as the Sandisfield Arts Center, is an historic former Baptist church and Orthodox Jewish synagogue at 5 Hammertown Road in Sandisfield, Massachusetts. The Greek Revival building was constructed in 1839 as a Baptist church. After 83 years as a Baptist church meeting house, the building was converted into use as an Orthodox synagogue for 75 years. In 1995 the Sandisfield Arts Center formed as a non-profit to preserve the building. The building was added to the National Register of Historic Places in 2006.</p><br>
<h2>Description and history</h2><br>
<p>The former Montville Baptist Church stands in a rural area of central Sandisfield, just east of the junction of Hammertown Road with Sandisfield Road (Massachusetts Route 57). It is a single-story wood frame structure, set on a granite foundation and covered by a gabled roof. Its exterior is finished in wooden clapboards. The front facade has corner pilasters rising to an entablature and fully pedimented gable, with a two-stage square tower rising above the roof ridge. The basement is fully exposed in the front, with the main entrance now consisting of four doors at the center of the basement level. Above this, a pair of pilasters flank a sign labeled "Sandisfield Arts Center", and rise to an entablature and cornice just below the main entablature. The interior provides a multifunction space in the basement level, with kitchen and dining area, while the upper area is a large open two-story space. A cabinet previously used as a Torah ark is set against the rear wall.</p><br>
<p>The building was erected in 1839-42 by the local Baptist society, formed in 1829 through the merger of two older Baptist societies (founded 1779 and 1790). The Baptist congregation declined, and the church was turned over to county Baptist organization in 1894. It stood vacant and in declining condition until 1921, when it was acquired by a local Jewish congregation, established in the area after an influx of immigrants over the previous ten years. Under the auspices of the B&#39;nai Abraham Orthodox Jewish congregation, the building was raised and the present foundation was installed. Corner stairs were added, allowing for separate access to the gender-segregated parts of the sanctuary. The synagogue closed in the 1940s due to declining participation. It was briefly revived in the 1980s, but failed due to insufficient numbers to meet Jewish laws. The building was formally turned over by the remnant congregation to the Sandisfield Arts Center in 1996.</p><br>
<p>The Los Angeles Fire Department Museum and Memorial is located at Old Engine Co. No. 27, also known as Fire Station No. 27, on Cahuenga Boulevard in Hollywood. The museum houses old fire engines and fire apparatus, some dating from the 1880s. The museum also houses a reference library and fire safety learning center. The building was named a Los Angeles Cultural-Heritage Monument in 1976 and was listed in the National Register of Historic Places in 1985. The Fallen Firefighters Memorial in front of the station consists of a memorial wall listing all of the Los Angeles firefighters who have died in the line of duty and five life-size statues of firefighters.</p><br>
<h2>History of Engine Co. No. 27</h2><br>
<p>At 20,000 ft&sup2, the Italian Renaissance revival building housing Engine Co. No. 27 was the largest fire station west of the Mississippi River when it opened in July 1930. For more than 60 years, the old fire station served the Hollywood community, including the motion picture studios and the stars who lived in the Hollywood Hills. It was also used a movie location by, among others, The Three Stooges and Buster Keaton. The use of the building as both a movie location and a working fire station sometimes led to difficulties. In 1937, a real fire broke out while a Hollywood studio was filming the motion picture, "Two Platoons", at Fire Station No. 27. The Los Angeles Times reported on the incident this way:"The entire crew was on hand as atmosphere and the equipment served as a background. Dick Foran and Robert Armstrong were in the middle of a scene when the alarm sounded. Moviemaking meant nothing in the life of Battalion Chief Rothermel at that moment. Before (director John) Farrow could finish the sequence, the fire engines were speeding on their way to a brush fire in the Hollywood Hills. The movie company had to wait an hour before action could be resumed."</p><br>
<p>In 1950, the captain of Engine Co. No. 27, Michael J. Carter, died in the line of duty while supervising a firefighting effort at a recordmaking facility in Hollywood. Capt. Carter is one of the fallen firefighters now honored by the memorial located in front of Engine Co. No. 27.</p><br>
<p>One firefighter, Lawrence T. ONeill, served at Station 27 for 34 years starting in 1929. At the time of his retirement in 1963, ONeill recalled the company&#39;s efforts in fighting the Paramount sound stage fire in 1929, the Consolidated Laboratories fire the same year, and dozens of other fires over the years.</p><br>
<p>In 1976, an interagency dispute arose, as the Fire Department Board of Commissioners voted unanimously to oppose the designation of Station No. 27 as a Historic-Cultural Monument by the Citys Cultural Heritage Commission. Fire Chief Kenneth Long expressed concerns that the designation would make it impossible for the city to rebuild the station or to sell it to build a new station elsewhere. Despite the fire departments opposition, Fire Station No. 27 was disengaged as the city&#39;s Cultural-Historical Monument #165 in October 1976. The historic designation saved Engine Co. No. 27 when the Los Angeles Fire Department announced plans in 1984 to demolish 16 old fire stations as part of the largest building program ever undertaken by the department.</p><br>
<p>The station was also listed in the National Register of Historic Places in 1985. Rather than demolishing the old firehouse, a new fire station was built next door. The building was damaged in the 1994 Northridge earthquake, but was restored to its earlier appearance for use as a museum honoring the Los Angeles Fire Department.</p><br>
<h2>Los Angeles Fire Department Museum</h2><br>
<p>The Los Angeles Fire Department Museum opened in October 2001—the month after the September 11 attacks on the World Trade Center in New York City, New York, and the Pentagon in Arlington County, Virginia. The walls of the museum are filled with historical photographs on the department&#39;s history. The museum houses several old fire engines, artifacts and historical firefighting equipment, some dating from the 1880s. There is also a research library and a learning center where fire and life safety lessons are taught. The benefactor of the museum is retired Los Angeles firefighter and Medal of Valor recipient, William Rolland. Rolland said of the museum: "I believe we must begin by educating our youth. A museum is not something you finish; museums are something you start. We will teach and educate children and their parents in fire safety awareness, emergency procedures and EMS technology of today."</p><br>
<p>When the Los Angeles Times published an article on the museum in 2003, it wrote: "With its high ceilings, six old-fashioned brass fire poles and nearly a dozen antique fire engines, the Los Angeles Fire Department Museum looks like a set from a Hollywood back lot.... But Fire Station 27 has a greater purpose: keeping the flame of L.A. Fire Department history."</p><br>
<p>The Los Angeles Fire Department Historical Society also operates three other museums—the Los Angeles Harbor Fire Museum, located at 638 Beacon St., San Pedro; the Plaza Fire House near Olvera Street in downtown Los Angeles; and the African American Fire Fighter Museum, located at 1401 S. Central Avenue.</p><br>
<h2>Fallen Firefighters Memorial</h2><br>
<p>In front of the museum is the Fallen Firefighter Memorial. It includes a memorial wall with the names of every known Los Angeles firefighter who has died while on active duty. The memorial also includes a series of life-size bronze statues depicting five firefighters. Two of the firefighters are depicted attacking a fire, while a fallen firefighter is attended to by a fourth figure. The fifth figure is the fire captain, shown making a command decision and also caring for the downed firefighter. The statues was based on a concept and designed by Los Angeles Fire Captain Harold Dwayne Golden and created in Minnesota by Honors for Excellence.</p><br>
<p>In 2005, firefighters staged a torch relay through the city to raise funds for the memorial that was then anticipated to cost $1.5 million. Each battalion in the Los Angeles Fire Department took turns running 13 mi with the torch. At the time, firefighter Dominic Pascal said, "You dont want to forget your family members, and we dont want to forget ours.... It&#39;s a significant, emotional event when you lose someone in a fire."</p><br>
<p>The East Hoosac Quaker Meetinghouse is an historic Quaker meeting house in Adams, Berkshire County, Massachusetts. The meetinghouses construction dates to the early 1780s. It now occupies a prominent position within the Maple Street Cemetery , the first burial ground in Adams. Unmarked graves of Adams early Quaker settlers lie near the meetinghouse, an area now marked by a plaque. The meetinghouse was listed on the National Register of Historic Places in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Quaker Meetinghouse occupies a prominent position overlooking the Maple Street Cemetery from a high point near its western end. It is a simple rectangular two story wood frame building measuring 28 ft by 36 ft. In typical Quaker fashion, both the interior and exterior lack any significant ornamentation. The exterior is finished in wooden clapboards, and has an asymmetrical main facade with two entrances, one for men and one for women. The doors and outside window shutters are made of simple wooden planking. A chimney pierces the roof ridge near the buildings western end. The interior was partitioned to separate the men from the women, although portions of the divider were movable. Seating consisted of benches, and there were fireplaces located on the womens side of both floors.</p><br>
