<p>The Lake Linden Village Hall and Fire Station is a public building, located at 401 Calumet Avenue in the Lake Linden Historic District in Lake Linden, Michigan.</p><br>
<p>It was listed on the National Register of Historic Places in 1981 and designated a Michigan State Historic Site in 1994.</p><br>
<h2>Description</h2><br>
<p>The Hall is a two-story Richardsonian Romanesque structure on a rough sandstone base</p><br>
<p>The first story is constructed of red brick, with lighter brick above; belt courses run between floors and above the windows; additional trim is made from sandstone. A square tower dominates the center of the front facade; the front entrance is through the tower. originally covered with slate. Each of the pavilions has a group of three arched windows on each story; the tower has two arched sindows on each story and a single arched entrance on the ground level.</p><br>
<p>The third story of the tower is pierced with arched openings, and an octagonal cupola sits atop the tower. A small, flat-roofed, one-story addition projects toward the rear.</p><br>
<p>The interior of the building is finished with plaster and wainscoting, and contains Art Deco light fixtures. The first floor contains a village office, police and fire station, and a lounge area. The second floor contains a council hall, large meeting room, and kitchen, bathroom, and storage facilities.</p><br>
<h2>History</h2><br>
<p>The village of Lake Linden suffered a devastating fire in May 1887, which affected 75% of the structures. Although the frame village hall survived, city fathers believed that a new fireproof structure with space for a fire station would be in the best interests of the community. In 1901, the village asked architects for designs, and chose one submitted by Charles K. Shand of Calumet. The Hall was built by a local contractor, L. F. Ursin, and opened in 1902, serving as village offices, fire station, polling place, and public meeting hall.</p><br>
<p>A propeller from the Lady Be Good, an American B-24 Liberator lost in the Libyan Desert in April 1943, is on display in front of the village hall. Crewmember T/Sgt. Robert E. LaMotte of Lake Linden was a radio operator aboard the aircraft. His remains were found in the desert in 1960.</p><br>
<p>The Joseph Bosch Building is a commercial structure located at 302 Calumet Avenue in the Lake Linden Historic District in Lake Linden, Michigan. It is also known as the Lindell Chocolate Shoppe. It was listed on the National Register of Historic Places and designated a Michigan State Historic Site in 1982.</p><br>
<h2>Joseph Bosch</h2><br>
<p>Joseph Bosch was born in Baden, Germany in 1850. He emigrated to New York with his family when he was four, then moved to Wisconsin at the age of twelve, In 1867, the family moved to Lake Linden; there, Bosch worked as a miner of the Calumet & Hecla company. However, he harbored the desire to become a brewmaster, and travelled to Milwaukee, Wisconsin to work at the Schlitz Brewery, then on to Cleveland, Ohio and Louisville, Kentucky before returning to Lake Linden in 1874 to found the Torch Lake Brewery. Two years later he admitted business partners and changed the name to Joseph Bosch & Company. In 1894 he again changed the name, this time to Bosch Brewing Company, and in 1899 the brewery was the largest in the Upper Peninsula, with a capacity of 60,000 barrels annually.</p><br>
<p>Bosch was also the president of Lake Linden&#39;s First National Bank, organized in 1888, and participated in various mercantile enterprises, including those carried on in the Joseph Bosch Building.</p><br>
<h2>History</h2><br>
<p>In May 1887, fire swept through the village of Lake Linden, affecting 75% of the structures then within the village and completely destroying many. Joseph Bosch suffered a substantial amount of property loss. After the disaster, the village council decreed a fire prevention zone, within which structures had to be constructed of brick or stone, and roofed with fireproof materials. In particular, this zone covered the first three blocks of Calumet Street, where the Joseph Bosch Building now stands. In the late 1800s, Bosch built three structures in this area: the Bosch Bottling Works at 347 Third Street, the First National Bank at 346 Third Street, and the Joseph Bosch Building at 302 Calumet Street.</p><br>
<p>The Joseph Bosch Building was constructed in 1887, immediately after the fire. It originally housed the N. Reding Company, which was partially owned by Bosch. In 1892, Bosch bought out Reding, and in 1893 re-incorporated the business as the Poull Mercantile Company, managed by Boschs brother-in-law N. G. Poull. In 1902, the company was sold to the Lake Linden Co-op. Over the next few years, a number of other businesses used the building, including and Edward Liebleins wholesale grocery and an indoor archery range.</p><br>
<p>In 1916, Greek immigrants Louis Grammatiskakia and James Pamopallis bought the building, combining their previously separate candy-making businesses. They remodelled the building into a restaurant, christened The Lindell, and installed plate glass windows in the front and remodelled the interior in an Arts and Crafts style. The new restaurant opened in 1918.</p><br>
<p>The business was sold to two brothers, John and Angelo Gekas, who ran it for 43 years. Then, In 1977, Richard and Frances Grunow purchased the building, and it continues to be well-maintained and operated as a restaurant.</p><br>
<h2>Description</h2><br>
<p>The Joseph Bosch Building is a two-story Italianate The building has plate glass windows in the first floor and arched windows on the second story with decorative brick and stone hoods with prominent keystones. The windows are arranged in two banks of four, with a single window in the narrow recess the north side, altering the symmetry of the facade. An ornate metal cornice lines the top of the building. A 1920s era sign made of metal and neon advertising the Lindell Chocolate Shoppe hangs in front of the building.</p><br>
<p>Georgia Cottage, also known as the Augusta Evans Wilson House, is a historic residence in Mobile, Alabama, United States. It was added to the National Register of Historic Places on September 14, 1972, based on its association with Augusta Jane Evans.</p><br>
<h2>History</h2><br>
<p>Colonel John Murrell of Georgia had the Greek Revival style house built in 1840 for his daughter, Mrs. William A. Hardaway. It was then sold in 1855 to Alfred Batre. Augusta Jane Evans purchased the house from Batre in 1857 for her father, Matthew R. Evans, with the proceeds from her first book, Inez: A Tale of the Alamo. Matthew Evans had relocated his family to Mobile from San Antonio, Texas in 1849.</p><br>
<p>Augusta Evans went on to write two of her most famous novels at Georgia Cottage, Macaria and St. Elmo. She married Lorenzo Madison Wilson in the parlor of the house in 1868. Following her marriage she moved into her husbands Greek Revival mansion, Ashland, namesake of the modern Ashland Place neighborhood. Georgia Cottage remained in the Evans family until 1879, when it was sold to Andrew Damrell. Damrells heirs sold it in 1926 to J.N. Brownlee, and it was subsequently purchased by Dr. Edward Simmons Sledge in 1935.</p><br>
<p>Dr. Sledges son, Eugene Bondurant Sledge, grew up at Georgia Cottage. He served in the United States Marines during World War II and became a noted university professor and author. His memoir With the Old Breed: At Peleliu and Okinawa was, in part, the basis for Ken Burns PBS documentary, The War, and the HBO miniseries, The Pacific.</p><br>
<h2>Architecture and grounds</h2><br>
<p>Although now deep within the Mobile city limits, Georgia Cottage was a country house when originally built. Slave labor was utilized in its construction.</p><br>
<p>The one-story wood-frame structure, on a brick foundation, is a stylistic blending of Gulf Coast cottage and Greek Revival forms. It has matching side wings to each side of the main block and a hipped roof.</p><br>
<p>The house is situated at the end of a long avenue of live oaks, planted prior to 1840. The avenue is listed with Alabama&#39;s Famous and Historic Trees Program.</p><br>
<p>Pennsylvania Railroad Station is a historic train station located at Mayville in Chautauqua County, New York. It was constructed in 1925, for the Pennsylvania Railroad and is a -story, brick structure with an overhanging hipped roof. The building measures 117 by. It was abandoned by the Pennsylvania Railroad in 1950. The property was purchased by the Village of Mayville in 1968.</p><br>
<p>From June 1995 until the fall of 2000 the building served as a local access cable television studio. The Chautauqua Town Historical Society now operates part of the station as the Mayville Depot Museum, which features exhibits of local history, railroad artifacts, Chautauqua Lake, ice harvesting, furniture manufacturing and steamboats.</p><br>
<p>It was listed on the National Register of Historic Places in 1993.</p><br>
<p>Phantom Falls or Coal Canyon Falls is a waterfall at Coal Canyon near Oroville, California, within the North Table Mountain Ecological Reserve. The waterfall is 164 ft high and runs off the edge of Coal Canyon, in front of a grotto. A small pool at the bottom is home to a California newt subspecies, the Coastal Range newt. As a seasonal waterfall, Phantom Falls runs only during the rainy months, late autumn to early spring. It is named Phantom Falls because it disappears during the dry season.</p><br>
<p>There is no trail to the waterfall, although a parking lot on Cherokee Road provides access for hikers. It is about 2 mi from the parking lot to the waterfall, which is visible from the rim of Coal Canyon. A strenuous downhill hike then ends at the bottom of the waterfall. The falls can also be reached from Coal Canyon Road at the bottom of Coal Canyon, a hike of about the same distance but longer and more strenuous, over rocky terrain.</p><br>
<p>The shaft of an abandoned gold mine in the grotto behind the falls dates to the California Gold Rush. Today, there is no gold there, but research still takes place in the mineshaft. Entering the mineshaft is difficult but not prohibited.</p><br>
<p>The Chichester House is located on Fair Street in Kingston, New York, United States. It is a brick house in the Second Empire style built around 1870. In 2001 it was listed on the National Register of Historic Places  along with the similar nearby Boice House.</p><br>
<p>It has a three-story three-by-three-bay main block on a stone and brick foundation with a slightly recessed north wing. On top is a concave mansard roof shingled in patterned slate, pierced by round-arched dormers with decorative trim. At the roofline is an ornate overhanging eave.</p><br>
<p>A front porch, rounded at the two southern bays, in the Classical Revival style covers all three bays of the main block and two in the north wing at the first story. Its posts are supported on stone piers. Behind it the main entrance leads into a narrow vestibule and then a wide side hallway with detailed ceiling moldings. Similar detail is evident in the carved balusters and newel on the main staircase. The two parlors to the south have modillioned ceilings and fireplaces with finely crafted architraves and surrounds. The north rooms are similarly treated.</p><br>
<p>Behind the house is its original carriage house, now used for storage. It is intact and thus considered a contributing resource to the NRHP listing.</p><br>
<p>It was built around 1870. The minimal records from that time, when it was one of the city&#39;s most affluent residential neighborhoods, show that it was home to a "Mrs. Chichester". It has remained a private home, relatively intact, ever since.</p><br>
<p>The Cox–Craddock House is a historic Colonial Revival-style house built in 1928 in Austin, Texas. It was designed by architect Hugo Kuehne.</p><br>
<p>Robert A. and Linda Cox, the first owners of the house, were both economics professors at the University of Texas. Linda Cox sold the house in 1948 to Larry Inge Craddock, who had a variety of business interests in the city, including a miniature golf course and gas stations. Craddock enclosed the piazza and sleeping porch on the east end of the house. The current owner has restored the piazza to Kuehne&#39;s original open design and railing.</p><br>
<p>The home is located at 720 East 32nd Street. It was added to the National Register of Historic Places on May 30, 2001, as an excellent example of a Colonial Revival residence. It is built of brick and has a "symmetrical composition" in which a "pedimented portico forms the prominent central entry." The side-gabled roof is pierced on the front side by three pedimented dormers.</p><br>
<p>The design by Hugo Kuehne included a porte cochere which was not built.</p><br>
<p>The Old Crypt is a building at 11 Watergate Street and 15/15A Watergate Row, Chester, Cheshire, England. It is recorded in the National Heritage List for England as a designated Grade I listed building and incorporates part of Chester Rows.</p><br>
<p>The Old Crypt is built in sandstone and brick with a grey slate roof. It has five storeys; the lowest two are medieval undercrofts dating from about 1180, and the storey above it includes part of Chester Rows. The top two storeys are in Georgian style and date from about 1744. Externally at street level is a 19th-century shop front with two chamfered piers. Behind this, the undercroft has two naves, each with four bays which are divided by octagonal columns. At the Row level overlooking the street is a wooden rail on a balustrade divided by two Tuscan columns. Behind this is the walkway and a 20th-century shop front. The two top storeys each have three Georgian style 12-pane sash windows. Between the storeys is a stone string course and at the sides of the building are rusticated quoins. At its top is an irregular stepped parapet.</p><br>
<p>The Greene–Marston House  is a historic house in Mobile, Alabama.</p><br>
<h2>Description and history</h2><br>
<p>Construction of the house began in about 1851, with a one-and-a-half-story cottage, built by the Greene family.</p><br>
<p>The house was sold to Regina DeMouy Rapier in 1919, after the DeMouy house was destroyed in a fire. Many of her DeMouy, Rapier, and Marston relatives lived in the house during this period. The house gained its name in the early twentieth century from an incident involving the Marston sisters, Adelaide and Eleanor. Family tradition maintains that one evening the children were sitting on a porch rail, and when they got up the rail disintegrated before their eyes. It was discovered that the porch had been infested with termites, from which it acquired its common name.</p><br>
<p>It became locally renowned as a literary gathering place during the tenancy of Adelaide Caroline Marston Trigg. In 1941, she co-founded Mobile&#39;s The Haunted Book Shop. The bookstore became a literary fixture that attracted the likes of Harper Lee, Thomas Mann, Eugene Walter and William March. Several years after selling her interest in The Haunted Book Shop, she operated Far Corners Book Search out of the house.</p><br>
<p>Adelaide and sister Eleanor were close friends with Eugene Walter. He was renowned as an author, poet, gourmet chef, translator, and friend of Federico Fellini. Walter lived with them on several occasions and featured the house in his 1982 cookbook, Delectable Dishes From Termite Hall.</p><br>
<p>Adelaide Trigg died in 2008 at the age of 89. The house has remained in the Marston-Trigg family.</p><br>
<p>It was added to the National Register of Historic Places on January 11, 1983, due to its architectural significance.</p><br>
<p>Bald Hill, located in the hamlet of Farmingville, New York, part of the Town of Brookhaven, is one of the highest areas of elevation on Long Island. The highest elevation in the Bald Hill area is 331 ft. Though local residents often claim it to be the highest point on Long Island, that honor actually belongs to Jayne&#39;s Hill in the Town of Huntington at 401 ft. Also, nearby Telescope Hill, about 0.8 mi WSW, is slightly higher at 334 ft. Bald Hill in Brookhaven should also not be confused with Bald Hill in Riverhead.</p><br>
<h2>History</h2><br>
<p>The Bald Hill area is part of the Ronkonkoma Moraine, which runs east to west along the center of the Town of Brookhaven, and marks where the glacier which formed Long Island stopped its advance. When first settled in the late 18th century, the area was called "Bald Hills." While the elevation and views are impressive for Long Island, George Washington found the hills to be merely "trifling" when he passed through in April 1790.</p><br>
<p>In 1897, the cross-Island Bicycle Path was opened and passed through the Bald Hill area.</p><br>
<p>In 1970-71, Patchogue-Mt. Sinai Road (County Route 83) was built through the Bald Hill area. Two overlooks were constructed in a widened median area with automobile access, and stone markers were placed for "Danger Hill" and "Breakneck Hill", the names given to the two hills by early settlers. A Vietnam Veterans memorial was opened on the southern lookout side in 1991 (elevation 321 feet).</p><br>
<p>The Brookhaven Town Hall and Sachem East High School are on the east side of the hill. The Glacier Ridge Preserve to the north of the structures has a network of 11 mi of cross country bicycle trails.</p><br>
<h3>Bald Hill Ski Bowl</h3><br>
<p>From 1965-1980, Bald Hill was the site of a Town-owned skiing area known as the Bald Hill Ski Bowl.</p><br>
<p>The seeds for this project were planted in 1964, when Suffolk County builder Henry Taca approached the Town with plans to build houses on his 229 acre in the area, including the hilly Bald Hill tract. He turned over 64 acre of the Bald Hill property to the Town free of charge in 1965, and in return, he received Town approval for a "cluster housing" project known as Hawthorne Estates. Under the approval, he was allowed to build more houses on his remaining acreage than would otherwise be permitted.</p><br>
<p>The Bald Hill Ski Bowl officially opened on January 21, 1965, with a 710 ft tow rope in operation on a wide main slope, which featured a 800 ft run and 123 ft vertical drop. At its opening, it was hoped that with the use of snow machines, the slopes and trails would be usable for an average of 70 days each winter. Initial prices were $3 for an all-day ticket, $2 for a half-day ticket after 1 P.M., and 25 cents for a single ski-tow trip. By January 1967, an 800 ft T-bar lift had been installed to supplement three tow ropes ranging from 150 to 800 ft in length, and there were five ski trails on three slopes. A Swiss-chalet style lodge with a fireplace was also added.</p><br>
<p>In 1975, The New York Times reported that the ski area was drawing 5,000 visitors each week. The facility was described as covering 106 acre and featuring a 1,400 ft run for advanced skiers, a slope for "novices", and a "bunny run" for beginners. The cost for an all-day ticket was $2.25. All was not rosy, however. New "quiet" snow machines were in the process of being installed to quell complaints about noise from neighboring residents, and some members of the Town Board were complaining that the facility was costing too much and should perhaps be closed. Operating costs were reported to be $500,000 annually, with revenue of between $100,000 to $200,000, depending on the amount of snowfall.</p><br>
<p>Fortunes turned briefly for the better in the winter of 1976-1977, when generous snowfall (over 62 in in Suffolk County) gave the Ski Bowl its first profitable year. But the warmer winter of 1979-80 proved to be a death blow. As of late January 1980, the ski bowl had only been open eight days for the season. As the next winter approached, the Town searched for a private operator willing to take over the facility, an unlikely prospect in light of Long Islands weather and the sites historical unprofitability. With the facilitys budget slashed by over 70%, and a vague plan to open only if natural snowfall was sufficient, Bald Hills days as Long Island&#39;s largest public skiing facility were at an end.</p><br>
<p>The ski bowl site is now home of the Brookhaven Amphitheater. The ski lodge building remains as an art gallery, and sits to the right of the audience as they face the stage.</p><br>
<h2>Attractions</h2><br>
<p>Vietnam Veterans Memorial Park. A Vietnam Veterans Memorial was dedicated on November 11, 1991, and includes a 100 ft high obelisk-shaped monument painted red, white, and blue. The planning for the $1.5 million project began in 1986, when the Suffolk County Vietnam Veterans Memorial Commission was formed. A design contest received over 1,300 entries, and the winning design was submitted by Bob Fox, a Vietnam veteran from Massachusetts.</p><br>
<p>Overlooks. Accessible via Patchogue-Mt. Sinai Road (County Route 83), also the site of the Vietnam memorial. On a clear day, you can see to Fire Island in the south and Long Island Sound to the north.</p><br>
<p>Pennysaver Amphitheater. An outdoor performing venue with a capacity of over 18,000, part of the Bald Hill Cultural Center.</p><br>
<p>Buffalo Pound Lake is a eutrophic prairie lake in Saskatchewan, Canada, formed from glaciation about 10,000 years ago, on the QuAppelle River approximately 28 km north of Moose Jaw, 11 km east of Tuxford and 3 km north of Sun Valley. The lake gets its name from the method used by First Nations people to capture the bison using the natural topography as corrals or buffalo pounds. Bison once numbered more than 60 million, by 1900 they were all but extinct due to settlement. Bison were reintroduced into the area in 1972. The QuAppelle River was dammed by the Buffalo Pound Dam in 1939 to control fluctuating water levels. The dam is an embankment dam approximately 1400 metres long.</p><br>
<p>A fish ladder installed in 1999-2000 allows fish to migrate in and out of the lake and new gates were installed to create a better water supply downstream. The height of the dam was also raised 1 metre. The problem with fluctuating water levels wasnt solved all together until the construction of the QuAppelle River Dam and Gardiner Dam that created Lake Diefenbaker 100 km upstream in 1967. As a result, water flow in the QuAppelle River now remains relatively constant. This however has flushed the lake out and allowed excessive algae growth due to the cleaner water which reduced the popularity of swimming and boating during the summer months, raised the cost of water treatment, and the lake still remains eutrophic, due to low oxygen levels and highly nutritious soil on the lakes bottom.</p><br>
<p>The lake provides drinking water for the cities of Regina, Moose Jaw, and The Mosaic Company potash mine at Belle Plaine, approximately 25% of the province&#39;s population. It is also used for recreational purposes such as camping, boating, and fishing and is home to a host of fish species including walleye, sauger, yellow perch, northern pike, cisco, mooneye, lake whitefish, white sucker, channel catfish, burbot, bigmouth buffalo, and common carp. Buffalo Pound Provincial Park is located on the southeastern shore of the lake and can be accessed by Highway 202 and Highway 301. cabins can be rented or bought along the shores of the lake.</p><br>
<p>Highway 2 crosses by causeway on the lake.</p><br>
<p>The Moose Jaw River joins the Qu&#39;Appelle River 5 km east of the dam.</p><br>
<p>The Central Mine Historic District is a historic district located off US 41 in Upper Michigan. The mine itself was designated a Michigan State Historic Site in 1958, while the surrounding district was designated a Michigan State Historic Site in 1973 and listed on the National Register of Historic Places in 1974.</p><br>
<h2>Description</h2><br>
<p>The Central Mine Historic District covers the remains of the nearly abandoned mining town of Central. The district includes around 20 frame structures from an original 130, as well as scattered ruins. Most remaining structures are frame, two-story company houses on stone foundations. These houses all have gable roofs, porches, and lean-to additions. The district also contains the well-maintained Central Mine Methodist Church, which is in nearly original condition.</p><br>
<h2>History</h2><br>
<p>In 1854, John Shawson, an agent of the Cliff Mine, discovered native copper in the bottom of an ancient pit (apparently dug by Native Americans) several miles from Cliff Mine. The Central Mining Company was organized in 1854 for the purpose of mining copper in the Keweenaw. Mining began in 1856, and the mine&#39;s lode proved so rich that Central became was able to turn a profit in its first year of operation. Between 1856 and between then and the end of the 19th century the company built over 130 structures for the mine and the community of workers. At the peak of production in 1868, the town of Central was home to over 130 people, primarily immigrants from Cornwall, England. The mining industry eventually contracted, and by 1887 the Central Mine was the only fully operational mine in Keweenaw County. In 1898 the mine ceased operation, and residents began leaving the town. The last permanent resident left in 1952, although some structures in the area are still used as summer cottages.</p><br>