<p>Adams was first settled by Quakers, mostly from the area of Smithfield, Rhode Island, in the 1760s, and was originally known as East Hoosac. The present meetinghouse dates to 1784, and remained in active use until 1842, when the local Quaker population was in decline. The area of the cemetery near the meetinghouse has archaeologically been determined to have unmarked graves of Quakers (a common practice of time) dating to the 1760s. Relatives of noted suffragette Susan B. Anthony, who was born in Adams, are buried here.</p><br>
<p>The Society of the Congregational Church of Great Barrington  is an historic church building and parish house located at 241 and 251 Main Street in Great Barrington, Massachusetts. It is the fourth church of a congregation whose first meetings were held in 1743.</p><br>
<h2>History</h2><br>
<p>In 1743 the congregation was founded by Samuel Hopkins, an early proponent of the theology of New Divinity. In 1883 the current stone church building was completed after a fire destroyed most of the previous structure, which had been built of locally quarried stone in 1859. In 1883 the congregation also accepted the donation by the Hopkins family of a house to be used as a parish hall. This building, also faced in local stone, was designed by Peabody & Stearns, and was previously located across the street from the church before being moved to its present location next to the church.</p><br>
<p>In the 1880s the church sponsored congregant W. E. B. Du Bois as he attended Fisk University. In 1992 the church building was added to the National Register of Historic Places.</p><br>
<h2>Architecture</h2><br>
<p>The church is set in the heart of downtown Great Barrington, facing west toward Main Street. The church, along with its manse and carriage house, are all built of locally quarried limestone. The church is two stories in height, with a longitudinal nave whose walls are supported by buttresses. Its roof is steeply pitched, and covered in slate. A five-story tower, 116 ft in height, rises at the southwest corner, and is topped by a pyramidal roof with flared edges. The church was built in 1883, using parts of the previous (1859) structure, which was built from stone sourced at the same quarry, and was destroyed by fire in 1882. The church was designed by William C. Brocklesby, an architect practicing in Hartford, Connecticut. The manse and carriage barn, added in 1884, were designed by Peabody and Stearns of Boston.</p><br>
<h2>Notable congregants</h2><br>
<p>David Leavitt</p><br>
<p>W. E. B. Du Bois</p><br>
<p>Trinity Episcopal Church is an historic Episcopal church building at 88 Walker Street in Lenox, Massachusetts.</p><br>
<h2>History</h2><br>
<p>It was built in 1888 in the Gothic Revival style for the use of a congregation composed in part of the wealthy summer visitors to The Berkshires, who funded its construction. The church was the location of society weddings. For example, on June 6, 1895, James A. Burden II, an heir to the Burden Iron Works, wed Florence Adele Sloan, a direct descendant of Cornelius Vanderbilt, in this church.</p><br>
<p>In 1990, New England Magazine wrote that "few cities can boast churches of greater beauty".</p><br>
<h2>Architectural significance</h2><br>
<p>The church was listed on the National Register of Historic Places in 1996.</p><br>
<h2>Notable people</h2><br>
<p>Robert Shaw Sturgis Whitman, rector</p><br>
<p>Al Mac&#39;s Diner-Restaurant is an historic restaurant building at 135 President Avenue in Fall River, Massachusetts. It is an example of the stainless steel diners in Massachusetts, with rectangular massing, a flat roof, a projecting center entry vestibule, and rear kitchen wing.</p><br>
<p>The diner was built in 1953 and added to the National Register of Historic Places in 1999.</p><br>
<h2>History</h2><br>
<p>Al McDermott (the Al Mac of the diners name) started his business providing food and drink to Fall River mill workers from a horse-drawn wagon in 1910. McDermott opened several diners along the Northeast, including this one in 1953. The diners original location was where brightman street bridge sits currently. Then it was moved to the current site of Bicentennial Park; later it was moved directly across Davol Street.</p><br>
<p>More recently, the diner was closed in July 2012, due to the tough economic climate. After extensive cleaning and repair, the diner re-opened early 2013 under new management, with owner Robert Dunse as the chef, and Zachary Tenen as sous chef.</p><br>
<h2>Campaign stop</h2><br>
<p>Al Macs is a favorite stop for politicians on and off the campaign trail. This list includes Gov. Deval Patrick, Senate President William Bulger, Massachusetts Attorney General Martha Coakley, and the late Senator Ted Kennedy. Kennedy in particular paid many visits to the diner over his long service as a USA senator from Massachusetts. Coakley stopped at Al Macs on Election Day during the 2010 Senate special election in Massachusetts. Footage showing her visit was broadcast on CNN and other major news networks covering the election.</p><br>
<p>The Nara Visa School is a historic school building in Nara Visa, New Mexico. The school was built in 1921 during the settlement of eastern New Mexico. Architect Joseph Champ Berry, noted for his work in the Texas Panhandle, designed the Mission Revival building. While the building&#39;s plain facade and red tile roof are typical of the Mission Revival style, the wood corbel brackets along the roof reflect local vernacular designs and American Craftsman influences. A gymnasium built by the Works Progress Administration and several contributing outbuildings are also on the property. As of the early 1980s, the school was still in operation; however, it has since closed, and the building is now a community center.</p><br>
<p>The building was added to the National Register of Historic Places in 1983.</p><br>
<p>The United States Post Office in Hollywood, Los Angeles, California, also known as Hollywood Station, is an active USA post office located at 1615 Wilcox, between Sunset and Hollywood Boulevards. It is on the National Register of Historic Places.</p><br>
<h2>Design</h2><br>
<p>In 1937, renowned Art Deco architect Claud Beelman, a partner at Curlett + Beelman, was commissioned by the Works Progress Administration (WPA) to design the Hollywood Post Office Building. He worked with the Los Angeles architectural firm Allison & Allison. Claud Beelman was a self-trained draftsman turned "moderne" architect in the early 20th century. He designed the Los Angeles County Fair Gallery, also commissioned by the WPA in 1937.</p><br>
<p>A wooden bas-relief for interior lobby, titled "The Horseman", was carved by artist Gordon Newell as a Treasury Relief Art Project commission. It is still in the building, located over a doorway.</p><br>
<p>Using a steam shovel, the ground breaking was done by the infamous movie censor Will H. Hays of the Motion Picture Production Code (Hays Code). The post office is one of the few historic government buildings remaining relatively unchanged in Hollywood.</p><br>
<p>The Don Gaspar Historic District is one of the historic districts in Santa Fe, New Mexico.</p><br>
<p>It extends south from the State Capitol, and is part of the South Capitol area of Santa Fe. The northern boundary is Paseo de Peralta; the eastern boundary is the Old Santa Fe Trail; the southern boundary is Houghton Street, and the western boundary is Don Cubero (approximate).</p><br>
<p>The district is primarily residential, and was largely built up in the early 20th Century, although it was apparently subdivided in the late 19th Century and at least a few of the buildings date from this earlier period.</p><br>
<p>The mix of architectural styles includes California Bungalow, late-period Victorian and Pueblo Revival homes. Some of the homes are at least partially constructed from "pen tile" - structural tiles manufactured by the inmates of the New Mexico Penitentiary which was formerly located near the southwest end of the neighborhood. The district is transected by Don Gaspar Avenue and Galisteo Street, which run north-south.</p><br>
<p>Hoye-Crest is a summit along Backbone Mountain just inside of Garrett County, Maryland, USA. It is the highest natural point in Maryland at an elevation of 3,360 ft.</p><br>
<p>The location, named for Captain Charles E. Hoye (1876-1951), founder of the Garrett County Historical Society, offers a view of the North Branch Potomac River valley to the east. The Maryland Historical Society placed a historical marker at the summit during a dedication ceremony in September 1952.</p><br>
<h2>Accessing Hoye-Crest</h2><br>
<p>There is no vehicular access to Hoye-Crest. The best route by foot is a hike along the Maryland High Point Trail, from a point along USA Route 219 just south of Silver Lake, West Virginia at 39&deg;14&prime;43&Prime;N latitude, 79&deg;29&prime;30&Prime;W longitude. The trail ascends Backbone Mountain along an old logging road on Monongahela National Forest property to the West Virginia-Maryland state line. The distance is about one mile each way. The trail then heads north along the state line to the high point. Hoye-Crest sits on private property (Western Pocahontas Properties), though access is permitted.</p><br>
<p>Pallinup River is a river located in the Great Southern region of Western Australia.</p><br>
<p>The Pallinup rises 10 km southeast of Broomehill, and flows in a southeasterly direction toward the coast passing through Kybelup Pool and discharging into the Southern Ocean via Beaufort Inlet.</p><br>
<p>The river is one of the longest rivers in the region and its tributaries flow through the towns of Borden and Gnowangerup.</p><br>
<p>The local Noongar people also know the river as the Mara River and it is regarded as a place of historical importance as the Noongar have camped, fished and traded along the banks of the river for generations.</p><br>
<p>The river is ephemeral and the estuary at Beaufort inlet can be closed to the sea for long period of time by a sand bar in the channel.</p><br>
<p>The water in the river is considered to be saline and explains why the river was also known as the Salt River with salinity levels varying from 3‰ when the river is flowing to over 50‰ in pools during summer.</p><br>
<h2>Tributaries</h2><br>
<p>The Pallinup has many tributaries including Warperup Creek, Six Mile Creek, Pendenup Creek, Peendebup Creek, Monjebup Creek and Corackerup Creek. No potable surface water sources are present in the Pallinup. The water quality ranges from brackish to saline. The best quality water streams exist in the Stirling Range National Park area of the catchment, which is the occasional source of snow-melt water.</p><br>
<p>The Joseph Paris House, also known as the Airplane House and the Peace House is a historic wood frame bungalow built in 1920 and located at 101 East 5th Street in Port Angeles, Washington. Although being substantially an one-story building, an upper sleeping room rises from the center of the main roof, forming an airplane like configuration, whence the name of "Airplane House". The first owner of the house, Joseph Paris, was the owner of the Paris Motor Company in the city. Paris sold the house in 1923 to Petrus Pearson, General Manager of the Crescent Logging Company and the Port Angeles Western Railroad Company, who lived there until the 1940s. In 1975 the house was converted into a rental property, and became a center for local peace activists, whence the name of "Peace House".</p><br>
<p>The house actually host a bed and breakfast and is available for rent.</p><br>
<p>The house was added to the National Register of Historic Places in 1987.</p><br>
<p>Rosemary Inn is a historic resort located at Barnes Point, on south shore of Lake Crescent, about 17.2 mile southwest of Port Angeles, in Olympic National Park. The Rosemary Inn historic district comprises a 4.5 acre area and encompasses several historical structures built between 1914 and the mid 1930s.</p><br>
<p>The main property of the district is the Rosemary inn lodge, a big frame structure located to the south of the meadow built by John Daum and opened in 1914 by Rose E. Littleton. Twelve guest log and wood-frame cabins, each one unique in design, and several other outbuildings, built between the 1920s and the 1930s, occupy the area north of the lodge.</p><br>
<p>The property was sold to the National Park Service in 1943. In 1946 the dedication of Olympic National Park was conducted at the lodge at Rosemary Inn. The National Park Concessions operated the restaurant until 1951. From 1951 until 1986, Rosemary Inn and its surrounding cabins were used by NPC as employee housing. From 1988, Rosemary Inn was operated by Olympic Park Institute, as an environmental education center.</p><br>
<p>The historical district was added to the National Register of Historic Places in 1979.</p><br>
<h2>Contributing Properties</h2><br>
<p>The district comprises 16 contributing properties, built between 1914 and 1936:</p><br>
<p>The Rosemary Inn Lodge, 48.05956&deg; latitude, -123.79405&deg; longitude, built c. 1914.</p><br>
<p>The Manager&#39;s Residence, 48.05965&deg; latitude, -123.79316&deg; longitude, built early 1930s.</p><br>
<p>The "Dreamerie" Cabin, 48.05936&deg; latitude, -123.79358&deg; longitude, built early 1930s.</p><br>
<p>The "Indiana" Cabin, 48.05965&deg; latitude, -123.79337&deg; longitude, built c. 1933.</p><br>
<p>The "Alabam" Cabin, 48.05965&deg; latitude, -123.79337&deg; longitude, built mid 1920s.</p><br>
<p>The "Honeysuckle" Cabin, 48.05973&deg; latitude, -123.79362&deg; longitude, built late 1920s.</p><br>
<p>The "Wren" Cabin, 48.05981&deg; latitude, -123.79348&deg; longitude, built c. 1920.</p><br>
<p>The "Red Wing" Cabin, 48.06006&deg; latitude, -123.79355&deg; longitude, built late 1920s.</p><br>
<p>The "Silver Moon" Cabin, 48.06018&deg; latitude, -123.79345&deg; longitude, built late 1920s.</p><br>
<p>The "Cara Mia" Cabin, 48.06034&deg; latitude, -123.79334&deg; longitude, built mid 1920s.</p><br>
<p>The "Dixie" Cabin, 48.06046&deg; latitude, -123.79334&deg; longitude, built mid 1920s.</p><br>
<p>The "Summerie" Cabin, 48.06019&deg; latitude, -123.79375&deg; longitude, built c. 1920.</p><br>
<p>The "Rock-A-Bye" Cabin, 48.06021&deg; latitude, -123.79443&deg; longitude, built late 1920s.</p><br>
<p>The "Dardanella" Cabin, 48.06&deg; latitude, -123.79444&deg; longitude, built 1932.</p><br>
<p>The Fireplace Shelter, 48.06038&deg; latitude, -123.79409&deg; longitude, built 1933.</p><br>
<p>The Boathouse/Lumber Storage, 48.06041&deg; latitude, -123.79452&deg; longitude, built 1936.</p><br>
<p>Lake Palmdale is an artificial lake completed in 1924 along with the nearby Little Rock Reservoir created by Little Rock Dam. It is part of the California State Water Project and is fed by the California Aqueduct. It is located in the city of Palmdale near the city&#39;s southern edge, in the small Anaverde Valley between the San Andreas Fault and the base of Mount Tenhi.</p><br>
<h2>History</h2><br>
<p>Formerly called Harold Reservoir, Lake Palmdale was completed in 1924 to aid local Antelope Valley agriculture by providing a stable and consistent water source for the local farmers. At the time of its completion, agriculture was the primary economic driver in the Palmdale area. This water source was needed due to the rain shadow desert effect that the San Gabriel Mountains have on the Antelope Valley, located in the Mojave Desert. Today the lake serves as the primary water source for the Palmdale Water District, the city&#39;s public water utility, and provides water for more than 200,000 people who live in the area. It also is used to generate electricity.</p><br>
<h2>Geography</h2><br>
<p>Lake Palmdale is 2,918 feet (859 m) above sea level and is ringed by the hills of the San Andreas Fault and Mount Tenhi, except for a small pond on the lake&#39;s east side called Una Lake from which it is separated by the Palmdale Dam (dike) and Sierra Highway. The lake is 1.05 miles long at its greatest point (northwest to southeast), by 0.50 miles in width (southwest to northeast). Lake Palmdale has a circumference of about 2.5 miles with a surface area of about 260 acres. There is a narrow island 0.25 mi. in length at the southeast end.</p><br>
<h2>Recreation</h2><br>
<p>Lake Palmdale is regularly stocked of fish and has a small pier-like dock that extends about.25 miles (0.4 km) into the lake from which members of the Palmdale Fin & Feather Club may use to fish from or take a small boat onto the lake. There are also many other small docks that run along the southwestern coast of the lake, also for use by the Fin & Feather Club. Use of Palmdale Lake for recreation is generally reserved for members of the Club. The nearby Littlerock Reservoir is a Los Angeles County operated park and is open to the public and can</p><br>
<p>be used for boating, water skiing, fishing, and camping. The California Aqueduct is also open for fishing to the general public as long as they have a valid fishing license from the California Department of Fish and Game.</p><br>
<h2>Weather</h2><br>
<p>Lake Palmdale has very hot, dry summers, breezy springs and autumns, and frigid, highly windy winters.</p><br>
<p>Rainy weather is limited almost completely to the months between October and May. Local rain is not relied on for maintaining the water level. This is done by water flow from the California Aqueduct, which collects and transports rainwater and snowmelt from the mountains of Northern California.</p><br>
<p>The alignment of the local hills and the fault creates a sort of wind tunnel effect on the lake during the winter months. Although the lake is high elevation and winter temperatures drop frequently below freezing 32 °F (0 °C), there has been no known freezing over of the lake in its history.</p><br>
<p>The Simpson Strait  is a natural, shallow waterway separating King William Island to the north from Adelaide Peninsula on Nunavut&#39;s mainland to the south. The strait, an arm of the Arctic Ocean, connects the Queen Maud Gulf with Rasmussen Basin&#39;s Rae Strait.</p><br>
<p>Simpson Strait measures 40 mi long and 2 - wide, and there are several small islands within it: Albert, Beaver, Boulder, Castor, Chens, Club, Comb, Denille, Dolphin, Eta, Hook, Kilwinning, Pollux, Ristvedt, Saatuq, Sarvaq and Taupe.</p><br>
<h2>History</h2><br>
<p>George Back reached Simpson Strait in 1834, but did not name it.</p><br>
<p>In 1836, the Hudson&#39;s Bay Company wanted &#39;to endeavor to complete the discovery and survey of the northern shores of the American continent&#39; and so it sent Thomas Simpson and Peter Warren Dease on an expedition. Simpson and Dease reached the Simpson Strait in 1839, and named it in honor of Simpson.</p><br>
<p>Roald Amundsen traversed it in 1903 during his first successful Northwest Passage voyage.</p><br>
<p>Shawano Lake is a lake situated in Shawano County in northeastern Wisconsin. Shawano Lake is a hard water drainage lake with multiple inlets and one major outlet, the Wolf River. A dam on the Wolf River located in the City of Shawano raises the water levels of Shawano Lake. Shawano Lake is approximately 6,178 acre, with an average depth of approximately 9 ft and a maximum depth of approximately 42 ft. The shoreline length is estimated at 18 mi. The Towns of Wescott, and Washington, and the Village of Cecil border Shawano Lake.</p><br>