<h2>Central Mine and Village</h2><br>
<p>The Keweenaw County Historical Society owns 38 acres of the old Central site and operates the Central Mine Visitor&#39;s Center which features exhibits about the mine and village. Some of the residences can be visitor or are being restored.</p><br>
<p>The Central Mine Methodist Church is a church located on Old Stage Road in Central, Michigan, in the Central Mine Historic District. It is one of the few structures being maintained in this nearly deserted mining town. It was listed on the National Register of Historic Places and designated a Michigan State Historic Site in 1970.</p><br>
<h2>Description</h2><br>
<p>The Central Mine Episcopal Church is a single-story rectangular frame church on a stone rubble foundation with basement. The front facade boasts a large square tower with a belfry and castellations on the top. The exterior is clad in wood siding with outlines along each edge; the gabled roof is shingled. The interior sanctuary is approximately 46 feet by 31 feet; an additional vestibule is located in the case of the tower. The sanctuary is furnished with handmade straight-backed pews.</p><br>
<h2>History</h2><br>
<p>The town of Central housed workers from the nearby Central Mine, where copper was mined from 1856 to 1898. Construction on the church was begun in 1868 as a joint effort between the Central Mining Company and employees, primarily immigrants from Cornwall, England. The church was completed in 1869, and promptly became a community center for the town. Peak membership was over 300 people.</p><br>
<p>However, after the Central Mine closed in 1898, the population in Central swiftly declined and the church closed.</p><br>
<p>The church is in nearly original condition, with the only changes made in 1879, when some pews were removed, and in 1968 when a bell was hung in the belfry.</p><br>
<p>East Main Street Historic District is a national historic district located in C Westfield in Chautauqua County, New York. It is an approximately 28 acre district encompassing 20 buildings and the Westfield Cemetery located along East Main Street. A number of the structures are in the Italianate and Colonial Revival styles. Candlelight Lodge was built in 1851 by a prominent Philadelphia architect as a private home, the property encompassing a good portion of the east half of the Village of Westfield. Candlelight became a Lodge in the 20&#39;s and a Bed and Breakfast in 1986. Candlelight Lodge is a seven bedroom Victorian mansion currently on a two-acre lot in the Village of Westfield. Candlelight also has the Captain Storm House, a Queen Anne Victorian home moved on to this property in 2000 with the assistance of the National Historic Trust and listed on the National Resister of Historic Places.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>WestfieldNY Cemetery.jpgWestfield Cemetery</p><br>
<p>Point Chautauqua Historic District is a national historic district located on Point Chautauqua, three miles  from Mayville in Chautauqua County, New York. It is located directly across Chautauqua Lake from the Chautauqua Institution. The district is a planned resort community laid out in 1875 by Frederick Law Olmsted as a Baptist camp meeting. Within a generation, it had become a resort community. The 80 acre district includes the serpentine street system, which ascend the steeply wooded sloped of the site, and its collection of single family residences developed in the late 19th and early 20th century. Among the architectural styles represented are American Craftsman, Queen Anne, and Carpenter Gothic.</p><br>
<p>It was listed on the National Register of Historic Places in 1996.</p><br>
<p>Sjællands Odde is a 15 km long peninsula on the northwest coast of Zealand between the Kattegat and Sejerø Bay. From the outermost point of the peninsula, Gniben, a reef juts some 10 km out into the Kattegat.</p><br>
<p>In the Stone Age Sjaellands Odde was a series of islands, but deposits over thousands of years have made it part of Zealand.</p><br>
<p>The naval Battle of Zealand Point was fought in the seas around here in 1808.</p><br>
<p>Ferry company Molslinjen operates catamaran services from the ferry port to the south of the tip of Sjaellands Odde, Odden Færgehavn, to Ebeltoft since 1966 and Aarhus (since 1999) in Jutland.</p><br>
<p>The modern catamarans operated by Mols-Linien carry large numbers of cars, which results in periodic heavy traffic on the route (Rute 21) from the peninsula, via Vig to Holbæk and then to Copenhagen.</p><br>
<p>The village of Havnebyen, some 3 km from the ferry port, has a small harbour with eating places and fish outlets. Sjaellands Odde is hilly at both ends, with the north side of the central section almost at sea level. The landscape is dotted with farms.</p><br>
<p>The distinctively red Odden Church features frescoes of flowers and leaf decorations with bird motifs. In the churchyard is a monument to naval hero Willemoes, who died during a major sea battle against the British off Sjaellands Odde, and the grave of three British airmen, whose plane was shot down over Sejerø Bay in 1943.</p><br>
<p>The Corliss Steam Engine on the Pawnee County Fairgrounds in Pawnee, Oklahoma is a Corliss steam engine that was built 1912.</p><br>
<p>It and a twin sister engine were originally built for the Blackwell Zinc Co., of Blackwell, Oklahoma. It powered most of the electricity-powered machinery in the 1000-employee zinc smelter plant until the plant closed in 1973.</p><br>
<p>It was later donated to the Oklahoma Steam Thresher Association, disassembled, and restored in its own building on the Pawnee County Fairgrounds. One source on the web has 6 photos of the engine displayed there.</p><br>
<h2>NRHP Listing</h2><br>
<p>It was listed on the National Register of Historic Places on May 7, 1979, with NRIS number 79002016. The application states that the significance of this engine is:"...(1) its position of pre-eminence in the history of American technology, (2) its role in the Industrial development of Oklahoma, and (3) its survival as one of the country&#39;s few remaining functional Corliss Engines."</p><br>
<h2>History of Corliss steam engines</h2><br>
<p>A steam engine fitted with rotary valves and having variable valve timing was invented by and named for an American Engineer, George Henry Corliss, in 1849. Engines fitted with Corliss valve gear offered the best thermal efficiency of any type of stationary steam engine until the refinement of the uniflow steam engine and steam turbine in the 20th century. Corliss engines were generally about 30 percent more fuel efficient than conventional steam engines with fixed cutoff. This increased efficiency made steam power more economical than water power, allowing industrial development away from millponds.</p><br>
<h2>Description of the Pawnee engine</h2><br>
<p>The Corliss engine now displayed in Pawnee was part of an Allis-Chalmers steam electric generating plant. It is a large piece of machinery in every respect, being 25 feet long by 18 feet wide and weighing 110 tons. The flywheel is 12 feet in diameter and weighs 10 tons. The cylinder has a 20 inch bore with a 36 inch stroke.</p><br>
<p>This engine uses separate valves for the steam and the exhaust to allow natural drainage.It also has a Reynolds trip gear, which uses a spring to cause the engagement of the hook with the catch plate. Sudden unequal pressure buildups were prevented by having a space between the outer surface of the boiler and the inner surface of the steam regulator.</p><br>
<p>At the time of the NRHP application, the system was assessed in good operating condition.</p><br>
<p>The William V. N. Barlow House is on South Clinton Street in Albion, New York, United States. It is a brick building erected in the 1870s in an eclectic mix of contemporary architectural styles, including Second Empire, Italianate, and Queen Anne. Its interior features highly intricate Eastlake style woodwork.</p><br>
<p>It was the home of a prominent local architect who designed many major buildings in Albion. In 1983 it and an accompanying barn, since converted into a garage, were added to the National Register of Historic Places. It is one of two houses in Albion so designated (the other is the Greek Revival Tousley-Church House).</p><br>
<h2>Buildings and grounds</h2><br>
<p>The house is located on a 1 acre lot on the east side of South Clinton Street, one block south of West Avenue (state highway NY 31) and a block west of South Main Street (NY 98). The terrain is generally level. The surrounding neighborhood is residential, with many late 19th- and early 20th-century houses that retain less integrity. To the north and west are industrial areas. A woodlot separates the houses on Clinton from those on South Main to the east.</p><br>
<p>The building itself is a two-story brick structure on a Medina sandstone foundation. On the west (front) facade is a projecting pavilion with two-and-half-story tower. It is topped with a mansard roof pierced by gabled dormer windows. There are porches on the north and east sides.</p><br>
<p>On the north side the porch features turned posts and a decorative balustrade. The plainer east porch has wooden columns. Near it a gabled hood with scalloped edges shelters the rear entrance.</p><br>
<p>A similar but more decorative porch shelters the main entrance at the base of the tower. It has a gabled hood with return projecting from a shed roof above an elliptical arch with keystone. Two turned wooden fluted columns support the arch. From them project two brackets with drop pendants, supporting the gable. The base has latticework and more turned columns supporting the porch deck.</p><br>
<p>Above the main entrance is another window similar to those on the projecting bays, then a steeply pitched cross-gabled roof with a window in the west field. The dormer windows feature pediments with molded circular and diamond motifs. On the south side the chimney is corbeled at the roofline.</p><br>
<p>Double walnut doors lead to the interior, with much of its original Eastlake style woodwork. Most prominent among this is the main staircase, also of walnut, with turned balusters. A large two-tone newel has a niche for a gas light and intricate carvings in a floral pattern. The gas fireplace has a walnut frontispiece with more floral carvings, geometric forms and an intricate cast iron grill. The inside of the front bay, in the living room, has louvered shutters and decorative surrounds. That room, the central hall and stair hall all have vertical beadboard wainscoting. Walnut sliding doors separate the living and dining room.</p><br>
<p>In the rear of the house is one of the few remaining water wells, with hand pump, left in Albion. At the end of the driveway, near the rear of the property, is the former horse barn, now a garage, the other contributing resource to the property&#39;s historic character. It is a one-and-a-half-story frame gabled structure with exposed rafter ends, sided in clapboard with vertical flushboard between the two floors. Its front gable window has a pedimented hood with cut-out design, and the side windows have uneven panes.</p><br>
<h2>History</h2><br>
<p>Shortly after his 1810 birth in Madison County, Barlows parents moved the family west to the Monroe County town of Sweden. After apprenticing to a carpenter in Brockport, he moved to Albion in 1833 and began his career as architect and builder. Over the next half-century, he designed some of the villages most significant buildings, such as the Swan Library and the county courthouse, earning the nickname "High-Rickety" for the many cupolas on them. He also the chapel and entry archway to Mt. Albion Cemetery outside the village, also listed on the National Register. The significant buildings in Albion that he did not design, he built.</p><br>
<p>His own house was built in the later phase of his career, around 1875. His earlier works had been solidly within their stylistic traditions, in contrast to the eclecticism demonstrated by the house. It has touches from three common styles of the time: an engaged square Italianate tower, a Second Empire mansard roof and a Queen Anne Style projecting polygonal bay. The exterior and, especially, the interior, reflect a love of surface decoration as espoused in the works of Charles Eastlake.</p><br>
<p>The house has remained a private home since his death in 1909. At some point in the ensuing years the wood cresting and finials were removed from the roof and dormers. The original walnut doors between most of the rooms on the first floor were replaced with French doors in the 1920s. Five decades later, in 1975, the woodshed was converted into a family room using materials similar to the original house. The only other change to the property has been the replacement of wood with cement on the garage floor.</p><br>
<p>The Jackson Blood Cobblestone House is located on South Main Street  in Lyndonville, New York, United States. It is a Greek Revival house built in the middle of the 19th century.</p><br>
<p>Blood, a prominent citizen of the surrounding Town of Yates in its early years, built the house with cobblestones he and his family personally transported down to the site from Lake Ontario to the north. Its former chimney arrangement suggests that it was one of the first houses in the area to be heated with stoves instead of fireplaces.</p><br>
<p>During the first half of the 20th century it was subdivided into three rental units, and much of the interior renovated. Later it was restored to a single-family dwelling. In 2005 it was listed on the National Register of Historic Places. It is the only property in Lyndonville so far listed, and the northernmost entry on the Register in Orleans County.</p><br>
<h2>Building</h2><br>
<p>The house is located on a three-quarter–acre (3,200 m²) lot on the west side of the street south of the village&#39;s center, where Route 63 crosses Johnson Creek. The neighborhood is residential, with the houses dating to the late 19th and 20th centuries. Mature trees dominate the lots, giving way to worked fields on either side of the highway. The terrain is level. A modern, non-contributing garage is located at the rear of the lot.</p><br>
<p>Three sections comprise the house. The main block is a large rectangular three-by-three-bay two and a half stories tall. Two one-and-a-half-story wings extend to the north and west (rear). All are sided in rows of lake-washed medium-sized cobblestones set beads of V-profile lime masonry.</p><br>
<p>All trim — lintels, sills, quoins and water table — is limestone. That material is also used for an unusual decorative feature on the east (front) facade: a semi-elliptical stone arch with keystone that springs from the lintels of the second story windows. Above it the shallow pitched gabled roof is set off by a very deep plain frieze and molded cornice with returns. The six-over-six double-hung sash windows are original. A mid-20th century porch with square posts is on the east face of the north wing.</p><br>
<p>The recessed main entrance, on the northern bay of the main block, contains a large paneled door with sidelights. It opens into a vestibule where a stair with a simple Colonial Revival railing climbs to the second story. A single large room is to the south; the north wing contains a dining room with marble fireplace, and the kitchen. The rear wing is a family room. Upstairs, the layout is similar, with a large bedroom above the large first-floor main room.</p><br>
<p>Most of the house&#39;s finishings were added later. The ceilings of the main rooms are modern coved plaster. The most significant original elements are the wooden doors and their shouldered surrounds. On the second floors of the wing the small sash windows slide up into the wall.</p><br>
<h2>History</h2><br>
<p>Jackson Blood came to the area before Orleans County had even been formed, in 1815, as a young man. He bought a farm near the lake and later acquired large tracts of land around today&#39;s Lyndonville. When the town, named after Governor Joseph C. Yates, was formed in 1823, he was named one of its first three commissioners of common schools.</p><br>
<p>Local tradition holds that the Blood family themselves collected the cobblestones from the lake and brought them down to the house starting with Bloods purchase of a farm in the area in 1830, reflecting Lyndonvilles increasing importance within the town over Yates Center due to its proximity to the Erie Canal and its location along a creek that powered a mill. It was completed in 1846, its tight rows a hallmark of the middle and late years of the cobblestone trend. Originally it had four chimneys, three of which were purely decorative, to maintain a symmetrical exterior appearance. The fourth was at the southeast corner of the main block. Its extant flue angles to the east wall, suggesting along with the construction date that the builder was using the new technology of stoves to heat the house, instead of relying on fireplaces.</p><br>
<p>Blood lived in the house until 1875. A few years before his death, one of his sons, C. Jackson Blood, served as town supervisor for a term. In the 20th century, the house was subdivided into three rental units. The dining room fireplace was added during this period, as was much of the interior decor. In the 1950s, another renovation reunified the house. There have been no other significant changes.</p><br>
<p>The John Shelp Cobblestone House, also known as the Shelp–Beamer House, is located on West Shelby Road  in West Shelby, New York, United States, just east of the Niagara–Orleans county line. It is an 1830s cobblestone house in the Greek Revival architectural style.</p><br>
<p>Of the six cobblestone buildings in the Town of Shelby, it is the most accomplished stylistically. In the late 19th century the interior was renovated into a more contemporary style. In 2008 the house, two barns, and a milk house on the grounds were listed on the National Register of Historic Places.</p><br>
<h2>Buildings and grounds</h2><br>
<p>The house is located near the southwest corner of an 11 acre lot at the northeast corner of the junction of South County Line and West Shelby roads. The area is rural, with large lots consisting primarily of worked fields with some scattered second-growth trees, a large wooded area to the south-southeast, and houses at the roads. It is generally level with a slight slope to the north. In the rear are the three contributing outbuildings.</p><br>
<p>The main house has two sections, a two-story five-by-two-bay main block with a two-by-two-bay wood frame two-story wing on the northeast corner. The slope of the ground exposes the basement at the rear, giving the house the appearance of three stories. Both sections are topped by shallow pitched gabled roofs shingled in asphalt. The main block is pierced by a single brick chimney at the south end.</p><br>
<p>A shed-roofed porch with wooden Tuscan columns and balustrade covers the centrally located main entrance, the two bays to its west, and the east elevation of the main block. The cobblestone siding consists of four horizontal rows per limestone quoin of medium-sized field stones with lime mortar between. Windowsills and lintels are of cut stone.</p><br>
<p>Wooden louvered shutters flank the six-over-six double-hung sash windows; on the west facade the two northern windows are shuttered and the south window on the first story longer than the other three. The two bays east of the entrance have large plate glass windows. At the roofline a molded wooden frieze sets off an overhanging cornice with returns. Blind lunettes are located in the gable fields.</p><br>
<p>A screen door protects the paneled front door, set off by sidelights. It opens into a central hallway with a natural-finish oak staircase rising two flights to the second story. Oak is also used for the paneled spaces below the stair&#39;s balustrade, which incorporates a small bench.</p><br>
<p>All interior woodwork on the first floor is similar natural-finish oak. The door and window surrounds are flat pilasters with ogee-profile moldings at the entablature. In the basement is the original kitchen fireplace, with bake oven.</p><br>
<p>The milk house is a single-story single-bay frame structure with gabled roof, a door and two windows. The main barn is on a rubblestone foundation, with an earthen ramp providing entrance. Both it and the two-story gabled carriage barn, where sliding doors provide access to both levels, are sided in vertical board and batten.</p><br>
<h2>History</h2><br>
<p>Shelp, a Schoharie County native who married Mary Ann Cone, daughter of an early Shelby landowner, bought the 80 acre where the house now stands in 1828. Five years later, in 1833, he bought another 40 acre. In 1836 he moved his family into the new house. Originally, it had four chimneys. Three were decorative, one was functional. Its flue angles to the space between the windows, suggesting along with the date of construction that the owner was using heating stoves, then a new technology, to heat the house rather than the fireplaces.</p><br>
<p>Shelp stayed at the house until his death in 1868. He and his descendants were prosperous and productive farmers who expanded and improved the property. Around 1900, apparently after a stove fire in the dining room, renovations were made that brought the interior into that time period. The wooden staircase is consistent with the Queen Anne style, and the porch reflects emerging Colonial Revival tastes.</p><br>
<p>In the middle of the 20th century the house was abandoned and fell into some disrepair. The current owners bought and restored it to its 1900 appearance in the mid-1960s, finding the evidence of the dining-room fire in the process. There have been no other alterations to the property.</p><br>
<p>The Skinner-Tinkham House, commonly known as the Barre Center Tavern, is located at Maple Street and Oak Orchard Road  in Barre Center, New York, United States. It is a brick house in the Federal style built around 1830. It was renovated after the Civil War, which brought some Italianate touches to it.</p><br>
<p>Originally it was a tavern along one of the Western New York region&#39;s busier transportation routes, renovated into a house by a wealthy local farmer after that business ended. It is a rare surviving Federal-style brick tavern in Orleans County. It is currently vacant and in a state of disrepair, although some restoration efforts have been made. In 2004 it and a nearby barn were listed on the National Register of Historic Places.</p><br>
<h2>Buildings and grounds</h2><br>
<p>The house and barn are located on a 1.5 acre lot at the northwest corner of the roads, on the hamlet of Barre Center. The hamlet is a small group of buildings on small lots grouped along the highway in the midst of the surrounding rural area. To the immediate south is a commercial building and church; a general store is located across the street and to the southeast. The land in the area is flat.</p><br>
<h3>Exterior</h3><br>
<p>At the northeast corner of the lot, the house is a two-story five-by-two-bay structure faced in brick laid in Flemish bond on a stone foundation topped with a gabled roof currently covered in tar paper, pierced by two brick end chimneys. A one-and-a-half-story brick wing with similar roof projects from the south face; from its west projects a frame wing of similar height sided in clapboard. Between the main block and south wing is a small wooden addition in a visible state of disrepair. In the center of the south wing is the entrance to the cellar.</p><br>
<p>A two-brick water table runs across the front of the main block at door sill level. Steps that would lead up to the centrally located main entrance are missing. All windows on the east (front) facade have wide stone lintels and sills; the main entrance has a round-arched stone lintel with keystone, filled with a wooden fan. The center lintel on the second floor has "1829", the date of the house&#39;s construction, carved into it. The wide overhanging eaves at the roofline shelter a wide plain frieze and are supported by wooden brackets.</p><br>
<p>On the north and south sides the brick is laid in common bond instead. The gable fields have blind lunettes with their original wooden fans. The west (rear) elevation has more of the foundation visible, exposing limestone blocks laid in a random ashlar pattern. Only the sills are stone on its windows; flat brick arches top the windows. The south elevation of that wing has one centrally located window on each story. The larger one on the first story has a similar treatment to the eastern first-story windows on the main block; the one above it has a stone sill and flat brick lintel.</p><br>
<p>The west wing&#39;s foundation is coursed ashlar on the south elevation, and coursed rubble on the other two. Its cornice is bracketed only on the south side, the side visible from Maple Street. A one-story concrete block addition with gabled roof extends further west from that side.</p><br>
<h3>Interior</h3><br>