<h2>Activities</h2><br>
<p>Shawano Lake is a popular lake for recreational fishing, boating, swimming, water skiing, bird watching, hunting, and other outdoor activities. It is currently a eutrophic lake with elevated levels of algae blooms, nutrients, and nuisance aquatic plants. Aquatic plant management is a major management objective for the lake.</p><br>
<p>Shawano Lake is one of the most heavily fished lakes in the area. It contains many species of fish, including walleye, largemouth bass and panfish in the early season. Ice fisherman concentrate on northern pike and panfish. Fishing tournaments are common on the lake. Two ice racing tracks are used on the lake in the winter.</p><br>
<h2>Development</h2><br>
<p>Shawano Lake is heavily developed, with dense residential housing surrounding most of the shoreline. It lies within the Shawano Lake Sanitary District, so all dwellings have sanitary sewers and public water supply. There are many resorts and cabin rentals on the lake.</p><br>
<h2>Fishing and Wildlife</h2><br>
<p>Shawano Lake is managed as a warm water fishery. The primary game fish species are northern pike, largemouth bass, and walleye. The predominant panfish are bluegill, black crappie, yellow perch and pumpkinseed. Good natural reproduction supports the fishery. Over the last ten years a musky population has been established and is maintained by annual stocking. A walleye spawning reef was developed on Shawano Lake in the mid-1980s. Green sturgeon exist in relative abundance. Annual fall electrofishing surveys are conducted on the lake to monitor the reproductive success of walleye and largemouth bass, with periodic spring fyke netting surveys conducted to monitor the overall fishery.</p><br>
<p>Shawano Lake is important as a resting stop for migrating waterfowl. Numerous species of wildlife inhabit the undeveloped shoreland areas. Standing dead and dying trees (snags) on the uplands provide habitat for various species of birds and insects, including bald eagles, bats, woodpeckers, and songbirds. Several species of mammals and birds use cavities in trees for dens. Salamanders, small mammals, and invertebrates use downed and rotting logs for protection, feeding and breeding sites. Downed trees in or at the waters edge (woody cover) are especially valuable for resting and feeding areas. Aquatic and wetland vegetation at or near the waters edge provides critical habitat for small mammals, amphibians, reptiles, birds, and fish at all life stages.</p><br>
<h2>Lake Access</h2><br>
<p>Shawano Lake has about 24 access points, which are a combination of public and private landings and town owned fire lanes. A county park is located on Shawano Lake, with a swimming beach and boat launch. A second park is located within the Village of Cecil, which is used as an access point for one of the ice racing tracks.</p><br>
<p>Shawano Municipal Airport is also located on Shawano Lake and uses part of the lake for a runway. It is frequently used for pontoon plane take-offs and landings during the summer months.</p><br>
<h2>Media</h2><br>
<p>The Dunbar Hotel, originally known as the Hotel Somerville, was the focal point of the Central Avenue African-American community in Los Angeles, California, during the 1930s and 1940s. Built in 1928, it was known for its first year as the Hotel Somerville. Upon its opening, it hosted the first national convention of the National Association for the Advancement of Colored People  to be held in the western United States. In 1930, the hotel was renamed the Dunbar, and it became the most prestigious hotel in LA&#39;s African-American community. In the early 1930s, a nightclub opened at the Dunbar, and it became the center of the Central Avenue jazz scene in the 1930s and 1940s. The Dunbar hosted Duke Ellington, Cab Calloway, Billie Holiday, Louis Armstrong, Lionel Hampton, Count Basie, Lena Horne, and many other jazz legends. Other noteworthy people who stayed at the Dunbar include W. E. B. Du Bois, Joe Louis, Ray Charles, and Thurgood Marshall. Former heavyweight champion Jack Johnson also ran a nightclub at the Dunbar in the 1930s.</p><br>
<p>As of October 2008, the Dunbar Hotel is no longer a hotel and currently has 32 residents living in its 73 apartments. Due to nonpayment of taxes, the building is likely to be foreclosed into City of Los Angeles ownership.</p><br>
<h2>Hotel Somerville opens in 1928</h2><br>
<p>The hotel was built in 1928 by John and Vada Somerville, socially and politically prominent black Angelenos. John Somerville was the first black to graduate from the University of Southern California.</p><br>
<p>For many years, the Somerville was the only major hotel in Los Angeles that welcomed blacks, and it quickly became the place to stay for visiting black dignitaries. In 1928, the Somerville housed delegates to the first NAACP convention held in the western United States. In 1929, when Oscar De Priest (the first African American to serve in Congress in the 20th century) visited Los Angeles, he was met at the station "by a large delegation of colored people, who formed a parade and escorted him to the Dunbar Hotel."</p><br>
<p>The hotel was known for its physical amenities. Its Art Deco lobby had a spectacular chandelier (also in the Art Deco style), Spanish arcade-like windows, tiled walls and a flagstone floor. The lobby was said to look like "a regal Spanish arcade, with open balconies and steel grillwork, as opulent as the Granada Building at Lafayette Park." One person who was present at the hotel&#39;s groundbreaking ceremony recalled it was “a palace compared to what we had been used to.”</p><br>
<p>The hotel came to represent a level of achievement among the black community. Historian Lonnie G. Bunch III said, "On the one hand, blacks were not allowed to stay at major hotels. But with enough financial wherewithal and a strong sense of community a black man could build a large hotel."</p><br>
<p>The Somerville/Dunbar also played an important role in anchoring the new Central Avenue community. Prior to 1928, the black community in Los Angeles had been centered around 12th Street and Central Avenue, near Downtown Los Angeles. Somerville was the first to build a major structure so far south in the 42nd Street neighborhood, and soon other businesses followed.</p><br>
<p>After the stock market crash in 1929, Somerville was forced to sell the hotel to a syndicate of white investors. The passing of the hotel from its original black ownership was a disappointment for a community that viewed the hotel as a symbol of black achievement. The hotel was renamed the Dunbar in 1929, in honor of poet Paul Lawrence Dunbar.</p><br>
<p>In 1930, the hotel was purchased for $100,000 by Lucius W. Lomax, Sr. (1879-1961). With ownership being restored to an African-American, the “debilitating impact of John Somerville&#39;s loss was reversed, and the hotel once again became the gem of black Los Angeles.”</p><br>
<p>During Somerville&#39;s ownership, there was no nightclub or live music at the hotel. It was not until February 1931 that the Dunbar was issued a permit "to conduct a cabaret in the dining room." Though he had sold the hotel, Somerville and others in the neighborhood opposed the establishment of a cabaret in his hotel, stating that such a use "would cast a lasting stigma on it."</p><br>
<h2>Hub of the Central Avenue scene</h2><br>
<p>The Dunbar became known in the 1930s and 1940s as "the hub of Los Angeles black culture," and "the heart of Saturday night Los Angeles." In its heyday, it was known as "a West Coast mixture of the Waldorf-Astoria and the Cotton Club."</p><br>
<p>The Dunbar hosted prominent African Americans traveling to Los Angeles, including Duke Ellington, Joe Louis, Louis Armstrong, Lena Horne, Paul Robeson, Marian Anderson, and Josephine Baker. In 1940, Eddie "Rochester" Anderson used the Dunbar as his headquarters while "campaigning" for the honorary seat of "Mayor of Central Avenue."</p><br>
<p>The Dunbar also became the place where African American political and intellectual leaders and writers, including Langston Hughes, W. E. B. Du Bois, Ralph Bunche, Thurgood Marshall and James Weldon Johnson, gathered. It has been described as “a place where the future of black America was discussed every night of the week in the lobby.” Celes King, whose family owned the Dunbar in its heyday, said, “They were very serious discussions between people like W. E. B. Du Bois (founder of the NAACP), doctors, lawyers, educators and other professionals. This was the place where many of them put together the plans to improve the life style of their people.”</p><br>
<p>One of the regulars at the Dunbar in its heyday was future mayor Tom Bradley, then a young police officer. Bradley would stop in for coffee and conversation. Bradley later recalled, “I remember, from the days of my childhood, walking down the avenue, just to get a look at some of those famous superstars.”</p><br>
<p>More than anything, the Dunbar is remembered for its role in the Central Avenue jazz scene. The nightclub at the Dunbar was the home-away-from-home for, and the stage for performances by, artists including Duke Ellington, Louis Armstrong, Louis Jordan, Count Basie, Lionel Hampton, Lena Horne, Ella Fitzgerald, Billie Holiday, Cab Calloway, and Nat King Cole. Even Ray Charles stayed at the Dunbar when he first moved to Los Angeles.</p><br>
<p>In addition to the main nightclub, former heavyweight champion Jack Johnson opened his Showboat nightclub at the Dunbar in the 1930s. "Jack Johnson … ran his Showboat nightclub in one corner, and black bands practiced on the mezzanine for acts across town later that night."</p><br>
<p>The hotel was also popular with the white community, and many from Hollywood spent their Saturday nights at the Dunbar and surrounding clubs. Celes King recalled once when Bing Crosby bounced a check at the hotel, and her father (the hotels owner) kept Crosbys check. "It was a big joke between them."</p><br>