<p>The front door is framed with its original semicircular limestone arch with keystone and impost blocks. It opens on a large square room filling the building&#39;s southeast corner and extending two-thirds of its depth. A fireplace with original mantel is on the south wall; a narrow stair goes to the upper story behind the west wall while a door opens onto the rear porch. The past presence of a chair rail in the room is evident from the plaster behind where it was. The original baseboard and some window trim remains.</p><br>
<p>In the north end of the wing are two rooms. The larger one, in the northeast corner, has its black marbleized mantel on its fireplace on the north wall, as well as its original architrave and window moldings. The smaller room, in the northwest, no longer has its mantel but its chimney cupboards remain.</p><br>
<p>The south wing has a single room. A former fireplace has been closed up. From the room a door and former window, now converted into shelving, open into the west wing. In it are two large rooms separated by a core with pantry, closets, and vestibule. The inside of the concrete addition ha s a track in the ceiling, a water supply and floor drain, attesting to its use as a slaughterhouse.</p><br>
<p>On the second floor of the main block are three bedrooms, all with their original finishes. A steep, narrow stair leads up to the attic, where the original roof framing is visible. It consists of three heavy beech king post trusses with purlins and common rafters, about 16 in below the current roof. The two chimneys corbel together and form a common flue. At the south end are the remains of a small 6 by brick room.</p><br>
<p>The south wing has a single room upstairs, matching the one below. The ceiling rafters slope down from the collar ties; there is no attic. A cellar, accessed via the bulkhead door on the south side, runs under the entire brick portion of the building. Three more Medina sandstone steps lead into the large room under the south wing, which has the stone cistern parged with mortar in its western half. A load-bearing stone wall with two brick arches supporting brick fireplaces on the north side sits under the divide to the main block; the large room beyond is divided by a wooden partition. Stairs corresponding to the ones on the first floor rise below them to the now-closed opening. The entire cellar is floored in brick; a still-functional perimeter drain empties into a hole in the northwest corner.</p><br>
<p>There is no cellar in the west wing. Instead, there is a crawl space. In the southeast corner is a stone-line well 25 ft deep.</p><br>
<h2>History</h2><br>
<p>Original landowner Stephen Skinner had first bought the 50 acre on which the house now stands from the Holland Land Company, original owners of most of Western New York, in 1827, but did not make any payments after his down payment and the land reverted to the company. He repurchased it the next year and built the main block of the tavern. On several other properties he built a blacksmith&#39;s shop, coal house, sawmill and paint shop. This time he was able to make his payments, albeit at some points in cattle rather than cash, and received full title in 1832.</p><br>
<p>At the time of construction, in 1829, there were only two other houses in Barre Center, both modest wooden structures built when Barre Center had been the main stop between Albion and Batavia along the Oak Orchard Road, today Route 98. Among them, a brick house, especially one of that size and stylistic sophistication, stood out. The hamlet grew in the prosperous early 1830s as it developed an agricultural economy, since the travel-related business was being displaced by Benton&#39;s Corners, at the junction of Route 98 and what is now NY 31A two miles (3 km) to the north, as the Erie Canal linked Albion with the rest of the state.</p><br>
<p>Skinner sold the house in 1836 to two other men, who soon lost it to foreclosure in the Panic of 1837. Several of Skinner&#39;s other properties also went into default, and there is no mention of him or his large family in records from the 1840 census. In 1839 the property was bought by an Edward Rowlandson, who continued its use as a tavern.</p><br>
<p>He was able to operate it successfully, and maps of the area from the 1850s identify it as his tavern. The late Greek Revival molding on some of the interior architraves suggests some of the subdivisions of the interior rooms in the main block occurred under his ownership. Doors were grained as well, and some of the fireplaces may have had stoves added at that time.</p><br>
<p>In 1865 Relly Tinkham, discharged from the Union Army due to a serious illness contracted while guarding hospitals in Baltimore, bought the property. A Barre native who had already acquired other properties originally developed by Skinner, a successful local farmer who had expanded into barrel making before the American Civil War. It is likely that he converted the tavern into a house, as the rise of the railroads had finished the decline in Barre&#39;s importance as a transportation stop, and by 1875 no hotels are listed in local business directories.</p><br>
<p>The conversion left the first floors tavern layout alone, but raised the roof and built the frame western wing with its more modern kitchen. On the front facade he added the Italianate decorative touches to the windows and doors. It is likely that he also had the barn, the propertys other contributing resource, built with its denticulated cornice. This may have taken place around 1874 since tax records show a large jump in the property&#39;s assessment that year, which may also be due to outbuildings no longer extant.</p><br>
<p>In 1884 he sold the property and moved to another home nearby. Property records for the next two decades are scarce, but during the later years of the 19th century it is likely that some changes were made to the house. Most significant among them were the installation of larger, taller front windows, and the subdivision of the large upstairs room that had previously only had a removable wooden partition.</p><br>
<p>Carl and Sarah Hakes bought the property in 1913. They owned it for another four decades, the longest tenure of any of the house&#39;s owners. Their changes consisted of adding modern plumbing, including a bathroom behind the old public room, and heating to the house. In 1957 they sold to their son Wilson, who had been renting the property. He sold it in 1964.</p><br>
<p>From that year on the house was occupied by a series of tenants, most of them farmworkers. The frame wing filled up with furniture, clothing and other discarded items. The main block continued to be occupied, but less frequently maintained.</p><br>
<p>By the end of the 20th century it had become vacant for a few years. Andrea Rebeck, Historic Sites Restoration Coordinator for the New York State Office of Parks, Recreation and Historic Preservation, moved into the house to oversee those efforts in preparation for listing on the National Register. An archeological dig was also undertaken.</p><br>
<p>The LaSalle Hotel is a hotel located in downtown Bryan, Texas, United States, a Texas cultural district. The hotel was opened in 1928 and was added to the National Register of Historic Places on May 26, 2000.</p><br>
<p>At its opening in 1928, the seven-story hotel was the tallest building in Bryan. The LaSalle had one hundred guest rooms, a ballroom and meeting space (both have since been converted to guest rooms). Several businesses, including a tailor, a barber and a cafe were located on the first floor. Businessman and city leader R. W. Howell built the hotel and the Howell family owned the hotel for over thirty years. J. C. Jacques bought the property in 1959 and converted it into a nursing home. The home was open until 1975 and then became a resident hotel with small apartments until it closed in 1980. The LaSalle sat empty for seventeen years when a private developer with city backing began renovations. The hotel reopened in 2000, which started the revitalization of downtown Bryan. The hotel faltered though and the City of Bryan stepped in to keep it open.</p><br>
<p>The LaSalle currently has 55 rooms and suites and has been newly renovated into what it is now known as the luxurious LaSalle Boutique Hotel and 120 Kitchen & Bar.</p><br>
<p>The house at 184 Albany Avenue  in Kingston, New York, United States, is a frame building in the Picturesque mode of the Gothic Revival architectural style. It was built around 1860.</p><br>
<p>In 2002 it was listed on the National Register of Historic Places. It has remained a private residence since its original construction.</p><br>
<h2>Building</h2><br>
<p>The house sits on a long, narrow (80 by) lot on the east side of the street, a short distance north of the Kingston Stockade District and three houses south of Tremper Avenue. The neighborhood is exclusively residential, except for the nearby Sharp Burial Ground. A non-contributing pool and outbuilding are located behind the house.</p><br>
<p>It is a two-and-a-half-story building on a brick foundation. The clapboard siding rises to a steeply pitched mansard roof with two cross-gables. It is shingled in patterned slate. The rooflines are marked by heavily molded cornices, paired brackets and decorative friezes. The gables are topped with finials.</p><br>
<p>On the southwest corner of the west (front) facade is a one-and-a-half-story projecting bay. At the first story this features a bay window. A porch stretches across the rest of the facade at that story. Its roof is supported by three chamfered and paneled posts with brackets. The main entrance has leaded sidelights and an arched top light.</p><br>
<p>A similar bay, two and a half stories high, projects from the south side. It too has a bay window at ground level. A single-story rear wing projects from the east, adjacent to an enclosed porch now part of an expanded kitchen. The north profile has no projections or additions.</p><br>
<p>Inside, the house has a double-pile central hall plan. The first story retains much of its original finishing, such as carved newels and balusters on the stairs, molded door and window surrounds and decorated plaster cornices and ceilings. The second story also has its original plan and finishings; the attic has been renovated, opening up the space once used as servants&#39; quarters. It still has some of the original finishing.</p><br>
<h2>History</h2><br>
<p>The house is believed to have been built around 1860, probably following patterns in books by Andrew Jackson Downing, who had strongly promoted the Picturesque mode as an ideal for American residential construction during his lifetime. Few significant owners are known. In 1909 the city directory gives the owner as Charles Banker, a local osteopathic physician. In 1921 it was the property of Vince Gorman, a founding partner of the city&#39;s Rose Gorman Rose department store. In 1965 the house was purchased by George and Bianca Vogel. Their family, which included 4 children, lived in the house for about 20 years.&gt</p><br>
<p>The USA Post Office in Albion, New York, is located on South Main Street  in the center of town. It serves the 14411 ZIP Code, covering the village and town of Albion plus neighboring sections of the towns of Barre and Gaines.</p><br>
<p>It is a brick Colonial Revival building erected in the late 1930s. In the lobby is a mural of the nearby Erie Canal. It was listed on the National Register of Historic Places in 1988 along with many other present and former post offices in the state. While it is within the boundaries of the Orleans County Courthouse Historic District, it is not considered a contributing property to that district since it was built after that district&#39;s period of significance. Note: This includes</p><br>
<h2>Building</h2><br>
<p>The post office is located on the southwest corner of the intersection of Main and East State streets in the center of Albion. Across from it is the county courthouse, screened by a small village green planted with mature trees. North of it is the Swan Library, an 1840 Greek Revival residence later converted into a Colonial Revival library; to the south is a former residence from the 1830s used now as the Cornell Cooperative Extension offices for the county. Across the intersection at the northeast corner is the First Presbyterian Church, a stone building with a 175 ft steeple, the tallest structure in Orleans County. Main Street descends slightly to the north, into Albion&#39;s other historic district, the more commercial North Main-Bank Streets area, ending at the New York State Barge Canal, the former route of the Erie Canal.</p><br>
<p>The building itself is a five-bay single-story structure on a stone water table faced in brick. The main block has a gently sloped gable roof, its fields finished in clapboard. set off by a denticulated cornice at the roofline and topped with a copper roof. It is pierced at the center by a square cupola with quoins, Doric pilasters at the corners framing six-over-six sash windows and an ogival cap with weathervane. The rear wing has the cornice but is flat-roofed. It has a parapet with limestone coping.</p><br>
<p>Limestone sills and lintels frame the 12-over-12 double-hung sash windows on all facades. A single lunette is located in each gable field. In the east face&#39;s frieze, bronze letters spelling out "UNITED STATES POST OFFICE" are located above the main entrance, with "ALBION" and "NEW YORK" on the brick below flanking the entrance arch. A datestone is at the northeast corner. Granite steps with original iron railings and lampposts, joined by a modern wheelchair ramp on the north, rise to the centrally located main entrance.</p><br>
<p>The entrance is flanked by two engaged fluted Doric pilasters and columns. They support an entablature with denticulated cornice to which a later piece of wood has been affixed with metallic letters saying "ZIP 14411". Above is a blind fanlight with an aluminum eagle.</p><br>
<p>Inside the modern double doors open into a wooden vestibule articulated by narrow paneled pilasters and multi-pane sash. The main lobby floor is of red and brown ceramic tile with a red border and buff wainscoting. Above that the walls and ceiling, including the cornice between them, is plaster. Many original features, including the screenline, metal grilles, lockboxes, interior doors and surrounds, two wooden customer tables, one set of lockboxes and a bulletin case. A mural depicting ships on the canal is high on the wall above the postmaster&#39;s office.</p><br>
<h2>History</h2><br>
<p>From its designation as the new county&#39;s seat in 1824 through its days of prosperity as a canal town and the central shipping point for the Medina sandstone quarried nearby, Albion had managed to get by without its own post office building. In the early 20th century the mail was handled out of a rented storefront on East Bank Street. By the 1920s that became outmoded, and the postal authorities decided it was time for a dedicated building.</p><br>
<p>A 1931 amendment to the Public Buildings Act of 1926 authorized the new structure as a relief measure for the Depression. Ground was not broken until 1936, after two Greek Revival houses on the site were demolished. New York City contractors Andover & Associates built the new post office for a cost of $52,699 ($ in contemporary dollars). It opened in 1937.</p><br>
<p>Louis Simon, Supervising Architect at the Treasury Department, which had design responsibilities for most federal buildings, employed the same Colonial Revival design he had used for 12 other post offices in the state, the largest group of similar post offices across the state. This reflects both the Treasurys interest in standardization and its preference, during the Depression, for Colonial Revival as its preferred mode. The design of Albions post office is one of the most typical of that group, lacking some of the variations found at the others.</p><br>
<p>In 1939 Judson Smiths Along the Barge Canal mural was added to the lobby. It had been commissioned after he won one the competitions held by the Treasurys Section of Fine Arts, which oversaw the public art in post offices at the time. Other than the replacement of the original lobby lighting with more modern equipment, there have been few changes to the building since then.</p><br>
<p>Six decades later, when the Orleans County Courthouse Historic District, was created, its boundaries included the post office. Along with the county jail, it was one of the only two of the 35 properties in that district considered non-contributing to its historic character since it was built after the district&#39;s 1830–1910 period of significance. When the post office was listed on the National Register itself nine years later, it remained non-contributing despite its own status.</p><br>
<p>The USA Post Office in Medina, New York, is located at West Avenue and West Center Street . It is a brick building erected in the early 1930s, serving the ZIP Code 14103, covering the village of Medina and neighboring portions of the towns of Ridgeway and Shelby.</p><br>
<p>Its Colonial Revival style design is unique in the state, where many post office designs of the era were reused in different communities. Only in Salem, Indiana, was the design known to have been reused. In 1989 it was listed on the National Register of Historic Places along with many other present and former post offices in the state. It is one of only two listed on the Register in Orleans County. The other is in Albion.</p><br>
<h2>Building</h2><br>
<p>The post office is located on the northeast corner of the intersection, on the western edge of downtown Medina, where commercial buildings transition to the residential areas of the village. The stone First Baptist Church, built in 1873, is on the southwest corner. On the northwest is an Italianate house that once housed the village&#39;s historical society, now just up Prospect near the Ridgeway town hall. Across West Center Street is a former gas station that has been converted into a branch bank, surrounded with a parking lot.</p><br>
<p>To the east is the main commercial area of the village, later listed on the National Register itself as the Main Street Historic District. On the west is a neighborhood with many of the village&#39;s older houses with a few more churches scattered among them. The terrain is generally level. There is a narrow grassy strip in front of the building, with small shrubs on the east and a large nut tree on the west. A driveway on the east leads to parking in the rear, also accessible from West Avenue north of the building.</p><br>
<p>The building itself is in two sections. On the south (front) is a one-story seven-by-one-bay main block. Its smooth-faced ashlar limestone exposed basement has granite-trimmed window wells with cast iron railings. Above it the post office is faced in brick with rust and blue accents laid in English bond and quoined at the corners. On top the hipped roof is shingled in slate.</p><br>
<p>Stone trim on the facade includes the flat windowsills, a belt course at the attic line, corner blocks on the iron grilled vents above it corresponding to the windows below, and a denticulated molded cornice with played corbels above that alternate with recessed scalloping. Atop it is a very low parapet, also stone, with a raised frontispiece at the center featuring a carved stone eagle.</p><br>
<p>The side elevations have a similar treatment. On the north is a three-by-three-bay rectangular wing with flat roof and plain stone cornice. Its windows have the same trim. A small one-by-two-bay wing on the north has a mailing platform on the east side.</p><br>
<p>Stone steps lead up from the sidewalk to the main entrance, where a wheelchair ramp goes off to the west. The main entrance door is flanked by partially engaged limestone Ionic columns. Above it is a frieze with "USA POST OFFICE" carved into it, flanked by carved rosettes. Atop is a molded cornice in a Greek fret pattern topped by a broken pediment with carved swan&#39;s neck, patera and large acorn finial.</p><br>
<p>The double glass doors open into an enameled vestibule with large windows and original interior doors. The lobby has mottled light brown marble wainscoting. Its plaster walls rise to a deep molded frieze and cornice at the ceiling. Other remaining original features are the grille above the door to the postmaster&#39;s office and the lockboxes. There is no mural or other public art in the building.</p><br>
<h2>History</h2><br>
<p>Medinas first post office was established in 1824, just before the opening of the Erie Canal. At that time it was operated out of Moores Tavern, a frequent stopover for both packet boat crews moored in the harbor created by the canal&#39;s bend at the village. By 1904 it had moved to rented space on West Center Street.</p><br>
<p>It was probably at that location in 1928 when Congress authorized a post office building for the village. After the Great Depression began the next year the project was funded. The land was purchased and the existing commercial buildings demolished in early 1931, and the post office opened the following year.</p><br>
<p>Louis A. Simon, Superintendent of Architects at the Office of the Supervising Architect under James A. Wetmore, was the designer. Simon&#39;s design for the Medina post office is, like many others he designed for small towns in New York and other states at that time, in the Colonial Revival style.</p><br>
<p>Unlike many of those other designs, this particularly ornate one was not reused anywhere else in the state. The only other known instance of its use is in Salem, Indiana. Some elements, such as the limestone belt course at attic level on a seven-bay front facade, did turn up on post offices in New York like the one in Saranac Lake, not listed on the Register due to its extensive alterations.</p><br>
<p>Mount Hope Estate is a National Register of Historic Places-listed property in Rapho and Penn Townships, Lancaster County, Pennsylvania, Lancaster County, Pennsylvania. The original estate was the center of operations of the Grubb Family Iron Dynasty during the 19th century and included over 2,500 acre, a charcoal iron furnace, a grist mill, housing for employees and tenants, plus supporting structures such as a post office, a general store, a railroad station, a school and a church. The existing mansion and grounds remain from what was once a thriving industrial headquarters complex and small village.</p><br>
<p>The mansion itself was originally constructed as a Federal-style home by the prominent family of iron masters; an 1895 remodeling transformed the structure with the addition of Victorian features. The mansion is constructed of locally quarried red sandstone, as are the outbuildings, which at one time numbered nearly 30. The grounds is also notable for its pre-1840 American formal garden, of which there are very few surviving. The estate currently hosts the Mount Hope Estate and Winery, the Swashbuckler Brewing Company, the Pennsylvania Renaissance Faire, and other events held throughout the year (see below).</p><br>
<h2>History</h2><br>
<p>The estate was the home and center of operations of the Grubb Family Iron Dynasty during the 19th century. The Mount Hope Grubbs were from an early American family whose founder, John Grubb, had come to America from Stoke Climsland, Cornwall, England and settled in Delaware. Johns youngest son Peter Grubb came to the local area about 1734, when he discovered the vast iron deposits in Lebanon County and purchased 300 acre. By 1742 he had founded the highly successful Cornwall Ironworks, named to recall his fathers ancestral home. By 1783 the familys holdings covered 10,000 acre. The property was split several times among heirs, and various lands passed between the Grubb and Coleman families in the late 18th century. In 1784, Peter Grubbs youngest son Peter Grubb, Jr. purchased an additional 212.5 acre and built a charcoal furnace at a place that he called "Mount Hope".</p><br>
<p>The Grubbs were locally prominent by at least 1784, and from 1840 to 1870 were the leading iron manufacturers in Pennsylvania, with Mount Hope Estate serving as the center of their operations. During this period the estate played host to many leading Pennsylvanians including the Shippen family, Episcopalian ministers including Bishop William White and Bishop Alonzo Potter, and other leading ironmasters including Robert Coleman. At the Grubb familys height in the mid-to-late 19th century, the estate included a charcoal furnace, mill workers houses, Mount Hope Episcopal Church (also called Hope Church, and "principally erected for the Grubb family"), the mansion, many stone outbuildings, and large formal gardens.</p><br>
<p>After the death of Henry Bates Grubb, the estate was managed by his widow, Harriet Amelia Buckley Grubb, until her children reached adulthood. In 1848&ndash;49, at a cost of about $2,000, she had an Episcopal church, known today as "Hope Church", erected on the property, "for the moral and spiritual uplift of the tenants on her estate and the employees of the Mount Hope Furnace". In 1885, Clement Brooke Grubb, one of Henry&#39;s sons, purchased the mansion and surrounding land for $300,000 from the heirs of his younger brother, Alfred Bates Grubb. That October, Clement gave the church and churchyard to the Episcopal Diocese of Central Pennsylvania.</p><br>
<p>Upon Clements death, he left it to his daughter, the last descendant of the Grubb family to own it, Daisy Elizabeth Brooke Grubb, who renovated the 32-room mansion in the Victorian architectural style. After Daisys death, the property was subdivided and passed through numerous owners until Charles Romito purchased the mansion and immediately surrounding land for $1 million in 1980 to open a winery.</p><br>
<h3>Mount Hope Estate and Winery</h3><br>
<p>After planting the vineyards and vinting wines, Romito opened the Mount Hope Estate and Winery in 1980. To promote his new business the first year, Romito hosted several events including an art show, a bluegrass concert, a fifties revival, a country-western weekend, a classical orchestra concert, and a one-day modern jousting tournament. The jousting tournament was so popular that Romito held a two-day renaissance festival the following year in the winery&#39;s parking lot, and gradually expanded this into a permanent attraction, the Pennsylvania Renaissance Faire. The property was listed in the National Register of Historic Places in 1980, and in 1991 the boundaries were increased as part of the Iron and Steel Resources of Pennsylvania Multiple Property Submission (MPS).</p><br>
<h3>Swashbuckler Brewing Company</h3><br>
<p>The Swashbuckler Brewing Company, founded by Pennsylvania Renaissance Faire general contractor Scott Bowser, has operated on the grounds since 2000, and has an annual capacity of 1,200 barrels. The company also has a brewpub on the faire grounds, called the Swashbuckler Brew Pub, which serves up its own beers. Bowser has described the beers as "middle of the road," saying "...were not going for medals. We cant; we can sell out completely on a big, hot weekend." The pub is also open from October through November during theater hours.</p><br>
<h2>Architecture</h2><br>
<p>Two distinct architectural styles are visible in the Estate. Originally constructed in the Federal style for Henry Bates Grubb between 1800 and 1805, Mount Hope Estate was the most formal ironmaster&#39;s mansion built in the area between 1750 and 1850. In 1895, Daisy Grubb oversaw significant changes, adding a Victorian ballroom, a billiard room, chandeliers, and parquet floors, and converting original hinged doors to sliding doors, while still maintaining much of the original construction, including the original facade and fireplace mantels.</p><br>
<h3>Exterior</h3><br>
<p>The south-facing two-story facade, made of locally cut red sandstone, remains substantially unchanged from the original 1800–05 construction. The wooden porch running the length of the facade appears to be a reconstruction, as part of the 1895 remodeling, of a similar original porch.</p><br>
<p>The entire west end of the house went through substantial changes in the 1895 remodelling. This included the construction of a striking three-story bay window rising to an octagonal turret with a patterned roof, and a two-story bay window near the southwest corner. The most significant additions made during the 1895 remodelling are located at the rear (north) of the house. These include a conservatory with a polygonal glass dome, a greenhouse just east of the conservatory, and an enlarged kitchen. The eastern end of the house was also remodeled in 1895, in locally cut red sandstone to match the facade. Aside from several gothic arches from the original construction, the entire visible structure at this end was built in 1895.</p><br>
<h3>Interior</h3><br>
<p>The interior of the mansion, like the exterior, is a mixture of original 1800–05 construction and decoration, blended rooms, and Victorian construction and decor.</p><br>
<p>The entry hall is almost entirely original construction. Nearly all the woodwork and decoration in this area dates to the 1800&ndash;05 period, with the exception of several balusters and newel posts on the spiral staircase, which were Victorian replacements. The major change to the entry hall was the construction of false walls, allowing the conversion of the original hinged doors into sliding doors. The second floor central hall and Washington Room (on the second floor, in the southeast corner) were also changed very little in the renovation.</p><br>
<p>The dining room, on the other hand, saw extensive remodeling in 1895. The room size was increased by the construction of a bay window, parquet floor was installed, and the room was decorated in cherry woodwork, with a gilt and crystal chandelier and sconces. The only original item remaining left in the room was the fireplace mantel. The Pink Room, named for the pink damask which covered the walls in 1895, the library, the Best Chamber (Daisy Grubb&#39;s bedroom), was also extensively remodeled.</p><br>
<p>A number of new rooms were added to the house as part of the 1895 work. A billiard room and ballroom were added in the rear of the house, and several ornate bathrooms were added on the second and third floors.</p><br>
<h2>Grounds</h2><br>
<h3>Outbuildings</h3><br>
<p>At one time there were nearly 30 outbuildings on the estate, as well as a wall surrounding the estate, all constructed of the same locally quarried red sandstone as the mansion, "of which there seems to be an inexhaustible supply on the estate". Some of the buildings, like Hope Church, are on property that was given away or subdivided over the years, and today, only four remain on the estate, all located to the north (rear) and northeast of the mansion.</p><br>
<p>The smokehouse is a square two-story building with a hipped roof, and is believed to date to the early 19th century. East of the smokehouse, a 1-story building with a three bay facade and a gabled roof was used as a post office in the late 19th century, and may have served as a schoolhouse originally. The manager&#39;s farmhouse stands 2 stories high and is L-shaped with a porch. The springhouse is also 2 stories.</p><br>
<h3>Gardens</h3><br>
<p>The overall plan of the gardens, based on English formal gardens, can be traced to the original 1800&ndash;05 construction. Although some flower beds, ornamental urns, and the round fountain in front of the mansion were installed at the time of the 1895 remodeling, the overall plan was not changed, leaving the garden as "a very rare and largely intact example of a documented American formal garden predating 1840."</p><br>
<h2>Pennsylvania Renaissance Faire</h2><br>
<p>In 1980, a jousting tournament was held in the parking lot of the newly opened winery, followed by a two-day Renaissance fair the following year. This gradually expanded to become the Pennsylvania Renaissance Faire, which is now held over 12 weekends and draws more than 250,000 patrons annually. Featuring a recreation of a 16th-century Tudor village, a replica of the Globe Theatre, Shakespearean plays, musical acts, and artisans fashioning period items such as pottery and potpourri. In 1998, the faire was named one of the top 100 motorcoach-accessible events in America by the American Bus Association.</p><br>
<h2>Other events</h2><br>
<p>In addition to hosting the Renaissance fair, the grounds are opened to the public for a number of other events. Tours of the mansion and wine tastings are available throughout the year. Each June, the site is used for the Celtic Fling and Highland Games. The Fling features traditional and modern Celtic music, food, crafts, demonstrations and competitions, and a feis is also held. The Highland Games are officially sanctioned by the Mid-Atlantic Scottish Athletics Association, and include standard events such as caber tossing and hammer throwing.</p><br>
<p>In late fall and early winter, the mansion is host to several theatrical performances. From the end of October to mid-November, Poe Evermore, a storytelling event based on the works of Edgar Allan Poe is held. Between Thanksgiving and Christmas, Victorian Christmas or A Dickens of a Christmas, the telling of the story of A Christmas Carol, is performed.</p><br>
<p>The house at 313 Albany Avenue , in Kingston, New York, United States is also known as the Hutton House. It is a frame house built near the end of the 19th century.</p><br>
<p>It is in the "Free Classical" mode of the Queen Anne architectural style, representing the period of transition from that style to the Colonial Revival style popular early in the 20th century. In 2002 it was listed on the National Register of Historic Places.</p><br>
<h2>Building</h2><br>
<p>The house is located on the west side of the street a short distance south of the Manor Avenue intersection in a residential neighborhood north of uptown Kingston. Across the street is the stone house at 322 Albany Avenue. It is on a narrow (50 by) lot that backs on woodlands that buffer Esopus Creek.</p><br>
<p>It is a two-and-a-half-story structure on a stone foundation. Siding is clapboard on the first story and wood shingles on the second. Atop is a steeply pitched gable roof.</p><br>
<p>The east (front) facade has two sections. The south one has a wraparound porch with fluted Ionic columns supporting a plain entablature. On the north is a bay window with a frieze decorated in neoclassical swag.</p><br>
<p>On the second story the facade presents two sets of windows, a pair on the south and three on the north. The shingles flare slightly above a belt course. On the third story, above a pent roof, there is imbrication and a finely detailed Palladian window.</p><br>
<p>The south profile has a projecting central bay with hipped roof. Its diverse fenestration includes a band of four leaded windows and an oculus with keyed frame. On the porch side it features a three-part window with segmented arch light.</p><br>
<p>On the north is a bay window similar to the one on the east, supporting a bumpout on the story above with another three-part window. Another small porch shelters an entrance on the west, and there is an inset entry on the southwest corner.</p><br>
<p>The first floow layout is a modified side-hall plan. The main entrance opens into a vestibule with a staircase featuring finely carved balusters and polished paneling. An archway supported by columns leads into the main parlor opposite the stair. Pocket doors separate the main space from the dining room. In the southwest corner of the rear parlor is a Queen Anne fireplace and mantel. Many other finishes remain on the first floor, such as the wood molding, wall plaster, architraves and wooden parquet floor. The second story has also kept most of its original plan and finish.</p><br>
<p>A garage behind the house has many similar elements. It is of modern construction and thus non-contributing to the National Register listing.</p><br>
<h2>History and aesthetics</h2><br>
<p>The house is recorded as having been built by a Mr. Hutton in 1896. At that time the Queen Anne style, based on the look of early 18th-century English vernacular architecture in which medieval buildings were updated with generous ornament, was maturing. Architects were beginning to add classically inspired ornaments, such as the porch columns and Palladian window on 313 Albany Avenue, to the Queen Anne vocabulary. This era, right before the turn of the 20th century, was known as the Queen Anne&#39;s "Free Classical" phase. Early in the new century this would lead to a more purely Georgian-inspired style, which eventually matured into the Colonial Revival.</p><br>
<p>Since its construction, 313 Albany Avenue has seen only one significant alteration, the removal of a wall between two parlors on the first floor during the 20th century in order to create a larger space. It has remained a private residence.</p><br>
<p>The Santa Fe Terminal Complex is an 18 acre complex of historic buildings in the Government District of downtown Dallas, Texas . Constructed in 1924 as the headquarters for the Gulf, Colorado and Santa Fe Railway and the Southwest’s largest merchandising center, three of the original four buildings remain today and have been renovated into various uses. Santa Fe Buildings No. 1 and No. 2 were listed in the National Register of Historic Places in 1997, and the buildings are Dallas Landmarks. The Santa Fe Freight Terminal is regarded as one of the chief factors in the development of Dallas commercially.</p><br>
<h2>History</h2><br>
<p>The site chosen for the terminal complex was already owned by the railroad and served by tracks connecting with the East Dallas GC&SF yard. The original Santa Fe station in Dallas was built on the site in 1884 and replaced by the 1896 Richardsonian Romanesque passenger station. The latter was one of six depots belonging to different railroads which became redundant with the completion of Union Station in 1916. The depot was razed and a vast, 100,000 cubic yard excavation done with the equivalent of a box car load of dynamite.</p><br>
<p>Project architect Lloyd R. Whitson, working with engineers and railroad planners from the AT&SF, planned the complex so that four buildings, in a line running north to south from Commerce to Young Streets, could be served by up to three sets of underground railroad tracks branching from a central subsurface line, which emerged from the underground farther south near the present Dallas Convention Center.</p><br>
<p>The complex was constructed in 1924-25 as one of the more ambitious Texas building projects of the 1920s and one of the Southwest’s largest merchandising centers. All four buildings were linked by a subterranean rail tunnel served by small steam locomotives. Construction of the buildings and the 750 ft underground freight house was a massive undertaking and work continued around the clock.</p><br>
<p>Building No. 1, also known as the Santa Fe Office Building, was constructed as the main building at 1114 Commerce Street and opened in late 1924. It contained 20 floors of offices and included a restaurant and drug store, and was the most elaborately decorated building of the complex. The structure featured several setbacks and ornamental arches designed in the Mission Revival style topped by a barrel vaulted roof. The office building provided some of the most desirable office space in Dallas in the 1925-42 period, housing many national corporations and representatives of insurance companies. The rear of the building connected to a 10-story warehouse wing fronting Jackson Street and served as the terminus of the freight depot.</p><br>
<p>Building No. 2, also known as the Garment Center, followed the same design as Building No. 1s warehouse. This structure was built as 10-story warehouses in light brown brick with large open industrial spaces and concrete columns. The building housed offices and showrooms for manufacturing companies, chemical companies, and building supplies. Near the end of construction, a 2-story structure was added on the roof of the building to serve as the clubhouse for the University Club, a major private mens club. A skybridge was erected to connect the member entrance on the eleventh floor of Santa Fe Building No. 1 with the clubhouse. The penthouse included an auditorium/great hall, library and dining room with bedrooms for resident members and nonresident members&#39; guests on the second level. Trees, shrubs and a putting green surrounded the clubhouse. Plans were made to expand the club to the roofs of Buildings No. 1 and No. 3, but the club only used the penthouse until the late 1930s. Radio station WFAA moved into and converted the former University Club space for a broadcast station in 1940.</p><br>
<p>Building No. 3 and Building No. 4 were similar in design to the other warehouses, with each being 8 stories in height and connected to the rail tunnel. Building No. 3, also known as the Ingram Freezer Building, was designed for cold storage.</p><br>
<h3>Rail operations</h3><br>
<p>Thirty-five to forty rail cars entered the tunnel each day, pulled by a "hot water bottle" locomotive. It was specially designed to prevent smoke in the main line and its six spurs in the tunnels by being charged with steam, which would last from four to five hours from a central, high pressure boiler under the office building. A 1924 Santa Fe Magazine article called the engine a "unique feature in locomotive construction, only one other of its type being in existence." They remained in service until about 1950, when diesel locomotives assumed the duty. Rail cars carried goods into the buildings and then the 21 freight elevators lifted merchandise to upper-level showrooms and first-floor trucking platforms.</p><br>
<h3>Change of ownership</h3><br>
<p>In 1942 the United States Government acquired Building No. 1 by eminent domain, converting portions of the building to serve as headquarters for the USA Army 8th Service Command as well as an enlistment center. Thousands of draftees, after reporting to the enlistment center in Building No. 1, proceeded to platforms beneath the buildings where they boarded trains bound for training centers. Informal sources suggest the building has among the strongest associations with the war effort of any building in North Texas.</p><br>
<p>After the government&#39;s acquisition of the complex, the warehouse buildings passed into various ownership. Construction of the nearby Dallas Convention Center severed the link to the main rail lines, and over time the warehouses became vacant. Santa Fe Building No. 3 was demolished in 1988 and replaced with a large parking lot. Santa Fe Buildings No. 1 and No. 2 were listed in the National Register of Historic Places in 1997 and renovated over the years, although the isolated No. 4 building remained abandoned for many years.</p><br>
<h2>Current use</h2><br>
<p>Santa Fe Building No. 1 still houses offices for the federal government, with additional space in the adjacent Earle Cabell Federal Building and Courthouse. Santa Fe Building No. 2 was redeveloped into SoCo Urban lofts. Santa Fe Building No. 4, at the complex’s southernmost point, reopened in 2009 as the downtown Dallas Aloft Hotel. Remnants of the tunnels still remain in the buildings today.</p><br>
<p>The house at 322 Albany Avenue , in Kingston, New York, United States, is a stone building dating to the early 19th century. In the 1840s it was renovated in the Greek Revival architectural style.</p><br>
<p>Almost a century later it was renovated again, this time in the Colonial Revival style. It was listed on the National Register of Historic Places in 2002.</p><br>
<h2>Building</h2><br>
<p>The house occupies a large lot on the east side of Albany between Manor and Ten Broeck avenues, just opposite 313 Albany Avenue. The neighborhood is primarily residential.</p><br>
<p>It is a two-story seven-by-two-bay building with a one-and-a-half-story frame rear wing topped by a gabled roof with a heavily molded, dentilled cornice pierced by a brick chimney. In the center of the first story on the west (front) facade is a one-bay porch. Its low hipped roof is supported by pairs of Ionic columns rising to a molded cornice and entablature. There is a projecting bay window on the south profile.</p><br>
<p>The paneled main wooden door has leaded sidelights and top. It leads to a center hallway, with a large parlor on the south. This room has much Greek Revival-era decoration, such as its architraves, mantels and the newels and balusters on its staircase. The west parlor on the north side, currently used as the dining room, has similar finishes, and the northeast one has Colonial Revival elements. The upper floor and attic are also mostly original to their era of construction or renovation.</p><br>
<p>In the rear of the lot are a swimming pool, work shed, and a former garage now used as an apartment. They are non-contributing to the National Register listing.</p><br>
<h2>History</h2><br>
<p>The house&#39;s structural origins are in the early 19th century, probably around 1820. The north gable is believed to be the most intact portion of the house from this time, due to the less refined and more weathered character of the stone there compared to the south. Due to subsequent expansions and renovations it is impossible to tell what its original plan was.</p><br>
<p>In the 1840s, its then-owner expanded it in the then-popular Greek Revival style, a common occurrence with many small older houses at that time. Much of its interior decoration was added during that construction.</p><br>
<p>Ninety years later, in the 1930s, another owner expanded the house, this time in the Colonial Revival style. The rear wing was added, new stonework was put in on the south and on the first floor a wall was removed to make a larger space of one of the parlors. The northeast parlor was also decorated in that style. The most visible Colonial Revival touch from that work is the front porch with its classically inspired columns and entablature.</p><br>
<p>At that time, the city was encouraging the restoration and preservation of its remaining colonial architecture. One of those most involved in this effort was local architect Myron Teller. It is not known whether he had anything to do with the work at 322 Albany Avenue, but the attention to detail and the quality of the work suggest his influence.</p><br>
<p>The Edisen Fishery is a fishery located in Rock Harbor in the Isle Royale National Park in Michigan. It was designated a Michigan State Historic Site in 1976 and listed on the National Register of Historic Places in 1977.</p><br>
<h2>Description</h2><br>
<p>The Edisen Fishery is a collection of seven buildings making up a commercial fishery. The complex includes a single-story fish house and net house, cabins, a chicken coop, whaleboat, and ancillary docks and fishing equipment. All buildings are constructed from logs covered with tongue-and-groove siding.</p><br>
<p>Fish House: The fish house is a one-story gable roof building constructed half of horizontal logs with saddle notching, and half of frame construction with vertical flushboarding. It was constructed in 1900.</p><br>
<p>Residence: The house was also built in about 1900. It is a small one-story combination horizontal log and shiplapped building, with a gable roof and on a log foundation. There are two entrances to the three-room house, with random window locations. The interior has wooden tongue-in-groove floors.</p><br>
<p>Net House: The net house was constructed in 1895. It is a single-story building, built as a combination of saddle-notched, horizontal log construction on one half and a frame structure with a shed roof with horizontal planks on the other. The exterior is sheathed with tarpaper, and there is a simple plank door.</p><br>
<p>"Honeymoon" Cabin: An auxiliary sleeping cabin, built in 1925 by Peter Edisen. It is a one-story, one room, frame shiplapped structure built on a log foundation with a gable roof. A simple, two-paneled door is located on one elevation, and a small window on another.</p><br>
<p>Sleeping Cabin: Another sleeping cabin dates to 1895. It is a one-story building constructed of horizontal logs with saddle notching, and chinked with moss and cloth. It has a gable roof covered with asphalt. One elevation contains a vertical plank door.</p><br>
<p>Chicken Coop: The chicken coop was built in 1934. It is a frame, horizontal flushboarded building with a shallow-pitched gabled roof and log foundation. It contains a plank door and several windows.</p><br>
<p>Privy: The privy is of later construction, and is a frame building with horizontal plank walls and a shed roof sheathed with asphalt shingles. A vertical plank door is in one elevation.</p><br>
<h2>History</h2><br>
<p>In the 1880s, the fishing industry around Isle Royale was booming due to the relative ease of shipping goods via refrigerated rail cars. The fishing population was composed primarily of Scandinavians fishing at Isle Royale in the April-November months, and returning to their homes on shore during the winter. Two such fishermen, a Mr. Mattson and Mr. Anderson, established this fishery, building a log cabin and net house in 1895, and a main residence and fish house in 1900. The buildings were constructed using easily available local materials and built using strictly functional designs. The fishery was in fact named for Pete Edisen, one of the last commercial fishermen on Isle Royale.</p><br>
<p>The Johnsons and Edisens added a sleeping cabin and chicken coop to the complex in 1925 and 1934, respectively. The Edisens lived in the net house until 1951, when they moved into the main residence and the net house was converted back to its original use. As of 2009, the fishery is still operational and open to the public.</p><br>
<p>The Houghton County Traction Company Ahmeek Streetcar Station is a rail station located at the corner of US 41/M-26 and Hubbell Street in Ahmeek, Michigan. It was listed on the National Register of Historic Places in 2000.</p><br>
<h2>Houghton County Traction Company</h2><br>
<p>The Houghton County Traction Company was started in 1900 as an interurban line in the Keweenaw Peninsula. The first section of track ran from Hancock to nearby Boston; in 1901, the line was extended to Calumet. During the next few years, a spur was built running to Lake Linden and Hubbell, and in 1908 the line was extended to just north of Mohawk.</p><br>