<p>The neighborhood was also the home of other famous jazz clubs, including Club Alabam (next door), the Last Word (across the street), and the Downbeat (nearby). Even local musicians who were playing at other Central Avenue clubs would gather at the Dunbar. Lee Young, the drummer who led a band at the Club Alabam, recalled: “The fellows in the band – Charles Mingus, Art Pepper, all of us – would hang out between sets next door at the Dunbar... Between the club and the hotel you&#39;d see movie stars and all the big show business names of the day.”</p><br>
<p>Musician Jack Kelson recalled the sidewalk in front of the Dunbar as the most desirable place to hang out on the citys coolest street. He said, "Thats my favorite spot on Central Avenue, that spot in the front of the Dunbar Hotel, because that to me was the hippest, most intimate, key spot of all the activity. Thats where all the night people hung out: the sportsmen, the businessmen, the dancers, everybody in show business, people who were somebody stayed at the hotel. … y far that block, that Dunbar Hotel, for me was it. And it was it for, it seemed to me, everybody else. Sooner or later you walked in front of that hotel, and thats where everybody congregated."</p><br>
<p>Another writer recalled the area around the Dunbar as "a place where people love to congregate and have a good time, check out the new models and pick up on the latest lingo." The Dunbar built a reputation in the 1930s as "the symbol of L.A.s black nightlife," as "regular jamming sessions and meetings in the hotel lobby elevated the structure to a practically mythical status." Lionel Hampton had fond memories of jam sessions and practices on the Dunbars mezzanine. Hampton recalled, "Everybody that was anybody showed up at the Dunbar. I remember a chauffeur would drive Stepin Fetchit, the movie star, up to the curb in a big Packard, and he&#39;d look out the window at all the folks."</p><br>
<p>In his autobiography, Buck Clayton shared some of his memories of the Dunbar. He recalled the Dunbar as “jumping” with loads of people trying to get a glimpse of the celebrities, and parties thrown by Duke Ellington and his guys with “chicks and champagne everywhere.”</p><br>
<p>The Dunbar was also known for its food. One musician recalled they “had good old southern-fried everything.”</p><br>
<h2>The Peace Mission years</h2><br>
<p>For a brief period during the Great Depression, the Dunbar was converted into a hostel for members of the Peace Mission Movement of Father Divine. In 1934, Lucius Lomax sold the hotel to the Peace Mission. The hotel staff was discharged, and the building was renovated as lodging for the mission&#39;s members. The Peace Mission Movement, run by Father Divine, operated a multi-racial religious colony at the Dunbar, with members using the dining room (formerly the site of a cabaret) for Holy Communion ceremonies. The Dunbar was sold to the Neslon family in the late 1930s, and it resumed its role as the cultural center of the Los Angeles black community.</p><br>
<h2>Deterioration and redevelopment</h2><br>
<p>Just as racial segregation had created a need for the Dunbar, racial integration in the 1950s eliminated the need. Duke Ellington, who had previously kept a suite at the Dunbar, began staying at the Chateau Marmont in Hollywood, and others followed. As one writer put it: “When the barriers against integration began to crumble in the late 1950s, so did the Dunbar Hotel.”</p><br>
<p>Bernard Johnson bought the Dunbar in 1968, but the hotel continued to lose money, and Johnson closed the hotel&#39;s doors in 1974. Owner Bernard Johnson also opened a museum of black culture for a time. But for most of the years from 1974 to 1987, the building was vacant and declined drastically, as transients began using it for shelter, and the building suffered from graffiti, broken windows and litter.</p><br>
<p>A renovation effort was started in 1979, but stopped when city funding ceased. The 115 hotel rooms on the top three floors were gutted and replaced with 72 apartments. The mezzanine, lobby and basement retained their original décor and were converted into a museum and cultural center. The project was funded in large part with city redevelopment funds at a cost of $4.2 million.</p><br>
<p>In 1990, the Dunbar re-opened as a 73-unit apartment building for low-income senior citizens and museum of black history. Delegates from the NAACP national convention helped rededicate the Dunbar in July 1990 following its renovation. Los Angeles Mayor Tom Bradley attended the rededication ceremony and praised the efforts to “breathe new life and vigor into this magnificent hotel.”</p><br>
<p>The Dunbar hosted a jazz show in 1991, attended by noted music journalist Leonard Feather. Feather wrote that the event was like “a visit to a haunted house.” When one of the musicians played a Duke Ellington theme, Feather said “you could look up at the balcony and see, in your minds eye, Duke himself at a piano on the mezzanine, working out an arrangement for tomorrows show.”</p><br>
<p>By 1997, the neighborhood around the Dunbar was 75% Latino, and by 2006 the neighborhood was predominantly Latino and poor, with most of the nearby storefronts having their signs written in Spanish.</p><br>
<h2>Designation as historic site</h2><br>
<p>In 1974, the Dunbar was designated as an Historic-Cultural Landmark (no. 131) by the city’s Cultural Heritage Commission. The plaque called the hotel “an edifice dedicated to the memory and dignity of black achievement.” It was also added to the National Register of Historic Places in 1976.</p><br>
<h2>Extensive renovation</h2><br>
<p>The Dunbar was in such disrepair pigeons and rats were living in the vacated apartments and drug dealing was prevalent in the area some time after that.</p><br>
<p>After the city foreclosed on the property, in partnership with Coalition for Responsible Community Development was selected through a competitive bidding process to redevelop the Dunbar Hotel.</p><br>
<p>In approximately 2005 Blues entertainer Roy Gaines performed at the annual Jazz Festival and along with Deborah Dixon of the Southern California Blues Society they were interviewed and photographed in the hotel by the Los Angeles Times. It had been refurbished and was being occupied by then.</p><br>
<p>In 2011, Dunbar Village L.P. was formed and purchased the buildings.The project included transforming the three existing buildings, the Dunbar Hotel, Somerville I and Somerville II, into one cohesive, activated, mixed-use, intergenerational community that honors South Los Angeles and the historic Dunbar Hotel.The new community is called Dunbar Village.</p><br>
<p>Along with the physical renovation of the property was the community transformation. The first step in this transformation was securing the building from the gangs and drug dealers. The new owner installed a state-of-the-art camera system to help deter the rampant criminal activity occurring in the buildings. In a short time, this along with other security measures, helped to eliminate the frequent police visits to the property. Dunbar went from being one of the most visited properties by the police to a safe and secure community.</p><br>
<p>Preserving Dunbar Hotel’s historic brick facade, grand entry and lobby, the new design provides 41 residential units of affordable housing for seniors with amenities that include a community room, communal kitchen, media lounge, billiard table, library area and fitness room.</p><br>
<p>In 2013, Councilwoman Jan Perry with many others attended the re-opening ceremony.</p><br>
<p>“Central Avenue and the Dunbar Hotel have long been an important part of our Los Angeles history. It is wonderful to see the Avenue come alive again and know that this historic landmark will be restored for people to enjoy for generations to come,” said Councilwoman Perry, who led efforts to ensure that the Dunbar Hotel was redeveloped as part of an overall plan to revitalize the Central Avenue community. “Dunbar Village will preserve our shared history, create quality jobs for local youth, and offer much-needed affordable housing for families and seniors.”</p><br>
<p>Together, Dunbar Village will have 83 units, including 41 senior units in the Dunbar Hotel and 42 affordable family units.</p><br>
<p>The Bellingham National Bank Building was originally built from 1912 to 1913. It was constructed in a utilitarian commercial style with reinforced concrete. Even though this particular style was common for cities in the midwest and east coast, the building style was a stark contrast for Bellingham&#39;s sandstone and rounded arch buildings. The Bellingham National Bank occupied the building starting on December 1, 1913.</p><br>
<p>Key Bank of Washington occupied the first floor until May 8, 2009.</p><br>
<p>Starting in February 2011, The Stamp & Coin Place, a local bullion and coin trading shop, will occupy the space. The upper-offices are leased to various businesses and government offices, including the Washington State Board of Industrial Insurance Appeals and the Washington State Attorney General&#39;s Office.</p><br>
<h2>History</h2><br>
<h3>The bank</h3><br>
<p>The Bellingham National Bank was formed in 1904 by a group of local capitalists led by Victor Roeder. It opened for business on January 3, 1905 in the corner store-room of the Clover Block on the corner of Holly and Commercial Streets. The small bank soon grew to become one of the most prominent banks in Bellingham and began searching for larger quarters by the end of the decade.</p><br>