<p>The Houghton County Traction Company remained in business until 1932, in the depths of the Great Depression.</p><br>
<h2>Station History</h2><br>
<p>The Ahmeek Station is one of the original trolley stops of the Houghton County Traction Company, which served Ahmeek and the surrounding location. The original stop in Ahmeek was a simple shelter. However, in 1909 the Allouez Mining Company leased land to the Houghton County Traction Company to construct a sub-station and waiting at this location. A building was constructed that year, but almost immediately outgrew its space. In 1910, the Traction Company constructed a small addition, which has since been removed. In 1931, Highway 41 was widened by the Michigan Department of Transportation, and the entire building was moved approximately 40 feet west to the other side of the railroad tracks.</p><br>
<p>After the rail line folded, the station was used for various purposes, including a bus stop and gas station. An ice cream window has been in place since the early 2000s and in summer 2011, a local non-profit organization called the North Woods Conservancy opened a visitor&#39;s center in what was the waiting room. The current owners also just finished renovating the entire original building, including the apartment upstairs that the original operators of the station lived in.</p><br>
<h2>Description</h2><br>
<p>The Houghton County Traction Company Ahmeek Streetcar Station is a rectangular wood-framed two-story building with a gabled roof and clapboard siding. A single story wing with two garage doors faces the highway. The front of the building has a pair of doors in the center and large windows are at each end of the first floor. Above are four 1/1 double hung windows. One of the first floor windows has a walk-up sliding window with a shed roof overhang. The rear of the building was originally the site of the train platform.</p><br>
<p>Inside, the first floor contains a large waiting room, now serving as a seating area for a restaurant, and a kitchen area one end along with restrooms. The main room is finished with headboard below a chair rail and has a tongue and groove headboard ceiling. The upstairs area was originally the stationmaster&#39;s apartment, and contains a kitchen, living room, bedroom, and a bathroom.</p><br>
<p>Kent Plantation House is the oldest standing structure in Central Louisiana. Listed since 1971 in the National Register of Historic Places, Kent House is located in Alexandria in Rapides Parish. The plantation house is a representation of southern plantation life between 1795 and 1855. The main structure was erected in 1800. The bousillage Creole house and restored period outbuildings are now a showcase for tourists.</p><br>
<h2>History</h2><br>
<p>Kent Plantation House displays original artifacts from people who worked and lived at the house during its operation.</p><br>
<h3>Buildings</h3><br>
<p>H. Parrott Bacot, former director of the Anglo-American Art Museum at Louisiana State University in Baton Rouge, Louisiana, led the interior restoration.</p><br>
<p>The several outbuildings surrounding the main structure are furnished with Federal, Sheraton, and Empire pieces.</p><br>
<p>The Milk House was built between 1820 and 1830; dairy products, such as cheese, milk, and butter, were prepared and stored there. The Slave Cabin shows the primitive conditions in which the slaves at the plantation lived. The Blacksmith Shop was constructed about 1815. The Kitchen contains an open hearth fireplace for cooking.</p><br>
<h3>Marker Text</h3><br>
<p>The marker at the front entrance of the Kent Plantation House reads:</p><br>
<p>Kent House, the oldest known standing structure in Rapides Parish, was built by Pierre Baillio, completed in 1800. Baillio constructed the house on land received through a Spanish land grant circa 1794.</p><br>
<p>The Dunlap coke ovens are the remnants of a coke production facility near Dunlap, in the USA state of Tennessee. Built in the early 1900s, the facility consists of five batteries of 268 beehive ovens, which operated under various companies until the early 1920s. The ovens are now listed on the National Register of Historic Places, and are maintained by the Sequatchie Valley Historical Society as part of Dunlap Coke Ovens Park.</p><br>
<p>The rise of the steel industry during the Industrial Revolution brought about an exponential increase in the demand for coke, a fuel derived from the carbonization of coal that was used primarily in the production of pig iron. The Dunlap coke facility, which converted coal mined atop Fredonia Mountain into coke for use in blast furnaces in nearby Chattanooga, brought drastic change and modernization to Dunlap and the central Sequatchie Valley, the economy of which had long been based on subsistence agriculture. While the ovens themselves are all that remain from Dunlap&#39;s coke production operations, the Sequatchie Valley Historical Society has redeveloped the coke ovens area into a substantial public park and museum.</p><br>
<h2>Location</h2><br>
<p>The Sequatchie Valley is a long, narrow anticline valley carved into the southern section of the Cumberland Plateau. Dunlap, the county seat of Sequatchie County, is located near the center of the valley. The relatively steep walls of the Plateau rise roughly 1,000 ft above the valley floor, which is traversed by the Sequatchie River. Fredonia Mountain, a section of the western valley wall, rises steeply a few miles west of Dunlap. The Dunlap Coke Ovens are situated at the base of Fredonia Mountain, along a stream known as Coops Creek. The ovens and surrounding park are located on Mountain View Road, just under a mile west of downtown Dunlap.</p><br>
<h2>The Dunlap ovens and the coking process</h2><br>
<p>The Dunlap coke ovens facility consists of five batteries— four "double" batteries of ovens built back-to-back in staggered formation, and one "single" battery of ovens resting against an embankment. The batteries are all approximately 9 ft tall and 35 ft wide, and range in length from 180 ft to 725 ft. The largest battery contains 100 ovens built back-to-back, and the smallest battery contains 24 built back-to-back. The lone "single" battery contains 38 ovens, and measures 580 ft. Each battery rests on a foundation of clay.</p><br>
<p>The ovens themselves are 12 ft in diameter, with sandstone exteriors and firebrick interiors. Each oven has an opening at the top and a "window" on the side. In the early 1900s, railroad tracks ran across the top of each battery. An incline railway connected the ovens to a coal mine further up the mountain slope, and railroad cars would carry coal from the mine to the tops of the batteries and dump the coal into the ovens&#39; top openings.</p><br>
<p>During the coking process, a laborer would level the deposited coal through the side window using a scaper. Once the coal was ready, the side window would be sealed with clay, leaving a 1 in opening to allow the entry of air. The process, which essentially involves heating bituminous coal in a closed chamber to remove its volatile material, took about 72 hours. At the end of the process, the clay seal was broken, and the coke was removed and placed on a train for shipment to an iron furnace in Chattanooga. Two tons of coal typically produced one ton of coke.</p><br>
<h2>History</h2><br>
<p>The arrival of the railroad in the 1880s brought major coal mining operations to the southern Cumberland Plateau. Coal was first mined on Fredonia Mountain in 1899, although it was considered too soft for domestic purposes. By 1902, Douglas had constructed the first 50 coke ovens, developed several coal mines, built the incline railway, and had established a company town with a commissary and clubhouse. The company suffered from labor problems, however, and never quite developed a method of separating the dirt from the coal. In 1904, Douglas halted operations.</p><br>
<p>The Chattanooga Iron and Coal Company purchased the Douglas operation in 1905, and the following year built a steam-powered coal washer and constructed additional coke ovens. Chattanooga Iron and Coal owned quarries in Georgia and a blast furnace in the Tannery Flats section of Chattanooga. At its blast furnace, the company used coke from its Dunlap operation to convert iron ore mined at its Georgia quarries into pig iron. The operation proved profitable until 1916, when a boiler explosion destroyed its coal washer. The company built a new washer and added more coke ovens that year, but the cost and poor performance of the new washer drained the company financially. In 1919, the company sold its entire iron and coke operation to the Southern States Iron and Coal Company.</p><br>
<p>By 1920, Dunlap effectively consisted of two towns, just under a mile apart. Dunlap proper (the towns courthouse square and downtown area) had a population of 765, whereas the company town operated by Southern States Iron and Coal (at the present coke ovens park site) had a population of 700. The companys 350-man Dunlap workforce included a sizeable African-American population that was segregated. The coke ovens required a crew of 85 to remain in full operation. Southern States Iron and Coal produced coke at Dunlap until 1922, when it shut down its Dunlap operations. In 1928, brothers E.P. and E.K. Rosamund purchased Southern States&#39; Dunlap properties with plans to revive the coke operation, but with the onset of the Great Depression and plummeting coal prices, their plans never materialized.</p><br>
<h2>Dunlap Coke Ovens Park</h2><br>
<p>After the 1920s, the Dunlap Coke Ovens lay dormant for over a half century. By the 1980s, all that remained of the Dunlap operations were the ovens, a slate pile and coal washer ruins, two company houses (drastically modified), and the clubhouse. Some of the ovens retained only their sandstone frame, some retained only their brick interiors, and some had collapsed entirely.</p><br>
<p>In 1985, the ovens were added to the National Register of Historic Places. The property, which had come under the ownership of the Bowater Corporation, was donated to the Sequatchie Valley Historical Association later that same year. With the help of hundreds of volunteers, the association cleared tons of trash from the area, and the Dunlap Coke Ovens Park opened in 1987. To raise funds for park staffing and maintenance, the Sequatchie Valley Historical Association built an amphitheater adjacent to one of the oven batteries, and held its first annual Coke Ovens Bluegrass Festival. In 1989, the park received $71,000 from the estate of Rhea County historian David Henry Gray, which it used to reconstruct the commissary on its original foundation. The reconstructed building now houses the Coke Ovens Museum.</p><br>
<p>Along with the museum, ovens, and amphitheater, Dunlap Coke Ovens Park includes a coal mine replica with mining machinery on display, the ruins of the 1906 coal washer, a replica of the Dunlap depot, a caboose, and various park shelters. A hiking trail now follows the incline railway grade to the former mining areas atop Fredonia Mountain.</p><br>
<h2>Annual bluegrass festival</h2><br>
<p>The park&#39;s signature event is the annual bluegrass festival, which takes place the first weekend in June. The event attracts bands and fans from around the region, including the strong bluegrass community in Chattanooga. The festival continues the long friendship between bluegrass musicians and the historical association. Local pickers played an integral role in the development of the park from the beginning, providing effort, connections, and entertainment to help with clean-up, construction, and fundraising. The event is promoted as family-friendly.</p><br>
<h2>Documentary</h2><br>
<p>In 2008, filmmaker Charli Wyatt produced a half-hour program about the park and bluegrass festival. "Coke Ovens Slaves" tells the story of the volunteers and musicians who work to preserve local history and culture through the Coke Ovens park and festival. The program aired several times on Chattanoogas PBS station, WTCI. A DVD was also released locally. The title of the film refers to a song written by Ed Brown, the festivals music director and an original member of the historical society.</p><br>
<h2>Bluegrass monument</h2><br>
<p>In 2008, a group of local bluegrass fans erected and dedicated a monument to those bluegrass musicians who have performed at the park or in the Sequatchie Valley. Musicians&#39; names are inscribed on stone slabs on each side of the monument.</p><br>
<p>The Germantown Colony and Museum is an historical preservation project north of Minden in Webster Parish in northwestern Louisiana, USA. It was among three sites in Louisiana founded by former members of the Utopian Movement called the Harmony Society in the early 19th century.</p><br>
<h2>Historical background</h2><br>
<p>The original colonists came from Germany, having first settled in Harmony, Pennsylvania, in 1803, then in New Harmony, Indiana in 1814, and finally in 1825 in Economy (now Ambridge, Pennsylvania).</p><br>
<p>About 250 former members of the Harmony Society, many of whom left Economy, Pennsylvania, during 1832, decided to leave because of disagreements over the society&#39;s custom of celibacy. They followed a visionary named Bernhard Müller, who called himself "Count de Leon". The Count called upon all the heads of Europe to relinquish their crowns in a "new world to come."</p><br>
<p>The New Philadelphian Congregation, established by the New Philadelphia Society, planted its first colony in 1832 at Phillipsburg (now Monaca), Pennsylvania. Perhaps because of ongoing litigation, and other financial problems, Müller&#39;s group decided to sell their communal land in Pennsylvania in 1833. Some community members stayed, while others followed Müller and his family down the Ohio River on a flatboat. Soon they started again at Grand Ecore, twelve miles north of Natchitoches, Louisiana. There Müller died and was interred in Natchitoches Parish. When the Count died, a congressman</p><br>
<p>obtained passage of a bill donating a tract of land to the colonists and to Countess Leon, the Count&#39;s widow. The roots of the Germantown Colony were hence established.</p><br>
<h2>The Countess takes charge</h2><br>
<p>In 1835, the group, then led by Müller&#39;s widow, the Countess, settled seven miles (11 km) northeast of Minden in what was then Claiborne Parish. For nearly four decades, the colony operated on a communal basis until it dispersed in 1871, when Webster Parish was created from Claiborne Parish. The Countess then moved to Hot Springs, Arkansas, where she died in 1881.</p><br>
<p>One of three Utopian Society settlements in this area, the Germantown Colony, located off Louisiana Highway 531, was the most successful and lasted the longest, having peaked at fifty to sixty pioneers but usually with fewer than forty followers. The settlement had been planned by the Countess&#39; husband, who died on August 29, 1834, of yellow fever at Grand Ecore near Natchitoches, before he ever reached the intended Webster Parish.</p><br>
<p>Leon and his followers attempted to build an earthly utopia, socialist in practice, while awaiting for the Second Coming of Christ. For his religious views, Leon had been exiled from Germany. He intended to plant the settlement in Webster Parish to coincide with the latitude of Jerusalem, 31 degrees, 47 minutes. The colonists worshiped under oak trees at the center of the colony. They supported themselves from farming, with a concentration on cotton. According to the Louisiana historian Marietta LeBreton of Northwestern State University, there was also navigation nearby on the lower Dorcheat Bayou from Lake Bistineau to Minden.</p><br>
<p>The colony thereaftrer was maintained by members of the Krouse family, including Dr. Francis Otto Krouse.</p><br>
<p>In 1973, Krouse descendants, including Chester Phillip Krouse (1899–1981) and his sister, Ruby Florence Krouse (1906–2005), donated an acre of land to the Webster Parish Police Jury, equivalent to county commission in other states. Three of the original buildings, the Countess’ cabin, the kitchen-dining hall, and the Dr. Goentgen cottage, survive at the site. The general store no longer exists. Replicas have been constructed of the smokehouse and the blacksmith shop. The buildings contain items used by the early settlers. There is also a sugar cane press outside. Some of the original wallpaper remains in the large room of the Countess&#39; cottage, paper which she had ordered from New Orleans to cover the rough walls. A refined woman, the Countess gave piano instruction to girls and young women in her cottage.</p><br>
<p>The small Germantown Cemetery at the site holds the remains of many of the settlers. Tombstone information reveals that a number were born in Germany. In some cases, the cause of death is listed on the markers.</p><br>
<h2>Establishment of the museum</h2><br>
<p>In 1954, then Governor Robert F. Kennon unveiled a still standing historical marker of the Germantown Colony. The sign is located at the intersections of Broadway, Elm, and East and West streets, across from the Webster Parish Library. The Germantown Museum did not open to the public until May 10, 1975, with then former Governor Kennon, a Webster Parish native and a descendant of Germantown colonists, in attendance for the observation. In 1979, the colony was placed on the list of the "Cultural Resources Worthy of Preservation" by the United States Department of the Interior. As Germantown, the village was listed in 1979 on the National Register of Historic Places.</p><br>
<p>In 2008, the Louisiana State Legislature under Act 847 declared it appropriate for the state to operate the Germantown Colony and Museum. On July 1, 2009, the museum switched from parish to state control. Museum hours are 9 a.m. to 4 p.m. Thursday through Saturday. A Bluegrass music festival is held annually the last Saturday of September. The facility is closed during the winter. There is no admission.</p><br>
<p>Germantown Colony is featured in two 1977 articles in the publication North Louisiana History, based in Shreveport. Pauline Jennings penned "Elisa Leone: First Lady of the Germantown Colony," in Vol. 8, No.2 (Winter 1977), pp. 43–51. Rita Moore Krouse wrote "The Germantown Store" in the same edition, pp. 53–64.</p><br>
<p>The Germantown Colony Museum temporarily closed on June 3, 2013, for the construction of a new visitors center in the dogtrot style of architecture. The visitors center, which cost $512,000, opened to the public in November 2014. It provides a climate-controlled area to display more than a hundred artifacts used by the settlers. The renovation includes restrooms and new office space.</p><br>
<p>The museum director is former State Representative Jean Doerge of Minden. She had worked in 2008 to secure funding for the building. Webster Parish raised more than $60,000 in contributions and in-kind donations of plumbing and electrical fixtures. Germantown Colony and Museum is the last museum to have been added to the state system. "We are telling a part of history thats almost been lost. Were opening that up to not only adults but children as well," said Doerge.</p><br>
<p>After all the renovation was completed, the museum fell victim to mid-year budget cuts required by Governor Bobby Jindal. Beginning April 13, 2015, the museum became open to the public only on Saturdays, instead of the former three-day a week schedule.</p><br>
<p>Wayne Waddell, a former state representative from Shreveport who is an administrator for Secretary of State Tom Schedler, said that funding for the museum is secure for the 2016–2017 years, despite the questionable condition of the overall state budget. Waddell said that Schedler will continue, where possible, to transfer facilities such as Germantown Colony and Museum, to the local communities.</p><br>
<p>The Frank M. Johnson Jr. Federal Building and United States Courthouse is a United States federal building in Montgomery, Alabama, completed in 1933 and primarily used as a courthouse of the United States District Court for the Middle District of Alabama. The building is also known as United States Post Office and Courthouse—Montgomery and listed under that name on the National Register of Historic Places. In 1992, it was renamed by the United States Congress in honor of Frank Minis Johnson, who had served as both a district court judge and a court of appeals judge. It was designated a National Historic Landmark in 2015.</p><br>
<h2>Building history</h2><br>
<p>By 1929, there was an acute need for a new federal building in Montgomery. Federal offices were crowded, outdated, and scattered throughout the city. The United States Congress authorized funding for a new building in 1930, and the government purchased a lot containing the Court Street Methodist Church for $114,000 in 1931. The congregation relocated and the church was razed. The government, which had been authorized under the Public Buildings Act of 1926 to hire private architects, selected Frank Lockwood, Sr., of Montgomery to design the building. The Office of the Supervising Architect under James A. Wetmore oversaw the project. Lockwood had completed a number of important projects in Montgomery, including the wings of the Alabama State Capitol and the Carnegie Library. The cornerstone was laid in a Masonic service on July 16, 1932, and the building, which included a post office, was completed and occupied the following year.</p><br>
<p>In 1978, the post office moved to a new downtown facility. Over time, the remaining tenants required additional space and an annex designed by Barganier Davis Sims Architects Associated, a Montgomery firm, was completed in 2002.</p><br>
<p>In 1992, the building was renamed the Frank M. Johnson Jr. Federal Building and United States Courthouse to honor one of the countrys most distinguished judges who presided there for nearly three decades. President Dwight Eisenhower had appointed Frank M. Johnson Jr. to the position of district judge for the middle district of Alabama in 1955. Johnson ruled on a series of cases challenging Alabamas systematic racial discrimination. In 1956, Johnson ruled that segregated seating on Montgomery&#39;s buses was unlawful, justifying the Montgomery bus boycott. He also ruled in 1965 that it was legal for the Civil Rights march from Selma to Montgomery to proceed. In 1979, President Jimmy Carter elevated him to the Fifth Circuit Court of Appeals, on which he served until he was reassigned to the Eleventh Circuit Court of Appeals in 1981. Johnson assumed senior status in 1991 and remained active until his death.</p><br>
<p>In 1997, the Annex received the Citation Award from the American Institute of Architects Committee on Architecture for Justice. The building was listed in the National Register of Historic Places in 1998, and in 2015 it was additionally designated a National Historic Landmark.</p><br>
<h2>Architecture</h2><br>
<p>The building is located on a parcel of land bounded by Lee, Court, Clayton, Catoma, and Church streets, and the historic Montgomery Bus Station, where a mob attacked the Freedom Riders in 1961. The rising terrain and trapezoidal block give the building a dramatic and commanding site that is intensified by dignified and impressive architecture.</p><br>
<p>Architect Frank Lockwood, Sr., designed the building in the Renaissance Revival style of architecture. The building&#39;s design conveys the dignity and stability of the federal government, which was particularly important during the Great Depression. It does not, however, contain excessive or exuberant ornamentation considered inappropriate for a somber period in American history. The quality materials and craftsmanship inspired confidence as citizens witnessed this major construction effort. Characteristics of the style include the rusticated first story, arched openings, tile roof, and columns and pilasters.</p><br>
<p>The building is five stories tall and has an essentially U-shaped footprint with an interior lightwell. The first level is clad in large rusticated limestone blocks atop a granite base, and the upper stories are covered in smooth limestone ashlar. The rear elevation is clad in limestone, with the interior of the lightwell clad in buff-colored brick.</p><br>
<p>The symmetrical principal facade faces Church Street. It is dominated by two pediments at each end that are supported by four monumental engaged Doric columns. A frieze with incised triglyphs and a dentil (rectangular block) course is found beneath the pediments. The Lee Street elevation features a colonnade of eight Doric columns, while the Court Street elevation contains three-story pilasters. Entrances have bronze doors with pediments decorated with eagles and floral scrolls.</p><br>
<p>Round-arch openings on the first story have articulated voussoirs. Remaining windows on the upper stories are rectangular; those on the second story are topped by either carved surrounds or pediments. The shallow hipped roof is covered with red terra-cotta tiles. A penthouse originally used as a weather station occupies the roof. The interior boasts an elaborate L-shaped public lobby on the first floor. The floor is covered with travertine marble trimmed in green Maryland marble. Walls are clad in Briar Hill, Ohio, sandstone, and ceilings are coffered plaster with gold leaf. Original brass postal service windows and bronze grilles remain.</p><br>
<p>The most significant interior space is the USA District Courtroom, where Judge Johnson presided, on the second floor. Limestone arches surround the windows. A stone niche behind the judges bench is painted with white stars on a blue field. A stenciled wood ceiling, designed in the Italian Renaissance style, tops the room. It was repainted and re-gilded in the 1970s. A fourth-floor appellate courtroom is paneled in black walnut, which was also used in judges chambers in the original building.</p><br>
<p>Other original interior spaces include elevator lobbies, judges&#39; chambers, and the district law library. Terrazzo and marble floors, marble wainscot, bronze elevator doors with bas-relief panels, and bronze radiator grilles are found throughout the building.</p><br>
<p>The Annex, which was completed in 2002, has a radial design that is stylistically compatible with the original building. The Annex contains judges&#39; chambers, district courtrooms, and bankruptcy courts. Between 2002 and 2006, the original building was renovated and the interior spaces reconfigured to accommodate the needs of the court.</p><br>
<h2>Significant events</h2><br>
<p>1933: Construction completed</p><br>
<p>1956: Judge Johnson strikes down legality of segregated bus seating</p><br>
<p>1955: Frank M. Johnson Jr. appointed District Judge</p><br>
<p>1965: Judge Johnson rules the Selma to Montgomery march can proceed</p><br>
<p>1978: Post Office vacates building</p><br>
<p>1992: Building renamed to honor Judge Johnson</p><br>
<p>1997: Annex receives Citation Award from the American Institute of Architects Committee on Architecture for Justice</p><br>
<p>1998: Building listed in the National Register of Historic Places</p><br>
<p>2002: Annex completed</p><br>
<p>2015: Designated a National Historic Landmark</p><br>
<h2>Building facts</h2><br>
<p>Location: 15 Lee Street</p><br>
<p>Architects: Frank Lockwood, Sr. Barganier Davis Sims Architects Associated</p><br>
<p>Construction Dates: 1932–1933; 1996–2002</p><br>
<p>Architectural Style: Renaissance Revival</p><br>
<p>Landmark Status: Listed in the National Register of Historic Places</p><br>
<p>Primary Materials: Limestone, Granite, and Brick</p><br>
<p>Prominent Features: District Courtroom, Colonnade</p><br>
<p>The Powers Church is a historic church in York Township, Steuben County, Indiana, described as a "fine example of early northern Indiana Colonial Revival architecture". In 1983, it was added to the National Register of Historic Places, where it is listed as Free Church, a reference to the Church&#39;s non-denominational nature.</p><br>
<p>The church was built between 1875 and 1876 for $1827 on land donated by the Powers family, one of the earliest settlers in the area.Steuben Republican (1937) "Powers Reunion Held on Sunday at Old Farm Site", July 21, 1937, p. 9.</p><br>
<p>In the 1920s, a dwindling congregation brought an end to the regular services, although the church was still used for funerals and other events until the 1950s, when it was closed. The building sat unused until 1976, at which time a restoration effort was undertaken. Restorers found that many of the original furnishings were still serviceable, including the oak and butternut woodwork and pews as well as the carpet. The steeple was most in need of restoration.</p><br>
<p>In 1978, the church was again opened to the public, starting an annual tradition of three monthly non-denominational services – June, July, and August – led by area ministers and featuring local musicians, and often followed by an ice cream social.</p><br>
<p>The building consists of only two rooms: a small anteroom which leads, via two flanking doors, to the much larger sanctuary. The steeple is accessed via a rough-hewn ladder in the anteroom. Behind the church, to the east, stands a boulder commemorating the arrival of the Powers settlers in 1837, and beyond that lies the 15 acre Powers Cemetery, where the first burials date from 1839, nearly 40 years before the church.Haynie, Devon (2009) "", Fort Wayne Journal Gazette, July 19, 2009, accessed August 2009.</p><br>
<p>Cardinal Peak is the highest peak of the Chelan Mountains, a subrange of the Cascade Range in the USA state of Washington. It is located in Wenatchee National Forest at the head of the Entiat River drainage basin, in Chelan County. To the west and north, streams flow into Lake Chelan. Cardinal Peak is less than 5 mi from the lake and rises 7,500 ft above the lakeshore. At 8,595 ft high, it is the 49th highest peak in Washington. Its 2,070 ft prominence ranks 132nd in the state.</p><br>
<p>The rocks of Cardinal Peak are mainly granodiorite and hornblende quartz diorite, minerals of the Cardinal Peak pluton.</p><br>
<h2>History</h2><br>
<p>Cardinal Peak was named by Albert H. Sylvester because it is the highest peak in the region.</p><br>
<p>The Tousley-Church House is located on North Main Street  in Albion, New York, United States. It is a brick house in the Greek Revival architectural style built in two different stages in the mid-19th century.</p><br>
<p>It shows the strong influence of Minard Lafever, a prominent contemporary practitioner of the style, although its own architect is not known. For many years it was owned by descendants of Sanford E. Church, a local politician who was prominent statewide. Since 1930 it has been the headquarters of the local chapter of the Daughters of the American Revolution (DAR). In 2002 it was listed on the National Register of Historic Places.</p><br>
<h2>Building</h2><br>
<p>The Tousley-Church House is located in an 0.8 acre lot on the northeast corner of North Main and Linwood Avenue, in the section of the village of Albion north of the Erie Canal (now part of the New York State Barge Canal), in the Town of Gaines. The terrain is level. The surrounding neighborhood is residential, with most houses dating to the late 19th or early 20th centuries.</p><br>
<p>Mature trees on the front lawn provide shade. A narrow sandstone walk leads from the sidewalk on North Main to the house&#39;s main entrance. An unpaved parking area in the rear is accessed through a curb cut on Linwood.</p><br>
<h3>Exterior</h3><br>
<p>The house, the only building on the property, consists of three sections, a main block and south wing, both brick, and a frame rear wing to the east. The main block is a one-and-a-half-story structure on a fieldstone foundation with an ashlar limestone water table. The brick above is laid in common bond. It rises to a wide wooden frieze below the hipped roof surfaced in bitumen, pierced by four brick chimneys near the corners.</p><br>
<p>In the southerly two of the three bays on the west (front) facade, the windows are set off by plain stone sills and lintels with black wooden louvered shutters. The wide frieze is topped with a dentil molding topped by bead and reel molding. Above the windows are grilles in the shape of Greek keys with hinged windows behind them.</p><br>
<p>The north bay has a small projecting portico sheltering the main entrance. The steps leading up to it and its deck are made of large gray limestone blocks. Wide cheek walls on either side of the stairs have a quarter-round profile following the steps fall line to identical square stone pedestals topped with cap blocks, currently holding large flower pots, identical to the plinth blocks underneath the two wooden fluted Ionic columns supporting the porticos hipped roof. It has an elaborate entablature with cornice, frieze, dentilled taenia and architrave. The gutter is surrounded on three sides by a gutter with acroteria topped with an anthemion. Two engaged pilasters with Tuscan capitals support the roof at the rear.</p><br>
<p>The south wing is only one story in height, but has similar treatments to the main block, with less decoration. A full porch spans the west facade, where a secondary entrance is located in the middle of its three bays. It is also floored in gray limestone with similar steps, but is supported by Doric columns, backed at the wall by similarly treated pilasters, with a plain frieze. A three-sided bay projects from the south wall.</p><br>
<p>On the east, the one-and-a-half-story frame wing&#39;s foundation has been partially replaced by stone-faced concrete block and stuccoed over. The stairs to its entrances on the south and east are also concrete. A small gabled canopy is over the east door. Its windows are smaller than those on the rest of the house. The roofline has a boxed cornice with raking fasciae.</p><br>
<h3>Interior</h3><br>
<p>The main entrance, framed by square pilasters, sidelights and a transom with a pattern of repeating semicircles set in a rectangular border, holds a stained and varnished door with recessed panels decorated in a leaf-and-dart pattern. It opens into an entrance hall with a switchback stair, its open stringers decorated with a scroll relief. The newel at the base consists of a square bottom with a round turned post carved in an acanthus leaf relief pattern. It is capped in a carved acanthus scroll. Narrow turned balusters support the handrail, and four Doric columns support the landing and upper run.</p><br>
<p>The windows in the entrance hall have wide casings with backband trim, shouldered architraves and thick cap moldings. A large plaster ceiling medallion, with a floral rosette including two strings of striated petals inside a ring of alternating acanthus and small rosettes, holds an acorn-globe light fixture on a chain. At the rear of the entrance hall is a former bedroom. Its fireplace has a black marble Italianate mantel and cast iron firebox.</p><br>
<p>South of the entrance hall is a large room with 11-foot-9-inch (11.75 ft) ceiling occupying the rest of the main block. It is elaborately decorated as well, starting with a one-foot (30 cm) three-member molded baseboard running around the rooms entire perimeter. The door and window surrounds are more detailed than the ones in the entrance hall. Their architraves have a regularly spaced row of rosettes, and their cap moldings have a scroll relief surrounded by freestanding anthemia. The architraves rosette motif is repeated on the black marble mantel, with a cast iron surround inside it done in</p><br>
<p>reed-and-tie molding. Three more acorn-globe light fixtures hang from the ceiling by chains. The second floor has three large rooms with sloped plaster ceilings, following that of the roof above.</p><br>
<p>A paneled double door connects to another large room in the south wing. It has a lower ceiling and more restrained decoration — the window and surrounds are a flat casing with molded backband A Colonial Revival fireplace with exposed brick mantel is in the center wall of the projecting bay.</p><br>
<p>The east wing contains the kitchen and a woodshed. It has seven-foot (7 ft) plaster ceilings with walls finished in rough plaster. On the east wall is an early 19th-century cooking fireplace and baking oven with wooden Federal style mantel. The oven is behind two wooden doors. The doors have narrow casings with beaded Federal style backbands. There is a small pantry in the northeast corner. The woodshed, on the east, has an earthen floor below the kitchen&#39;s floor level.</p><br>
<h2>History</h2><br>
<p>John Lee, a resident of nearby Barre who came north for the business opportunities presented by the canal, built what is today the south and rear wings around 1840. The kitchen fireplace and oven, woodshed, and the door and window casings reflecting the transition between the Federal and Greek Revival styles are the most prominent remnants of this house. In 1848 he and his wife sold the house, then on a 20 acre lot, to Orson Tousley.</p><br>
<p>A son of one of the county&#39;s earliest settlers, Tousley had run a tavern in Clarendon until 1837, when he began speculating in real estate and pursuing various other business ventures, including the contract for widening the canal through the county and some of the early railroad construction in the area. He served in several public offices in Clarendon, including town supervisor around the time he bought the house.</p><br>
<p>In the next decade he enlarged and renovated the house, adding the new main block. The previous main block, now the south wing, was converted to a hipped roof to harmonize with the larger portion. Like most of those made affluent by the canal and its business in the area, he embraced the newly popular Greek Revival style. In particular Tousley&#39;s alterations and new construction, with its intricate and elaborate decoration both inside and out, show the influence of Minard Lafever and his pattern books of the time.</p><br>
<p>Tousley died in 1863, leaving the house to his young daughter Florence. Three years later she married George Church, son of Sanford E. Church, former lieutenant governor and chief of New Yorks highest court, the Court of Appeals. George himself would serve as deputy superintendent of insurance and deputy state treasurer. The Churches only major change to the house was the addition of the projecting bay on the south wings south wall, around 1870.</p><br>
<p>Florence Church lived into her eighties, becoming one of the 25 founding members of the local Daughters of the American Revolution (DAR) chapter when it was established in 1925, serving as its regent. She died shortly thereafter, and bequeathed the house to her son Sanford T. Church, who had gone into the law and served as a judge locally for many years. He and his wife, also named Florence, sold the house to Emma Reed Webster in 1929 for $2,000 ($ in contemporary dollars) more than the small mortgage remaining on it. They stipulated that the extra money would be donated to the Orleans DAR, and the county historical society, to start an endowment in the Church family name.</p><br>
<p>Two months later Webster, who was not a member of the chapter and later moved to Utica, donated the house to the DAR. To adapt it for use as an organizational building, she paid for the installation of central heating and carpeting to conceal the concrete floors she had poured, the removal of an exterior woodshed and other outbuildings once shown on the map, the addition of the fireplace and chimney in the south wing bay, and the combination of the five rooms in the main block and south wing into two large meeting spaces. She also gave the chapter furniture including a hundred chairs, and an electric range in the kitchen. When she died she also left the chapter an endowment. There have been no other alterations to the house since, and it has remained the local DAR chapter&#39;s building.</p><br>
<p>The Servoss House is a located on Fruit Avenue  in the town of Ridgeway, New York, United States, near Medina. It is a Greek Revival style home built between 1830 and 1833 alongside the Erie Canal.</p><br>
<p>It has an unusual structural system consisting of stacked horizontal wooden planks, similar to that used by the contemporaneous Benjamin Franklin Gates House in Barre. It remains mostly intact today. In 2008 it was listed on the National Register of Historic Places.</p><br>
<h2>Buildings and grounds</h2><br>
<p>The house is located on a 10-acre (4 ha) lot on the east side of Fruit where it bends westward at the canal and becomes Dublin Road. It is roughly one mile (1.6 km) west of Medina, midway between the village and the Niagara County line. To the south of the house, on an embankment along the north bank of the canal, is the Canal Trailway, a public path for pedestrians and bicyclists on the canal&#39;s former towpath. Across the canal is Telegraph Road (NY 31E), the main route between Medina and Middleport to the west. Other houses are across Fruit Avenue, slightly to the north.</p><br>
<p>Around the house are mature maple and locust trees. There are large lawns in front and back; a driveway leads back to Fruit from the north (rear) of the house. In the woods to the northeast is an old smokehouse, considered a contributing resource to the house&#39;s historic character. The remainder of the property is wooded, with pines joining the hardwoods. Most of the surrounding area is wooded, giving way to worked fields to the north and east.</p><br>
<p>The house itself has a two-story, three-bay main block with wings on either side. All sections are sided in clapboard and have asphalt roofs. The main block and two-story east wing have hipped roofs; the one-and-a-half-story west wing is gabled. A small gabled garage wing projects north from the east wing.</p><br>
<p>Its structural system is referred to variously as horizontal-plank frame, stacked plank or plank-to-plank. The clapboard is affixed to layers of planks stacked solid. Usually 2 by planks were used, staggered to form a plaster key (fastening). They are spiked or pegged together at the corners, windows, doors and other spaces.</p><br>
<p>At the corners of the south (front) facade, wooden Doric pilasters, their capitals starting at the architrave line created by the simple wooden lintels on the second-story windows, frame the building. Above the windows is a wide frieze where paired brackets support overhanging eaves.</p><br>
<p>Both wings have hipped-roof full-length porches. They are supported by hand-turned Doric columns with molded capitals. The east wing roofline is also bracketed.</p><br>
<p>The main entrance is in the easternmost of the three bays. It is surrounded by a paneled enframement with an eared entablature that goes to the sill of the window above. Inside two pilasters frame the door and its long vertical sidelights. Above their decorated crosspiece is a transom.</p><br>
<p>The door opens into the main blocks central hallway. To its south is the main stair with a simple handrail and balustrade. Two large parlors are to the west. The west wings first floor is given over to the living room; the east is the kitchen wing. On the second story are four bedrooms and a bathroom. The west wing&#39;s bedroom has a vaulted ceiling.</p><br>
<p>Wide plank pine floors are used all over the house. All original finishes are of carved cucumber tree wood. The door and window surrounds are simple molded shouldered architraves and the baseboards are wide molded planks.</p><br>
<h2>History</h2><br>
<p>Christopher Servoss came west with his family from Montgomery County in the early 1820s to capitalize on the opportunities created by the canal. He bought 235 acre from the Holland Land Company, including the current parcel, and built a log cabin. In 1830, with the help of carpenters and masons who had worked on the canal, he began building the house for him, his family and his second wife. It was finished by 1833.</p><br>
<p>Why they used the unusual horizontal-plank system, generally found elsewhere in the Northeast and in neighboring areas of Canada, is not known. It was believed to retain heat better and protect against wind gusts in the harsh winters the region was known for. Since they required less skill and more material to build than regular timber frame houses, they may have been well-suited for newly settled areas where skilled carpenters and joiners were not available but where wood and the sawmills to process it were abundant. Combinations of both these theories may have motivated the Servosses. The direct access to lumber in large quantities via the canal may have made it even more economical.</p><br>
<p>For over a hundred years the house remained with Servoss&#39;s descendants. Very few alterations were made, although the lot was gradually subdivided and sold off. In 1940, it was sold out of the family. After several other owners, it passed in 1952 to its present owners, who have been active in restoring and preserving it.</p><br>
<p>Alabat Island is an island of the Philippine archipelago, in the Quezon Province of the CALABARZON region, situated just off the east coast of Southern Luzon. The island has an area of 192 km&sup2; and a population of 41,822.</p><br>
<p>Alabat Island comprises 3 municipalities, Perez in the northern tip, Alabat town proper in the center and Quezon in the south.</p><br>
<p>The island is located in the Lamon Bay and (33 km long) has an extensive mangrove fringe along its southwest shore, with several hundred hectares of intertidal mudflats exposed at low tide. Large portions of the original mangrove forest have been degraded or completely destroyed for the construction of fish and shrimp ponds.</p><br>
<p>Alabat enjoys a humid tropical climate with no dry season, but a very pronounced period of maximum rainfall from November to January. The island is home to the indigenous Alabat Agta people, whose language is critically endangered.</p><br>
<h2>Alabat Island Agta Language</h2><br>
<p>In 2010, UNESCO released its 3rd world volume of Endangered Languages in the World, where 3 critically endangered languages were in the Philippines. One of these languages in the Alabat Island Agta language which has an estimated speaker of 30 people in the year 2000. The language was classified as Critically Endangered, meaning the youngest speakers are grandparents and older, and they speak the language partially and infrequently and hardly pass the language to their children and grandchildren anymore. If the remaining 30 people do not pass their native language to the next generation of Alabat Agta people, their indigenous language will be extinct within a period of 1 to 2 decades.</p><br>
<p>The Alabat Agta people live only on the island of Alabat in Quezon province. They are one of the original Negrito settlers in the entire Philippines. They belong to the Aeta people classification, but have distinct language and belief systems unique to their own culture and heritage.</p><br>
<p>The Tombs of Talpur Mirs  are a complex of tombs of the ruling Talpur Mirs of Sindh who reigned from 1784 to 1843. The tombs are also known as Cubbas . These tombs are located in Hirabad, Hyderabad in the Sindh province of Pakistan.</p><br>
<p>The tombs complex hosts large mausoleums for Talpur rulers while they are several smaller mausoleums for their wives, consorts and infant children. There are several graves in the external area that are uncovered and unmarked, apart from a few exceptions. The graves are mostly made out of marble and usually have Quranic verses inscribed on their surfaces.</p><br>
<p>Once a magnificent burial ground for the Talpur rulers, this place now has several preservation concerns. As of 30 March 2011, the Culture Department, Government of Sindh retained the charge for these monuments, following a devolution of the government to provinces. Since then, there has been slow and steady restoration work on preserving these monuments.</p><br>
<h2>Architecture</h2><br>
<p>The architecture patterns of the tombs in the complex are reminiscent of various Talpur structures, however most of the tombs in this complex are either square or rectangular in shape. These structures follow almost the same specifications as that of the mausoleum of Mir Fateh Ali Khan at New Khudabad.</p><br>
<p>The largest domed structure contains two graves, those of, Mir Karam Ali Khan (d. 1828) and Mir Murad Ali Khan (d. 1833). Behind this building is a smaller building which contains the graves of Mir Karam’s two wives, the wife of Mir Abdullah Khan and an infant. To the north of these structures is one containing the graves of Talpur rulers, Mir Nur Muhammad Khan, Mir Nasir Khan, Mir Shahdad Khan and Mir Hussain Ali Khan. It is said that the rulers designed their own burial places while alive.</p><br>
<p>The building in front of the last on the east, contains the remains of the wife and child of Mir Nur Muhammad Khan and the wife of Mir Husayn Ali Khan. Other wives of two of these rulers and three young children, repose in the small tomb in the north-west corner. Other Mirs lie within the two small tombs at the southwest corner of Mir Karam Ali Khan’s mausoleum and the remaining buildings contain the bodies of wives, daughters and children of some of these.</p><br>
<p>In the southern group of tombs, two principal mausoleums that are nearest the entrance on the east and immediately behind it, contain the graves of four Mirs, while the rest are occupied by their wives and children.</p><br>
<h3>Vaulted structures</h3><br>
<p>The ladies’ mausoleums are peculiar in the sense that they appear to look like vaulted wagon structures. One such mausoleum is rectangular in plan and surmounted by two domes, flanked by kicks on each of its four corners. The façade containing the entrance door is divided into three arched panels on each side. On the top of each arched panel, there is a rectangular panel covered with tiles in floral patterns. The other sides of the mausoleum contain more or less the same arched panelling and similar decorative colour scheme.</p><br>
<h3>Decorative art</h3><br>
<p>These tombs are renowned for the tile decoration on their outside façade. The tiles are placed in multiple colours which primarily include blue floral patterns over white background. Some accents of green, yellow and brown are placed in a manner so as to break the monotonous decorative look.</p><br>