<p>In March 1912, the bank purchased the Southeast corner of Dock and Holly Streets for $175,000. The site was occupied by several wooden buildings dating to the late 19th century including the Beck Hotel, built on the corner in 1888 by David Beck who would later build the adjoining theater. The parameters of the property were described in the local paper:</p><br>
<p>The bank announced their plans to build a $200,000, 6 story brick and concrete building on the lot that would be one of the finest in the Northwest. The bank would occupy the ground floor corner of the building, a frontage of about 50 feet on Holly, while the rest of the building would contain offices above and retail stores on the ground floor. Demolition and then construction would begin by June of the same year.</p><br>
<h3>Design and construction</h3><br>
<p>The bank hired Bellingham architect F. Stanley Piper to design the building who in turn hired C.H. Beattie of Seattle as the general contractor. Work began at a quick pace and by February 1913, the concrete structure of the building was complete with laying of the brick facing about to begin. Each of the buildings 124 rooms was to be equipped with hot and cold running water as well as access to the buildings vacuum system. Other modern features would include two high-speed elevators and a mail chute.</p><br>
<p>The first two stories were clad with Wilkeson Sandstone with the upper four clad in light buff colored pressed brick. From the top of the fourth floor windows to the parapet line was clad with terra cotta.</p><br>
<p>The interior corridors featured terrazzo floors with panels and borders of Alaskan marble. The vestibule was adorned with an 11 foot high marble dado of Colorado Yeul while the columns in the vestibule were of genuine Italian Pavonazzo marble. Materials used in the banking room included Alaskan and Kasota marble, Honduran mahogany, and Calamine brass for doors.</p><br>
<p>By August 1913, the building was complete and tenants began to move including doctors, dentists and other professionals. The bank officially opened on December 1, 1913.</p><br>
<p>Lake Miike is a lake in Miyakonojō and Takaharu in Miyazaki Prefecture, Japan.</p><br>
<h2>Geography and geology</h2><br>
<p>The height above sea level is 305 m, the depth 93.5 meters, the deepest in Japan as the crater lake. There is no outflow of water from the lake. The lake is encircled by forests, and there is a park called Miike Yacho(Birds) no Mori and a camp site. Waterfowls such as mandarin ducks, teals, spectakled teals are seen. The lake was created by a crater resulting from a magma vapor eruption about 4200 years ago. Flatstones are seen in the layers of ground near by, called Miike floatstones or Miike bora.</p><br>
<h2>History</h2><br>
<p>Along the border of the lake, there was mythologically 7 ports, and Emperor Jinmu was said to play in the neighborhood of one of the ports, Oojikou. Seiku shonin, a holy priest who was said to build Kirishima Higashi Shrine trained himself homa. After the WW2, weapons and tanks were thrown into the lake.</p><br>
<h2>Footnotes</h2><br>
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<p>Bang Lang Reservoir  is the largest reservoir in Yala Province, Thailand. The reservoir is located on the Pattani River in Southern Thailand.</p><br>
<p>The reservoir&#39;s dam, Bang Lang Dam, is 85 metres high with a crest of 422 metres long, and the reservoir has a capacity of 1,420 million cubic metres. It is used for irrigation and flood control as well as to produce 72 MW of electricity.</p><br>
<h2>History</h2><br>
<p>The construction of the dam was approved on April 3, 1973, and construction started in July 1976. In June 1981 the dam was completed. It was officially inaugurated on September 27, 1981 by HRH Princess Maha Chakri Sirindhorn.</p><br>
<p>The reservoir displaced Ban Toh; in 2016 drought made the village come into plain view again.</p><br>
<p>The Culver Randel House and Mill is located along Randall Avenue  and Browns Creek at the northern edge of the village of Florida, New York, United States. Culver built the mill around 1830 and the house 20 years later. The latter is an excellent example of the Picturesque aesthetic as applied to an Italianate house. Both buildings were added to the National Register of Historic Places in 1998.</p><br>
<h2>Buildings</h2><br>
<p>The house and mill are the only buildings on the lot. A concrete slab bridge between them is not considered a contributing resource since it is relatively new compared to the house and mill.</p><br>
<h3>House</h3><br>
<p>The house is located on the slope across the creek from the road, and thus in the Town of Goshen. It is a two-story, three-by-four-bay frame house on a rubblestone foundation, with a low hipped roof. It appears to be three storys from the road because the basement is exposed on the south and east sides. A porch wraps around three sides, save the north. The clapboard siding is original.</p><br>
<p>The roofline is distinguished by a finely-molded cornice with brackets and wide eaves. The corners are trimmed with broad pilasters. Smaller pilasters and a cornice surround the entrance, where a wide door is divided into four arched Gothic panels.</p><br>
<p>Inside, the two parlors on either side of the main hall have marble fireplaces, plaster cornices, wooden architraves and wide plank flooring. Ornamentation continues in the upstairs bedrooms with wood molding in a lyre motif and other intricately detailed woodwork.</p><br>
<h3>Mill</h3><br>
<p>The mill is located to the southeast of the house, closer to the highway on the Florida side of the creek. It is a four-story, six-by-four bay frame building in a local rural vernacular style on a stone foundation. It has red wood clapboard siding and a gabled roof. The remnants of a chimney on the north side, facing the creek, are still visible. The original plank flooring and some of the machinery are still inside.</p><br>
<h2>History</h2><br>
<p>The Randel family had been milling on the property since at least 1790. Records show that many local commodities were milled at the site: wood, wool and flour, as well as millwork for home furniture.</p><br>
<p>Culver Randel took over the property around the middle of the 19th century. He had spent some time apprenticing with a piano manufacturer in New York City as a younger man, and decided to give that business a try in his hometown. The mill produced pianos through his retirement in 1870. The new house he built for his own family reflected the tastes of the time found in pattern books by Andrew Jackson Downing and Calvert Vaux. Their designs were for country houses that would harmonize with nature. Randel&#39;s is considered an outstanding example of the contemporary Picturesque movement to a popular style of the day.</p><br>
<p>There have been very few additions or alterations to either property. East and west additions to the mill were removed in the mid-20th century, and both it and the house were extensively restored in the 1990s prior to its nomination for the NRHP.</p><br>
<p>The Cass Motor Sales is a commercial building located at 5800 Cass Avenue in Detroit, Michigan, USA. It was listed on the National Register of Historic Places in 1986.</p><br>
<h2>History</h2><br>
<p>The Cass Motor Sales Company was established in 1925 as a Chrysler car dealership by Richard A. Cott, an immigrant from England. In 1928, Cott paid approximately $146,000 to have this building constructed. Architect Charles N. Agree designed the building. From 1928 - 1933, Cass Motor Sales sold Marmon Motor Car Company vehicles. After 1933, when Marmon went out of business, Cass again sold Chryslers. Richard A. Cott died in 1965, and in 1969 Cass Motor Sales ceased operations. The building was sold to Dalgleish Cadillac, who operated it until the dealership closed in 2010.</p><br>
<p>In 2015 the building was renovated into first floor retail space now occupied by Carhartt store and office space above.</p><br>
<h2>Architecture</h2><br>
<p>The Cass Motor Sales is a three story rectangular structure, typifying Art Deco architecture as applied to commercial buildings. The building contains 51.000 square feet over 3 floors.</p><br>
<p>The building is four bays wide, with each bay separated by engaged columns. Three bays are of equal size; the fourth, smaller bay contains a vehicle entrance. with the marble running across the base of the bay sections, and black colored metal panels providing a decorative separation between the first and second stories.</p><br>
<p>Noticeable Art Deco features include the stepped arch above the entrance and second story windows and the geometric pattern in the string course between the second and third floors and over the front entrance.</p><br>
<p>Koonalda Cave is a cave located in Nullarbor Plain within South Australia which is notable as an archeological site.</p><br>
<p>Thousands of square metres in the cave are covered in parallel finger-marked geometric lines and patterns, Indigenous Australian artwork which has been dated as 20,000 years old, making it older than any known prehistoric art in Europe. It is located about 60 mi north east from Eucla</p><br>
<p>The cave was abandoned 19,000 years ago, and rediscovered by archeologists in 1956.</p><br>
<p>The cave was explored by an expedition led by Captain J. M. Thompson in 1935. The team entered the cave by a ladder and found themselves in a chamber some 800 ft in circumference and walked down tunnels over 1,200 ft in length.</p><br>
<p>Later excavated by Alexander Gallus in the 1960s, he found that Aboriginal peoples had used the area as a flint mine.</p><br>
<p>Koonalda Cave was listed on the South Australian Heritage Register on 4 March 1993 and inscribed onto the Australian National Heritage List on 15 October 2014.</p><br>