<h2>Burial traditions</h2><br>
<p>In typical Talpur fashion, the marble graves have the actual royal turbans of these rulers placed upon a projection at the end of each. The graves are etched with Quranic verses in Arabic, whilst some of the walls inside the mausoleums are decorated with poetry in Persian. Apart from the Arabic inscriptions on the graves, they are largely unmarked and have no names to denote their occupants. The graves are usually covered in marble masonry work.</p><br>
<h3>Purdah for females</h3><br>
<p>The mausoleums of female Talpurs are designed to be closed structures. These are distinctly vaulted structures with jaalis on the door archways to show the dead buried within still observing purdah, as they would’ve in life. To this day, it is forbidden for men to step inside these mausoleums.</p><br>
<h2>Preservation</h2><br>
<p>Once a magnificent burial ground for the Talpur rulers, this place now has several preservation concerns. Under the management of the Department of Archaeology, Government of Pakistan, the mausoleums fell into disrepair. As of 30 March 2011, the Culture Department, Government of Sindh retained the charge for these monuments, following a devolution of the government to provinces.</p><br>
<p>The tomb complex is now enclosed in a walled area in order to put a halt to the encroaching residential buildings surrounding the site. Many of the crumbling tombs were “used by drug addicts and drifters for resting the night” whilst “local youngsters to play cricket during the day” in wide open spaces around the mausoleums.</p><br>
<h3>Restoration and maintenance</h3><br>
<p>Lately, there have been efforts to restore the tombs of ancient rulers elsewhere, including some of former Talpur rulers. The restoration began in April 2012 and was led by Ishtiaq Ansari. Where there are restoration works actively in progress elsewhere, the site, that is the subject of this article, has since been neglected.</p><br>
<p>The newly devolved Sindh government nevertheless shows a willingness to work towards improving these monuments and “mak right the past 63 years” under the former management.</p><br>
<p>The Old Federal Building in Anchorage, Alaska is a structure serving primarily as a courthouse of the United States District Court for the District of Alaska. Completed in stages from 1939 to 1941, the building was listed in the National Register of Historic Places in 1978.</p><br>
<h2>Building history</h2><br>
<p>Constructed almost twenty years before Alaska became the forty-ninth state, the Federal Building in Anchorage symbolized the USA government&#39;s commitment to the economic growth and development of the territory. Providing residents with a post office, courthouse, and other federal services, it was the first large federal building constructed in Anchorage.</p><br>
<p>This block of Anchorage was designated on the original 1915 plat for the Federal Reserve Bank. The first building erected on the site was a post office, followed by a USA Marshals office and territorial jail, which were demolished to make way for the Federal Building. Gilbert Stanley Underwood (1890–1961) designed the original 1939–1940 building and the 1940–1941 west wing addition under the guidance of the Office of the Supervising Architect of the Treasury. Underwood was a Los Angeles-based architect best known for designing National Park lodges. He also designed train stations for the Union Pacific Railroad before he began work for the federal government in 1932. While employed by the supervising architect&#39;s office, he designed several federal buildings, including the original portion of the Harry S Truman Building in Washington, D.C. He served as supervising architect from 1943–1949.</p><br>
<p>The building housed every federal agency with an office in Anchorage, and tenants included the Civilian Conservation Corps, the United States Department of the Interior, the Signal Corps, and the Alaska Railroad. In order to accommodate all of them, the building expanded several times. The first wing extension, completed in 1940–1941, closely followed the original construction and housed the post office. The 1958 courtyard in-fill, a contemporary metal-clad design by Ed Crittenden, housed the Third District Court. The 1991 addition is home to the National Archives and Records Administration (NARA).</p><br>
<p>The building served as an early symbol of the federal government to Alaskans, giving them confidence in their acceptance as part of the United States. During celebrations of statehood in 1958, a huge American flag with forty-nine stars literally covered the facade of the building. One star was covered with a larger star to highlight Alaska becoming a state.</p><br>
<h2>Architecture</h2><br>
<p>The building is a 1930s Modern, cast-in-place reinforced concrete building with a flat roof and parapet. The original plans called for the eventual construction of a square building with a large internal courtyard, beginning with the original portion that formed the south side or base of the square. Before completion of the building in 1940, it became clear that it would not be large enough to accommodate all of the federal agencies in Anchorage, so construction began immediately on the first addition. Thus by 1941, both the base and the original portion of the western wing were complete. The western wing was enlarged and the shorter eastern wing was built later. Subsequent additions filled in portions of the courtyard rather than completing the square. Although they have undergone several alterations, the original facade and both wings of the building retain a significant degree of architectural integrity.</p><br>
<p>The majority of the building has two stories and a basement. The east and west ends of the south elevation, above the main entry doors, are topped by three-story penthouses. In addition to providing access to the offices within the building, the southeast entrance originally led to the courtroom in the east wing and the southwest entrance to the post office in the west wing. Both wings have two stories and the elevations retain much of their original appearance. The building has little exterior ornamentation. The tall, narrow windows are the most distinctive element of the exterior. Their slightly recessed window frames emphasize the verticality of the windows and the building as a whole, as do the stepped recesses on either side of the main entry doors. The current windows are not original, but the visual effect is consistent with the original appearance.</p><br>
<p>The interior of the building features many original noteworthy elements, yet displays the same lack of embellishment evident on the exterior. Ceramic tiled wainscoting and quarry tiled floors line the stairwells, entry vestibules, corridors and the original postal lobbies. The stairwells also retain original steel newel posts, wrought iron balusters, and stained wood handrails. The ceramic drinking fountains evident in the corridors throughout the building add to its historic integrity. The entry vestibule ceilings feature stepped cove perimeters. Remaining in place are the light fixtures evident in the original designs for the first floor lobbies and the coffered ceilings original to the first floor corridors. The corridor doors are not original. However, they replicate the original two-panel wood doors with upper panels of glass.</p><br>
<p>The most significant interior space is the original federal district courtroom on the first floor. This room retains its original stained walnut wainscot and benches, and features an oil-on-canvas mural titled Alaskan Landscape behind the judge&#39;s bench. The mural was the work of Arthur Kerrick, who secured a Works Progress Administration commission in 1942. The oil-on-canvas painting was not, however, installed until the 1950s. Five murals were planned for the courtroom, but only the Kerrick mural was completed and installed. Art conservator Peter Malarkey restored the mural in 1993.</p><br>
<h2>History</h2><br>
<p>1939–1940: Construction of original building</p><br>
<p>1940–1941: First addition constructed</p><br>
<p>1958: Court facilities addition</p><br>
<p>1978: Listed in National Register of Historic Places</p><br>
<h2>Building facts</h2><br>
<p>Location: 605 West Fourth Avenue</p><br>
<p>Architect: Gilbert Stanley Underwood</p><br>
<p>Construction Dates: 1939–1941</p><br>
<p>Architectural Style: 1930s Modern</p><br>
<p>Landmark Status: Listed in the National Register of Historic Places</p><br>
<p>Primary Material: Concrete</p><br>
<p>Prominent Features: Tall vertical windows; Rectilinear poured-in-place concrete exterior; Distinguished woodwork; New Deal mural in courtroom</p><br>
<p>The James A. Walsh United States Courthouse, also or formerly named USA Post Office and Courthouse, is a historic post office and courthouse building located at Tucson at Pima County, Arizona. It was a courthouse of the United States District Court for the District of Arizona.</p><br>
<h2>Building history</h2><br>
<p>The building was constructed during 1929-1930 as a USA Post Office and Courthouse. It was desinged in 1928-1929 by the Office of the Supervising Architect under James A. Wetmore. Planning for the building began in 1910, when the USA House of Representatives approved a bill authorizing the purchase of a site for a new post office in Tucson. That was the same year that the statehood bill, discussed since Congress deemed Arizona worthy of statehood in 1888, finally passed the House of Representatives. Still, Arizona did not become a state until 1912. It would be another 20 years before the building was constructed.</p><br>
<p>When the Treasury Department failed to act, the city purchased the site recommended by the federal site agent who visited Tucson in 1911, and the city donated the property to the federal government. Delays continued because by this time Congress had instituted a moratorium on construction due to negative publicity surrounding the awarding of building contracts. In the interim, the federal government leased out the land and a gas station and other businesses occupied the parcel. Congress lifted the construction moratorium in 1926. The appropriation for design and construction of the building occurred in 1928.</p><br>
<p>Scheduled for completion in December 1930, the building was completed ahead of schedule, and opened for business on September 19, 1930. The post office operated in the building until 1974. The building was listed in the National Register of Historic Places in 1983 as "USA Post Office and Courthouse". In 1985, the United States Congress passed a bill renaming the building in honor of James Augustine Walsh, who served as a federal district judge from 1952 to 1981. For the first eighteen years of his tenure Walsh was the only judge in the USA District Court in Tucson.</p><br>
<p>The USA District Court moved out of the Walsh Courthouse in 2000 into the newly completed Evo A. DeConcini Courthouse in Tucson. In 2002, a remodeling project was begun in order to accommodate the USA Bankruptcy Court, which would be the new long-term tenant of the building. After the first phase of the project was completed, the Bankruptcy Court moved in and remained in the building during the second phase of construction, completed in 2008.</p><br>
<h2>Architecture</h2><br>
<p>The building is a well-executed, well-preserved example of the Neoclassical architectural style. The building was designed in 1928-1929 by the Office of the Supervising Architect of the Treasury, then under the direction of Acting Supervising Architect James A. Wetmore. The Walsh building is a neoclassical arrangement modified by a Mission-style roof. The neoclassical style is characterized by symmetry of plan, frontal arrangement, monumental proportions, and flat, smooth or polished stone surfaces. The Treasury Department favored neoclassicism as the appropriate architectural style for most of the federal buildings constructed during this time period. However, the Mission-style variations on the building are used to moderate the rigid neoclassical lines while acknowledging the local building tradition.</p><br>
<p>The decoration of the building is understated, but the primary (south) facade of the building is the most elaborate in ornament and detail. It is lavishly finished with terracotta sheathing, which is contrasted by small amounts of brickwork in the two end bays. Two tiers of superimposed rows of pilasters dominate this facade. The entablature of the lower tier bears the words “United States Court House.” Each level features six engaged columns with stylized Composite capitals. There are stylized eagles above each of the fourth floor windows, and other terracotta ornaments are visible on this facade. There are two large entry doors for the building, one at either end of this bay and each featuring a classical surround with a flat pediment. At either end of the central bay are brick-faced bays framed by terracotta quoins (corner elements). The other elevations are relatively unembellished, although the east front gained some significance when the main entry door was moved to this side in the recent remodeling project. The exterior exhibits a high degree of its original character, with only minimal alterations evident.</p><br>
<p>A post office originally occupied the first floor and remained there until 1974. When the post office moved out, the first floor post office workroom was remodeled for use as a courtroom, and the original main post office lobby was converted into a jury assembly room. The original skylight in the postal workroom was covered, and the lobby was broken up into smaller spaces. The recent renovation project restored the main lobby to its original open configuration and preserved many of its original elements and finishes, including the terracotta tiled, basketweave patterned floor, the plaster walls, the marble wainscots and floor borders, and the ceilings with molded plaster crowns. The former postal workroom now serves as an intake area for the Courts. The original postal workroom skylight was enclosed, but two new “belvedere” skylights, which allow natural light into the space but significantly reduce heat gain, were installed.</p><br>
<p>The second, third, and fourth stories consist of corridors around the light well, each of which contains a mixture of offices and courtroom spaces. The most significant interior space is the main courtroom, located on the southern side of the third and fourth floors. The space retains many of its original elements, including the wood-beamed ceiling with stenciled patterns, original wainscoting, plaster walls, and wooden window and door frames and surrounds. The historic courtroom was a primary focus of the second phase of the recent renovation project. Inappropriate non-historic light fixtures were replaced with more compatible fixtures, the stenciled ceiling received conservation treatment, and the judges bench and jury box were reconfigured to meet the needs of the Bankruptcy Court. This building is the best-preserved example of Tucsons Depression-era architecture.</p><br>
<h2>History</h2><br>
<p>1929-1930: Building constructed</p><br>
<p>1970s: Post Office moves out of building and first floor altered for other uses</p><br>
<p>1983: Listed in National Register of Historic Places</p><br>
<p>1985: Building renamed in honor of James A. Walsh</p><br>
<p>2000: USA District Court vacates building</p><br>
<p>2002: Major renovation project begun to accommodate USA Bankruptcy Court</p><br>
<p>2003: USA Bankruptcy Court moves into building</p><br>
<p>2008: Renovation project completed</p><br>
<h2>Building facts</h2><br>
<p>Location: 38 South Scott Avenue</p><br>
<p>Architect: James A. Wetmore</p><br>
<p>Construction Dates: 1929-1930</p><br>
<p>Architectural Style: Neoclassical</p><br>
<p>Landmark Status: Listed in National Register of Historic Places</p><br>
<p>Primary Materials: Granite, brick, and terracotta</p><br>
<p>Prominent Features: Terracotta tiles resembling limestone; Classical facade with terra-cotta ornamentation; Courtroom with wood-beamed ceiling and decorative accents</p><br>
<p>The house at 356 Albany Avenue  in Kingston, New York, United States is a frame house built near the end of the 19th century. It is in the Queen Anne architectural style.</p><br>
<p>Its front facade has some classically-inspired ornament, dating it to the "Free Classical" phase of the Queen Anne style, a precursor to the Colonial Revival style that became popular in the early 20th century. In 2002 it was listed on the National Register of Historic Places.</p><br>
<h2>Property</h2><br>
<p>The house is on a 50 by lot on the east side of the street, at the southeast corner of the Wiltwyck Avenue intersection. The neighborhood is residential.</p><br>
<p>It is a two-and-a-half-story building on a stone foundation, sided in clapboard on the first story and shingles on the second. The two stories are divided by a belt course, above which the walls flare. Above the roofline, marked by a molded cornice and denticulated cornice, is a steeply pitched hipped roof pierced by a gabled dormer window on the west (front) elevation.</p><br>
<p>The front facade has a wooden porch on its north section and a projecting bay on its southern third. Broad Doric columns support the porch&#39;s shed roof and plain entablature. An offset pedimented gable surmounts the main steps, with laurel and garland in the tympanum, echoed between the two windows above and the dormer gable. Bay windows of three and four units respectively mark the two stories on the south. Above them a projecting pedimented gable has a small Palladian window at its center.</p><br>
<p>The south profile is less decorated, with two groups of windows and a lancet on the first floor comprising its fenestration. On the east (rear) is a small single-story extension covered by a hipped roof. The north side, facing Wiltwyck Avenue, has an unusual six-panel stair light. Above it is more classical decoration, a detailed cornice with a swag-ornamented frieze. It is accompanied by a three-paneled bay window similar to the one on the south of the front elevation and a centrally located gabled dormer in the roof, as well.</p><br>
<p>At the main entrance, paneled entrance doors in a finely crafted floral motif open into a vestibule/stair hall. The stair is the one accompanying the light on the north side, and it has finely crafted balusters and paneling. The central hall is lit by the bay window to the north and a Queen Anne window on the rear. From there an archway leads to the south parlor, with parquet flooring and a period fireplace and mantel. The second floor also retains its original plan and finish, including most of the woodwork.</p><br>
<p>Behind the house is a carriage house built at the same time, now used as a garage. It is considered a contributing resource to the property&#39;s historic character and thus is included in the National Register listing.</p><br>
<h2>History and aesthetics</h2><br>
<p>Like nearby 313 Albany Avenue, built the previous year, 356 Albany reflects the Free Classical phase of the Queen Anne style. One of the most common modes for upscale late Victorian homes, the style was an attempt to evoke the first years of the 18th century in England, when medieval buildings were updated with decorative touches. In the late 19th century, the style was typified by a complex interplay of forms and contrasts in colors and surface textures, all of which are present in 356 Albany.</p><br>
<p>In the last years of the century, architects expanded the styles ornamental vocabulary to include classical elements, such as the houses porch columns and the laurel-and-garland motif on the east facade. The use of Georgian elements, most notably the Palladian window seen both here and at 313 Albany, was another sign of the maturing style. In the USA, these eventually led to the wider embrace of mid-18th century forms and the Colonial Revival. The original owner of the house is not known, but it was clearly someone of a socioeconomic stature that could afford to build in the most contemporary style of the day, with elaborate interior detailing (also found at 313 Albany). It has remained a private residence since its construction.</p><br>
<p>Big Bay de Noc is a bay in the Upper Peninsula of the USA state of Michigan. The bay, which opens into Lake Michigan&#39;s Green Bay, is enclosed by Delta County. The small Delta County settlements of Garden and Nahma are harbors on the shore of the bay.</p><br>
<p>As with the more thickly-settled Little Bay de Noc, the bay&#39;s name comes from the Noquet (or Noc) Native American people (thought to have been related to the Menominee of the Algonquian language group), who once lived along the shores.</p><br>
<p>The bay is historically important for its 19th-century use as a center of the Lake Michigan iron smelting industry. A former smelting complex has been preserved as Fayette State Park. The state park&#39;s Snail Shell Harbor, off Big Bay de Noc, offers a harbor of refuge for small boats and yachts.</p><br>
<p>A lighthouse, the Peninsula Point Light, marks the entrance of the bay.</p><br>
<p>The Richard H. Chambers USA Court of Appeals is an historic building originally constructed as a Spanish Colonial Revival style resort known as the Vista del Arroyo Hotel and Bungalows located at Pasadena in Los Angeles County, California. During World War II, it served as the McCornack General Hospital, and was thereafter in use as a general-purpose federal government building for several decades. It now serves as a courthouse of the United States Court of Appeals for the Ninth Circuit.</p><br>
<h2>Building history</h2><br>
<p>Set on the crest of a steep hill overlooking the Arroyo Seco River, the Richard H. Chambers USA Court of Appeals Building towers over its setting and dominates the view from across the Arroyo. Originally built as a hotel during the late stages of Pasadena&#39;s great resort hotel age, the main building was constructed in two sections—the two-story north wing, in 1920, and the six-story bell tower with flanking wings, in 1930.</p><br>
<p>The site&#39;s resort history dates to 1882, when Emma C. Bangs opened the original La Vista del Arroyo Hotel, a two-story, wood-frame building, and series of small cottages. In 1919, hotel tycoon Daniel M. Linnard, associated with such elegant Pasadena hotels as the Huntington and Green, purchased La Vista del Arroyo with the vision of developing the property into an opulent resort. Linnard commissioned the noted architectural firm of Marston & Van Pelt to design a large, two-story Spanish Colonial Revival hotel to replace the original structure. Once the popularity of the Vista had been established, select guests also built bungalows on the property.</p><br>
<p>In 1926, Linnard sold the resort to former business partner H.O. Comstock. Comstock hired architect George H. Wiemeyer to redesign the hotel and add a grand six-story addition that consisted of a central bell tower and flanking wings set at an angle. The new Vista opened in 1931 with iridescent color, entertainment, and social gaiety. In 1936, Linnard repurchased the property and hired landscape architect Verner S. Anderson to improve the hotel&#39;s grounds by designing formal gardens and adding fountains, tennis courts, and a swimming pool.</p><br>
<p>In 1943 the USA War Department acquired the hotel complex and converted it into the McCornack General Hospital and offices for the USA Army. The hospital was named after Brigadier General Condon C. McCornack, Command Surgeon of the Western Defense Command. In 1949, the hospital was closed and the old hotel, under the care of the USA General Services Administration (GSA), housed a variety of Federal agencies from 1951 to 1974.</p><br>
<p>In 1981 the Vista del Arroyo was placed in the National Register of Historic Places and GSA began design work to restore the building as the southern seat of the Ninth Circuit Court of Appeals. In 1995, the building was renamed to honor Judge Richard H. Chambers, whose concept it was to bring a Federal courthouse to Pasadena.</p><br>
<h2>Architecture</h2><br>
<p>The courthouse is the largest of several buildings adjacent to a residential district at the western edge of Pasadena. The old hotel was constructed primarily in two sections: a two-story steel and wood frame section built in 1920-21, and a six-story reinforced concrete portion built in 1930-1931. The buildings were joined together at the original main entrance, their first floors aligning on the interior to form a continuous first level. The two sections form a U-shaped plan, oriented to face the Colorado Street Bridge. Only the northernmost portion of the 1920 building remains—its southern half and central campanile (bell tower) were removed for the 1930s addition.</p><br>
<p>Both the 1920 and the 1930 sections were designed in the Spanish Colonial Revival style with a skillful interplay of stucco walls, arched openings, and terracotta tile roof. The exterior ornamental detailing is very simple, with bracketed balconies, an arcaded ground level, and Spanish Colonial Revival features such as circular windows and twisted balusters. The most prominent component of the building, the 1930 tower, is richly embellished and capped with a dome covered with patterned dual-toned tiles.</p><br>