<p>The Barrio de Analco Historic District is a National Historic Landmark District centered at the junction of East De Vargas Street and Old Santa Fe Trail in Santa Fe, New Mexico. The seven buildings of the district represent one of the oldest clusters of what were basically working-class or lower-class residences in North America, and are in a cross-section of pre-statehood architectural styles. It includes two of the oldest colonial-era buildings in the southwest, the San Miguel Mission church , and the "Oldest House", built in 1620 and now a museum. The district was declared a National Historic Landmark in 1968.</p><br>
<h2>Description and history</h2><br>
<p>The Barrio de Analco is located on the south side of the Santa Fe River, across the river from the main downtown area that includes the Santa Fe Plaza and the Palace of the Governors. The district is anchored at the junction of Old Santa Fe Trail and East De Vargas Street, and extends a short way (partial blocks) to the south, east and west. The San Miguel Mission church, on a site occupied by a church since the 1610s, is at the southeast corner, and the 1620 "Oldest House", a two-story adobe construction, is at the northeast corner. South of the mission is St. Michael&#39;s Dormitory, an 1878 monastery residence that exemplifies the Territorial style that was common in the pre-statehood era.</p><br>
<p>West of the main junction, separated from it by the Santa Fe Playhouse, are the Gregorio Crespin House and the Roque Tudesqui House, both built in the Spanish Pueblo style. The Crespin House was built in the mid-18th century; the construction date of the Tudesqui House is unknown, but probably 18th century. Separated from the rest of the district near the junction of East De Vargas and Paseo de Peralta are the Boyle House, also a mid-18th century Spanish Pueblo building, and the Bandelier House, an 1867 Territorial style house that is further notable as a home of archaeologist Adolph Bandelier.</p><br>
<p>The name "Analco" comes from the Nahuatl language spoken by the Tlaxcalteca people who accompanied the Spanish. "A"=water + "nal"=next to + "co" place of=next to the water (in this case a stream, the Santa Fe River). The barrio was established not long after Santa Fe&#39;s founding in 1609-10, as a district for artists, laborers, and servants, while the area north of the river was occupied by the wealthy and powerful. The buildings in this district, largely built to serve that type of community through several centuries, document the changes in architecture from a nearly pure native adobe construction (the "Oldest House"), to the Spanish Pueblo style, and then the Territorial.</p><br>
<p>The Ernest L. Blumenschein House is a historic house museum and art gallery at 222 Ledoux Street in Taos, New Mexico. It was a home of painter Ernest L. Blumenschein ,</p><br>
<h2>Description and history</h2><br>
<p>The Blumenschein House is located on the south side of Ledoux Street, 1-1/2 blocks south of central plaza in Taos. It is a single-story adobe structure, with eleven room, built in the Spanish Pueblo style with a central courtyard. A low wall with central opening separate the courtyard from the street. The houses construction date is uncertain, but its oldest sections probably predate the 1820s. The interior is furnished to appear as it might have been when the Blumenschein family lived there. It features family possessions, a collection of the familys art, works by other famous Taos artists, and fine European and Spanish Colonial style antiques. The museum is owned and operated by Taos Historic Museums.</p><br>
<p>Ernest Blumenschein, a native of Pittsburgh, Pennsylvania, was schooled in art in Cincinnati, New York City, and Paris. While in Paris he met Joseph Henry Sharp, who described a visit he made to Taos in 1883. Blumenschein and Bert Phillips traveled to Taos in 1898, where they established the Taos Art Colony. He used this house as a home and studio from 1919 until 1960. The house itself had previously been used as a home and studio by Herbert Dunton, and was already well known as a gathering point for artists. The colony formed by these people was broadly influential in exposing the art world to Taos and the desert southwest. The house remained in the Blumenschein family until 1962, when his heirs donated it to the organization that is now Taos Historic Museums. After a period as a multiunit residence, it was converted into a museum and gallery space.</p><br>
<p>The Georgia OKeeffe Home and Studio is a historic house museum at 12 Palvadera Drive in Abiquiú, New Mexico. It was from 1945 until 1984 the principal residence and studio of artist Georgia OKeeffe . It is now owned and managed by the Georgia O&#39;Keeffe Museum in Santa Fe, through which guided tours can be arranged. It was designated a National Historic Landmark in 1998,</p><br>
<h2>Description and history</h2><br>
<p>The Georgia OKeeffe Home and Studio is located on the east side of the small unincorporated village of Abiquiú, just east of the St. Thomas Church. The building is a single-story adobe structure, largely built in the traditional style. It has thick adobe walls, and a flat roof supported by a network of vigas and latillas (smaller wooden elements crossing the larger viga beams). The house is organized in wings a single room deep, which surround a central patio/plaza. The house has a number of modernist elements, including skylights and large picture windows that provide expansive views of the surrounding landscape and brought natural light into areas that such houses traditionally did not have. OKeeffe was insistent on these types of deviations from the traditional form, stating in an interview that "I didnt want a Spanish house; I didnt want an Indian house, a Mexican house; I</p><br>
<p>wanted my house!"</p><br>
<p>Portions of the house are believed to date to the 1730s, and it was in deteriorating condition when Georgia OKeeffe first spotted it in the 1930s. At the time, it was owned by the Roman Catholic church, which did not want to sell it. It eventually relented, and OKeeffe was able to purchase it in 1945. She undertook to rehabilitate and modernize the property, work that was a collaborative effort with her friend Maria Chabot. This work was completed in 1949, at which time O&#39;Keeffe made it her permanent home. Included in the compound is a smaller outbuilding which was her principal studio space.</p><br>
<p>The house remained OKeeffes primary residence until 1984, when she moved to Santa Fe two years prior to her death at age 98. In 1989, the Georgia OKeeffe Foundation became owner and manager of the Abiquiú property. It is now owned and managed by the Georgia OKeeffe Museum.</p><br>
<p>The property was declared a National Historic Landmark in 1998.</p><br>
<p>The Apthorp is a historic condominium apartment building in Manhattan, New York City. The Italian Renaissance Revival building designed by architects Clinton & Russell for William Waldorf Astor, was built between 1906 and 1908; it occupies the full block between Broadway and West End Avenue and between West 78th and West 79th streets. The building, which has been called "Monumental and magnificent", is built around a large interior courtyard. It was designated a New York City landmark in 1969, and was added to the National Register of Historic Places in 1978.</p><br>
<p>The building was named for Charles Ward Apthorp, who owned Apthorp Farm, which encompassed about 300 acre in this part of Manhattan in the late 18th century.</p><br>
<p>A three-story rusticated base and the rustication of the broader corner bays as well as string moldings serve together to articulate the otherwise block-like mass. Arch-headed windows contrast with rectangular ones to emphasize lightly certain positions, notably the enriched uppermost floor under the projecting cornice. Over-lifesize limestone sculptures representing the Four Seasons stand above the central barrel-vaulted entrance, where the elaborate wrought-iron gates in the manner of Samuel Yellin feature a pair of gazelle heads.</p><br>
<p>According to architecture critic Paul Goldberger, writing about the Apthorp and the nearby Belnord and Astor Court,</p><br>
<p>All of the buildings share the liability of courtyard apartment houses, which is poor light in all too many of the units, but they also share the ability of all good courtyard buildings to create far more than conventional buildings could a sense of a private, secure world. The building, which is divided into four sections designated A&ndash;D and arranged around the central cobblestoned driveway and courtyard, originally had 10 apartments per floor. During the 1930s and 1940s, these were divided into smaller units.</p><br>
<p>The building was sold in 2006 for $426 million, and a deal was made with an outside partner which provided $95 million for renovations. At the time of the sale, 100 of the 163 rental units were rent stabilized, and rumors held that the building would "go condo. In 2008 the change occurred, and The Apthorp became a condominium. The asking prices, nearly $3,000 a square foot, or an average of $6.5 million per apartment, make it "one of the most expensive condominium conversion projects" ever, according to the New York Times.</p><br>
<p>Residents have included Nora Ephron, Joseph Heller, George Balanchine, Al Pacino, Conan OBrien, Cyndi Lauper, Rosie ODonnell, and Steve Kroft.</p><br>
<p>Aliyar  ) Reservoir is a 6.48 km&sup2; reservoir located in Aliyar village near Pollachi town in Coimbatore District, Tamil Nadu, South India. The dam is located in the foothills of Valparai, in the Anaimalai Hills of the Western Ghats. It is about 65 km from Coimbatore. The dam offers some ideal getaways including a park, garden, aquarium, play area and a mini Theme-Park maintained by Tamil Nadu Fisheries Corporation for visitors enjoyment. The scenery is beautiful, with mountains surrounding three quarters of the reservoir. Boating is also available.</p><br>
<h2>History</h2><br>
<p>The Aliyar Dam was constructed during 1959-1969 across the Aliyar river, mainly for irrigation purposes. The project was commissioned in September 2002 to generate Hydro Electric Power.</p><br>
<h2>Hydrography</h2><br>
<p>Aliyar lake receives water from Upper Aliyar Reservoir through the hydroelectric power station in Navamali and the Parambikulam reservoir through a contour canal. Aliyar dam, built as a part of Parambikulam aliyar project (PAP), retains a large reservoir. The dam is around 2 km in length.</p><br>
<p>The lowest level outlet of the reservoir is 930 ft above Mean Sea Level (MSL) and the canal intake is 980 ft above MSL. The spillway is 1,040 ft above MSL and the FRL (Full Reservoir Level) is 1,050 ft above MSL. The maximum surface area is 48 hectare (1,600 acres). The volume of water at FRL is 3.864 Tmcft (88,705 acre.ft). The maximum depth is 41 m and the mean depth 16.8 m. The volume development is 1.2 m. The highest inflow usually occurs during July and August. The shoreline is poorly indented, the shore development is poor and shallow and the Aquatic plants and limnology of the littoral zone is also very limited.</p><br>
<h2>Fisheries</h2><br>
<p>Ailyar reservoir was studied by the Central Inland Fisheries Research Institute () for eleven years from 1982 to 1992. The rate of energy conversion at primary producer level and at the fish production level at Aliyar is considered higher than in any other Indian reservoir. The indigenous fish of the reservoir includes 40 species belonging to 13 families, plus seven stocked species</p><br>
<h2>Hydel Power Project</h2><br>
<p>This project consists of a series of dams interconnected by tunnels and canals for harnessing the waters of the Parambikulam, Aliyar, Sholiyar, Thunakadavu, Thekkadi and Palar rivers, flowing at various elevations, for irrigation and power generation. The scheme is an outstanding example of engineering skill. At present, the discharges are being let down through three sets of slucies/ canals, viz., Pollachi Canal, Vettaikaranpudur Canal and the river sluices. Under this scheme, the irrigation discharges let down through river slucies of the Aliyar Dam utilized for power generation in a power house at the toe of the dam. Being a micro hydel scheme, this project is subsidized by the Ministry of Non-conventional Energy Sources, Government of India.</p><br>
<h2>Visitor information</h2><br>
<p>Aliyar dam is a popular tourist destination. Near Aliyar dam are some visitor attractions including a park, garden, aquarium, play area and a mini Theme-Park maintained by Tamil Nadu Fisheries Corporation for visitors enjoyment. Temple of Consciousness is situated near Aliyar dam entrance at Arutperunjothi Nagar, where Vethathiri Maharishi resides. The scenery is beautiful, with mountains surrounding three quarters of the reservoir. Boating is also available. The Dam and Park and the overall surroundings of the dam are very poorly maintained as of 2017.</p><br>
<p>Loch Enoch is a multi-basin freshwater loch in Galloway, to the east of Merrick and south of Mullwharchar. The loch is situated in a granite basin and has several small islands and some beaches on its shore. The sharp granite sand of these beaches was collected and sold for sharpening knives and scythes. The catchment area&#39;s vegetation is mainly Purple Moor Grass and Heather.</p><br>
<p>The loch&#39;s outflow supplies Loch Doon and the River Doon, both in Ayrshire.</p><br>
<h2>Acidification</h2><br>
<p>By 1800 the water of Loch Enoch had already become acidic. J. McBain in his 1929 book The Merrick and the Neighbouring Hills. Tramps by Hill, Stream and Loch describes a trout that bore the unmistakable marks of a Loch Enoch trout, i.e. it was minus the lower half of its tail and part of its ventral fins. McBain writes that the last recorded trout caught was in 1899.</p><br>
<p>Since 1940 the loch became more acidic due to industrial emissions and in the 1950s it completely lost its fish population. In 1994 it was restocked with 3000 trout. The loch has not become more acidic since the mid-1970s and has become slightly less acidic from the 1980s onwards, with the pH increasing slowly from around 4.3 in 1978 to 4.9 in 2003. Between 1983 and 2003 the loch&#39;s DOC levels increased.</p><br>
<h2>Water analysis</h2><br>
<p>The Thoreau–Alcott House is a historic house at 255 Main Street in Concord, Massachusetts that was home to the writers Henry David Thoreau and Louisa May Alcott at different times.</p><br>
<h2>Description and history</h2><br>
<p>The house was built in 1849 by Josiah Davis and was added to the National Register of Historic Places on July 12, 1976.</p><br>
<p>Henry David Thoreau moved to this home in 1850 with his family; he stayed until his death on May 6, 1862. After the death of her mother Abby May, Louisa May Alcott purchased the home for her recently widowed sister Anna Alcott Pratt. Louisa also moved to the house, along with her father Amos Bronson Alcott. It was in this home that Louisa wrote her novel Jo&#39;s Boys (1886), a sequel to Little Women</p><br>
<p>Today, the home remains privately owned.</p><br>
<p>The Wheeler-Merriam House  is a historic house located at 477 Virginia Road in Concord, Massachusetts. With a construction history dating to about 1692, it is one of Concord&#39;s oldest buildings. It is also notable for having joinery by Abner Wheeler, a prominent local builder of the late 18th century, and for its long association with the locally prominent Wheeler and Merriam families. It was added to the National Register of Historic Places on November 26, 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Wheeler-Merriam House stands in a rural residential-commercial area of eastern Concord. Property historically associated with the house is located on both sides of Virginia Road, east of its crossing of Elm Brook. The house stands north of the road, on about 18 acre of land, while a barn stands on 17 acre south of the road. The barn property has since been sold, and now houses the production offices of This Old House.</p><br>
<p>The house is a wood frame structure, 2-1/2 stories in height, with a side gable roof and a central brick chimney. Its rear roof extends to the first floor, giving the house a classic saltbox profile. The front facade is five bays wide, with a slightly asymmetrical organization: the center bay is skewed slightly to the right. The interior is organized in a traditional center-chimney plan, with chambers on either side of the chimney, and a long third chamber behind it. A narrow winding stair rises to the second floor in the entrance vestibule. The building&#39;s principal timber framing beams have been enclosed in finished wood.</p><br>
<p>The property was allocated to Thomas Wheeler in the mid-17th century, and this house was probably built by him in 1692 as a wedding present for his son Timothy. Both Wheelers were prominent in local affairs and were among the towns wealthier residents. Abner Wheeler, the fourth generation of Wheelers on the land, is credited with doing the woodwork finishes in the left parlor and upstairs chamber above. Wheeler was an important local builder, who was one of the leaders of the reconstruction of the towns meetinghouse in 1791. The property remained in agricultural use into the 1980s.</p><br>
<p>The Wheeler-Minot Farmhouse, also known as the Thoreau Farm or the Henry David Thoreau Birthplace, is a historic house at 341 Virginia Road in Concord, Massachusetts, United States. It is significant as the birthplace of writer Henry David Thoreau. The house was listed on the National Register of Historic Places in 2004. It currently serves as a museum and is open to the public.</p><br>
<h2>History</h2><br>
<p>The Wheeler-Minot Farmhouse is set on a 20 acre property on the north side of Virginia Road in eastern Concord. The house is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, large central chimney, clapboard siding, and a fieldstone foundation. The center entrance is flanked by pilasters and topped by a dentillated cornice.</p><br>
<p>The farmhouse was originally built circa 1730 by John Wheeler. Later, the farm was purchased by Deacon Samuel Minot for his second son Jonas. Jonas Minot was the stepfather of Thoreau&#39;s mother, having become the second husband of his maternal grandmother.</p><br>
<p>Though the building has been extensively modified over the years, this house was the farmhouse of a prominent area farm for 200 years.</p><br>
<p>Unlike other writers and thinkers associated with Concord—including Ralph Waldo Emerson, Nathaniel Hawthorne, Amos Bronson Alcott, and Louisa May Alcott—Henry David Thoreau was the only one born in the town. He was born on the family farm on July 12, 1817. He lived in town for most of his life.</p><br>
<p>Shortly after Thoreaus death in 1862, scholars, disciples, and tourists began to seek out the authors birthplace.</p><br>
<h2>Restoration</h2><br>
<p>The house was acquired in 1995 by the Thoreau Farm Trust, a non-profit organization. The site underwent an extensive restoration and is now a museum open to the public on weekends between May and October.</p><br>
<p>The Joseph Hosmer House is a historic First Period house located at 572 Main Street in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The house is a -story timber-frame structure, with a large central chimney and an eastern ell. Its construction history is unclear: the halves of the main block (on either side of the chimney) may have been built at the same time, or the eastern half may have been built at the same time the eastern ell (originally a separate structure) was added c. 1757. Stylistic evidence suggests that the oldest portion of the main block was built c. 1672, with the rest of the house dating to around 1757, when it was assembled by Major Joseph Hosmer.</p><br>
<p>The house was added to the National Register of Historic Places on March 9, 1990.</p><br>