<p>Between 1920 and 1937, four architects played significant roles in designing the Vista del Arroyo. Sylvanus Marston and Garrett Van Pelt were responsible for the plans for the 1920 hotel. In 1921, architect Myron Hunt transformed the Vista Hotel into one of the premier resorts in Pasadena, designing several of the hotel&#39;s original bungalows. Pasadena architect George H. Wiemeyer designed the elegant six-story addition in 1930.</p><br>
<p>The first floor of the interior was richly ornamented. At the hotel entrance, visitors strolled through a vine-covered pergola to a lobby embellished with decorative pilasters, freestanding columns, and plaster moldings. From the elaborate Morning Room and Sunset Room, guests viewed the gardens and outdoor activities as the day progressed.</p><br>
<p>A number of cottages, including the elaborate Maxwell House remain in privately owned portions of the original property. On the 7.2 acre still owned by the Government, GSA continues to maintain the original paths, patios, and gardens.</p><br>
<p>During the 1980s, GSA restored the building exterior, grounds, and ornamental interior spaces to their original appearance under the design direction of J. Rudy Freeman of Neptune & Thomas, earning awards from the American Institute of Architects and National Endowment for the Arts. Suspended ceilings were removed and original plaster decorations recreated in the Spanish Room (now a courtroom), Dining Room (now a library), Lounge (now offices), Morning Room (now a conference room), and foyers.</p><br>
<p>The Spanish Room is particularly lavish; its rich detail includes a highly decorative ceiling with large cast-iron grilles and walls with wrought-iron grilles. The original Dining Room features plaster pilasters and columns, wrought-iron light fixtures, large arched window openings, and a beamed ceiling. The elevator lobby and west foyer also retain significant original elements, such as the decorative elevator doors and original glazed-tile risers of the main stair.</p><br>
<p>A reconstructed rose-covered pergola, restored fountain, and colorful plantings greet today&#39;s visitors to the USA Court of Appeals. An irreplaceable landmark serves a new public use as a centerpiece of the community.</p><br>
<h2>Significant events</h2><br>
<p>1882: Emma C. Bangs opens a resort hotel called La Vista del Arroyo.</p><br>
<p>1919: Hotel tycoon Daniel M. Linard buys the hotel and hires architects Marston & Van Pelt to replace the wood-frame building with a larger Spanish Colonial Revival structure.</p><br>
<p>1930: Architect George H. Wiemeyer redesigns the hotel with a six-story addition.</p><br>
<p>1936-37: Landscape architect Verner S. Anderson improves the resort by adding formal gardens, fountains, tennis courts, and a large swimming pool.</p><br>
<p>1943-49: The hotel serves as the War Department&#39;s McCornack General Hospital.</p><br>
<p>1951-74: Various Federal agencies occupy the building.</p><br>
<p>1981: Neptune & Thomas begins designing restoration of old Vista to house USA Court of Appeals. The building is listed in the National Register of Historic Places.</p><br>
<p>1985: The USA General Services Administration reopens the former hotel as a Federal courthouse.</p><br>
<h2>Building facts</h2><br>
<p>Architects: Sylvanus Marston & Garrett Van Pelt; George H. Wiemeyer; Myron Hunt</p><br>
<p>Construction Dates: North wing, 1920; tower and angled wings, 1930; bungalows, 1921–37; Maxwell House, 1929</p><br>
<p>Landmark Status: Listed in the National Register of Historic Places</p><br>
<p>Location: 125 South Grand Street</p><br>
<p>Architectural Style: Spanish Colonial Revival style</p><br>
<p>Primary Materials: Reinforced concrete walls dressed with beige stucco and red terra-cotta tile roof</p><br>
<p>Prominent Feature: Six-story bell tower</p><br>
<p>The James R. Browning USA Court of Appeals Building is a historic post office and courthouse building located at San Francisco in San Francisco County, California. It is a courthouse for the United States Court of Appeals for the Ninth Circuit. Completed in 1905 as the USA Courthouse and Post Office, it was intended to represent the affluence and increasing importance of the United States as it became a world power. The building survived both the 1906 San Francisco earthquake, and the 1989 Loma Prieta earthquake.</p><br>
<h2>History</h2><br>
<p>By the 1870s it became apparent that San Francisco was in dire need of a federal building to house the federal courts and the post office that were located in various downtown buildings. In 1887 a commission delegated to select a site reported that the $350,000 allocated by the USA Congress was insufficient and the sum was raised to $1,250,000. The property chosen at Seventh and Mission Streets was more than a mile from the central business district and surrounded by a working-class neighborhood of Irish and German immigrants. Although many disapproved, the lot was purchased in 1891. In 1893 $2,500,000 was appropriated for construction.</p><br>
<p>USA Treasury architects worked on designs for the building, with Supervising Architect James Knox Taylor (1857-1929) playing a lead role. Taylor selected a design influenced by Italian Renaissance architecture with magnificent Beaux Arts grandeur. To achieve the high level of craftsmanship specified for the interior, skilled artisans were brought from Italy. Groundbreaking took place in 1897 and the building opened in 1905 to acclaim as "a post office that&#39;s a palace."</p><br>
<p>On April 18, 1906, an earthquake devastated San Francisco. The USA Courthouse and Post Office and the 1874 USA Mint designed by Alfred B. Mullett were the only buildings south of Market Street to survive the earthquake and resulting fires. While repairs were made, the Post Office set up collection points around the city with the USA Courthouse and Post Office serving as a symbol of hope in the weeks following the earthquake. Restoration was completed in 1910.</p><br>
<p>The building was listed in the National Register of Historic Places in 1971. It was declared a National Historic Landmark on October 17, 2012.</p><br>
<h2>Architecture</h2><br>
<p>The building reflects the Beaux Arts classicism adopted by the USA Treasury Department for early twentieth-century federal buildings. The stylized building is a steel-framed structure clad in white Sierra granite. The magnificent building, with its opulent ornamentation and surface treatments, was exceptionally lavish even at the time of its construction.</p><br>
<p>The imposing building, echoing the Italian palazzos designed by Bramante and Raphael during the Renaissance, is ornamented with enclosed pediments, balustrades, and rows of arched windows. The beautiful bronze entry lanterns are replicas of the torch-holders designed in 1489 by Niccolo Grosso for the home of Filippo Strozzi, the richest banker in Florence.</p><br>
<p>Originally, the building was a three-story structure with a fourth story, or attic level, set back from the facade and partially hidden behind the cornice and balustrade. This main block of the building was U-shaped with an interior courtyard. The courtyard was ornamented with geometric patterns of red, white, and blue glazed brick walls and one hundred pink-tongued lion heads along the cornice. In order to provide desperately needed office space to meet the needs of the expanding federal bureaucracy, noted San Francisco architect George Kelham (1871-1936) was commissioned in 1933 to design a four-story addition for the east side of the building, enclosing the interior courtyard. The addition repeats the design of the original facades, although the third and fourth stories are veneered in terra cotta.</p><br>
<p>Although the building&#39;s exterior is impressive in the quality of detail, ornamentation, and material, the elegant interiors are even more exquisite. The post office originally occupied the ground floor with a lobby running the width of the Seventh Street (main) facade. The second floor had offices for court staff and federal agencies, while the third floor contained the ornate courtrooms, judicial chambers, and conference rooms.</p><br>
<p>Rare and exquisite materials on each of the floors of the building include a range of imported marble, such as Carrara and Yellow Siena from Italy, Pacific Coast Salmon Pink, and Red Numidian from North Africa. The grand first-floor hall, accessible through massive bronze doors, is paneled in black-veined white Italian marble trimmed in green marble from Maryland and Vermont. Marble mosaics adorn the groin-vaulted ceiling. The floor is composed of ceramic-tile mosaic. Stained-glass domes ringed with marble-mosaic tile eagles enhance the rotundas at each end of the hall.</p><br>
<p>The Great Hall, located on the third floor, is adorned with white marble walls, Doric order columns, and a vaulted ceiling beautifully ribbed with gold trimmed plaster ornamentation. This hall leads to Courtroom One, the most elaborate interior space in the building. Originally designed for the USA District Court, Courtroom One features Marble mosaics, columns with carved Corinthian capitals, carved fruit motifs, cast-plaster cupids and flowers, and stained-glass windows. In contrast to the opulence of the Beaux Arts designed spaces, the two courtrooms on the second floor of the 1933-1934 addition are designed in the sleek Moderne style. Detailing in these spaces include the labyrinth-patterned ceiling, cork walls, and gilded plaster eagles.</p><br>
<p>Additions and renovations took place throughout its history, including an extensive restoration project overseen by Judge Richard H. Chambers during the 1960s. The Loma Prieta earthquake of 1989 caused major damage, initiating a $91,000,000 seismic retrofitting and restoration effort. Led by the architectural firm of Skidmore, Owings & Merrill, the project included the repair, modernization, and restoration of the existing building and the addition of 45,000 ft&sup2; of space for a law library and offices in the former Post Office area. The building formally reopened as the USA Court of Appeals Building for the Ninth Circuit on October 17, 1996, the seventh anniversary of the Loma Prieta earthquake.</p><br>
<h2>Significant events</h2><br>
<p>1887: USA Congress authorizes the construction of a courthouse and post office in San Francisco</p><br>
<p>1897–1905: The USA Courthouse and Post Office is constructed under direction of Supervising Architect of the Treasury James Knox Taylor</p><br>
<p>1906: Despite the devastating destruction of San Francisco by an earthquake on April 18, the USA Courthouse and Post Office survives</p><br>
<p>1910: Repairs of earthquake damage to the USA Courthouse and Post Office are completed</p><br>
<p>1933–1934: A four-story wing, designed by San Francisco architect George Kelham, is constructed on the east side of building</p><br>
<p>1959: Judge Richard H. Chambers is appointed court custodian and oversees the restoration of the building</p><br>
<p>1964: The building is renamed the USA Court of Appeals and Post Office</p><br>
<p>1971: The building is listed in the National Register of Historic Places</p><br>
<p>1989–1996: Extensive restoration, renovation, and seismic retrofitting of the building are undertaken as a result of the 1989 Loma Prieta earthquake</p><br>
<p>1996: Building reopens as the USA Court of Appeals for the Ninth Circuit</p><br>
<p>2005: Building renamed during centennial celebrations in honor of Judge James R. Browning, circuit judge since 1961</p><br>
<p>2012: Building is declared a National Historic Landmark</p><br>
<h2>Building facts</h2><br>
<p>Architects: James Knox Taylor, Supervising Architect of the Treasury</p><br>
<p>East addition: George Kelham</p><br>
<p>Courtyard addition: Skidmore, Owings, & Merrill</p><br>
<p>Construction dates: 1897-1905; 1933-1934; 1993–96</p><br>
<p>Landmark status: Listed in the National Register of Historic Places</p><br>
<p>Location: 95 Seventh Street</p><br>
<p>Architectural style: Beaux Arts</p><br>
<p>Primary materials: White Sierra granite courtyards and addition clad in white ceramic-faced brick</p><br>
<p>Prominent features: Great hall; Courtrooms with marble and mosaic ornamentation</p><br>
<p>The Jacob Weinberger USA Courthouse is a historic courthouse building located in San Diego, California. It is a courthouse for the United States bankruptcy court for the Southern District of California.</p><br>
<h2>Building history</h2><br>
<p>Fueled by plans to build the Panama Canal, the turn of the 20th century brought aspirations of prosperity and status to San Diego. Civic leaders who lobbied for the construction of the canal hoped that the promise of increased commerce would establish San Diego as an international trade center rivaling San Francisco. A new federal building was commissioned to showcase San Diego&#39;s newfound standing and to provide governmental offices in anticipation of a burgeoning population and urban growth. To attract attention to the city, civic leaders began planning the 1915 Panama-California Exposition to celebrate the successful completion of the canal. The USA Courthouse was completed in 1913 and opened in time for the Exposition.</p><br>
<p>Originally called the USA Post Office and Customs House, the building also housed the USA District Court, Immigration and Naturalization Service (INS), and the USA Weather Bureau. When economic crisis followed the outbreak of World War I, urban development in San Diego decelerated, halting plans to construct additional civic buildings adjacent to the USA Courthouse. Instead, the Courthouse&#39;s large front lawn was converted to a “victory” vegetable garden to support the war effort.</p><br>
<p>When prosperity was renewed during the 1950s and 1960s, the Courthouse&#39;s caseloads became the heaviest in the nation, requiring a new Federal building complex, which was completed nearby in 1976. Even though the Courthouse was listed in the National Register of Historic Places in 1975, it was abandoned for the following decade. Attention refocused on the building in 1985, when much of the interior was gutted for conversion to INS offices. That same year, however, champions of historic preservation campaigned to restore the building. In 1988, the USA Courthouse was renamed in honor of Judge Jacob Weinberger. In 1994, an award-winning renovation and restoration project renewed the historic lobby and main courtroom to their original beauty while creating new offices and courtrooms that evoked the elegant style of the 1913 period.</p><br>
<h2>Architecture</h2><br>
<p>The Jacob Weinberger USA Courthouse masterfully melds two distinct architectural styles – Classical Revival and Spanish Colonial Revival – in a public building that speaks of San Diegos Hispanic heritage and its American ambitions. James Knox Taylor, Supervising Architect of the USA Treasury Department, described his design for the building as, "an adoption of the Spanish Renaissance, a style suitable to the traditions of the country – the history of the state, the climate and the desires of the people – it would follow the Mission style." Taylors design resulted in an unprecedented amalgamation that quickly achieved regional prominence.</p><br>
<p>Occupying the northern half of the city block along West F Street, the T-shaped building is constructed of stucco-covered brick masonry walls resting on a limestone base, with steel columns and beams to support reinforced slab floors.</p><br>
<p>The portico, with its grand Ionic order colonnade, stands as San Diegos only surviving Classical Revival facade. The porticos ten concrete columns rise two stories to Ionic capitals sheathed in terracotta, supporting a terra-cotta tiled entablature. Flattened, abstracted classical ornamentation for the frieze draws from traditional Meso-American or Native American designs, featuring stylized arrow and shield motifs. Arched semicircular fanlights surmount first-story windows, and bracketed iron lanterns flank the central entrance. The second-story fenestration is simpler, with rectangular windows and terra-cotta sills. Above the portico, the third-story windows are each framed with low-relief pilasters with stylized motifs and a terra-cotta-tiled stringcourse. The attic windows are capped by an additional tiled cornice and painted wood panels below a bracketed eave to the low-hipped roof clad with terra-cotta tiles. Framing the portico are two square, five-story Spanish towers that are simply treated at the lower stories, with curved corners and colossal low-relief pilasters. A stringcourse above the third story delineates a fourth-story belfry with a tall arched window at each side, flanked by low-relief pilasters and brackets. A terra-cotta cornice and a stucco parapet continue the classical stylization at the top of the tower walls.</p><br>
<p>Through the mahogany entrance doors, the grand public lobby features the 1994 renovation&#39;s re-creation of the original post office lobby, which was adapted into the lobby of the USA Bankruptcy court. In keeping with the original fabric, the renovation architects worked from original shop drawings to restore missing historic elements. The terrazzo floor, including the Verde Antique marble and Lyonaisse Red marble bands and baseboards, and the Kasota Yellow-colored marble used for the wainscoting were artfully restored. Key features include the twin-globe sconces lining the walls, pendant lighting hanging from the coffered ceiling, and mahogany counters with bronze grilles above. Replicas of the original iron-cage elevators located in both towers are enclosed by the original gray marble stairs. Several pieces of 1930s Works Progress Administration art, with San Diego themes, were installed after the 1994 renovation. These include a ceramic sculpture by T.J. Dixon and James Nelson, titled, and two paintings on the third-floor, San Diego Harbor, by an unknown artist and San Diego Mural, by Belle Baranceanu.</p><br>
<p>The ceremonial second-floor courtroom, where Judge Jacob Weinberger presided, features a 20-foot coffered ceiling with acanthus leaf detailing, pilasters, plastered paneling, oak paneling and marble counters for the judge and clerk benches, and the jury boxes. A new law library was added during the 1994 restoration, using materials and motifs that faithfully recall the original building details. Awards for the skillful restoration project included a prize from the California Chapter of the American Institute of Architects. In 1995-96, the building was named the Historical Office Building of the Year by the Building Owners and Managers Association.</p><br>
<h2>Significant events</h2><br>
<p>1906: Congress appropriates $250,000 for the new Federal building in San Diego.</p><br>
<p>1911-13: The building is constructed.</p><br>
<p>1975: The USA Courthouse is listed in the National Register of Historic Places.</p><br>
<p>1976: A new Federal Courthouse and Office complex is completed, leaving the courthouse vacant until the mid-1980s.</p><br>
<p>1985: A campaign to restore the building for use by the USA Bankruptcy Court begins shortly after interiors are destroyed for conversion into Immigration and Naturalization Service offices.</p><br>
<p>1988: The USA Courthouse is renamed in honor of Judge Jacob Weinberger.</p><br>
<p>1994: An award-winning renovation is completed, returning the historic lobby and main courtroom to their original state.</p><br>
<p>1994-96: GSA is honored with numerous awards for the building&#39;s preservation and restoration.</p><br>
<h2>Building facts</h2><br>
<p>Architect: James Knox Taylor</p><br>
<p>Construction dates: 1911-13; 1994 renovation</p><br>
<p>Landmark status: Listed in the National Register of Historic Places</p><br>
<p>Location: 325 West F Street</p><br>
<p>Architectural style: Spanish Colonial Revival-influenced Classical Revival</p><br>
<p>Primary materials: Stucco-covered brick masonry with steel beams, terra-cotta ornamentation</p><br>
<p>Prominent features: Colonnaded portico, square towers</p><br>
<p>The United States Court House in Downtown Los Angeles is a Moderne style building that originally served as both a post office and a courthouse. The building was designed by Gilbert Stanley Underwood and Louis A. Simon, and construction was completed in 1940.</p><br>
<p>The United States Court House initially housed court facilities for the United States District Court for the Southern District of California, until the District was redrawn in 1966. It thereafter functioned as a court house with judges from the United States District Court for the Central District of California. There is another federal court house in the Roybal Building in Downtown Los Angeles. In February 2006, it was listed on the National Register of Historic Places as USA Court House and Post Office.</p><br>
<h2>Building history</h2><br>
<p>Built between 1937 and 1940 by the Federal Public Works Administration, it was the third federal building constructed in Los Angeles. The first, constructed between 1889 and 1892, housed the post office, USA District Court, and various federal agencies, but it soon proved inadequate. A larger structure was built between 1906 and 1910 at the corner of Main and Temple Streets. The population of Los Angeles grew rapidly in the early part of the twentieth century, and a larger building was needed to serve the courts and federal agencies. The second federal building was razed in 1937 by the Works Progress Administration to clear the site for the existing courthouse.</p><br>
<p>Gilbert Stanley Underwood was selected to design the building as consulting architect to the Office of the Supervising Architect of the Treasury Department. The actual plans were prepared by the Supervising Architect&#39;s Office. Underwood was acclaimed for his public architecture. His work includes lodges in National Parks, over two dozen post offices, a number of federal courthouses, and the magnificent United States Mint in San Francisco.</p><br>
<p>The original plan specified a fifteen-story building. Even before construction began in May 1937, the Treasury Department realized two more floors would be needed. Congress did not appropriate the additional funding until the initial fifteen-story building was finished in January 1939. The building&#39;s top two stories and penthouse were added between April 1939 and March 1940. At the time of its completion, it was the largest federal building in the western United States. The post office, located on the ground and first floors, moved to another site in 1965. The expanding USA District Court then took over the space.</p><br>
<p>The United States Courthouse has been the venue for a number of notable court cases, beginning in the 1940s with paternity cases against Clark Gable and Charlie Chaplin, and a breach of contract suit filed by Bette Davis against Warner Brothers. The House Un-American Activities Committee met in the building in 1947 to gather information on Hollywood personalities suspected of Communist involvement. In 1973 the federal government case against Daniel Ellsberg for leaking the "Pentagon Papers" was heard in the courthouse. Weingart center company inc. has a new job development for sponsors to be paid $14.00 dollars per hour of a week and wagest $560.00 taxes $15.00 dollars for a month total in $2,260.00 state funding employment&gt;.</p><br>
<h2>Architecture</h2><br>
<p>Located on a landscaped one-acre site bounded by Spring, Main, Temple and Aliso Streets in the Los Angeles Civic Center, the courthouse is a major example of Art Moderne architecture, characterized by its stepped rectangular massing and restrained use of exterior ornamentation. Dark gray granite with pink swirls is used for the steps, retaining walls, and walkway borders. Above a polished granite base, the seventeen-story steel-frame building is clad with a pale pink matte-glazed terra-cotta veneer. It is rectangular in plan, and steps back at the fourth and sixth stories. Above this rises a slab-like tower with a central two-story penthouse. The window openings are organized in vertical strips and set back from the facades. Sandblasted aluminum spandrels separate the paired double-hung windows. The roofs are flat and concealed by tall parapets.</p><br>
<p>The main entrance, which faces Spring Street, is three stories high and recessed behind fluted columns. Each of the five entrance doorways consists of a pair of bronze doors capped by a projecting curved hood bearing a stylized eagle. Above each doorway, an elaborate aluminum grille extends to the full height of the bay. These grilles are decorated with flowers and the seals of five USA Government departments: State, Treasury, War, Justice, and Post Office.</p><br>
<p>The opposite elevation, which faces Main Street, is similar, but has an additional lower story due to the slope of the site, and three entry bays rather than five. This elevation bears the seals of five additional federal departments: Navy, Interior, Agriculture, Commerce, and Labor.</p><br>
<p>The Spring Street and Main Street lobbies have retained most of their original finishes and furnishings. These include polychrome terrazzo floors, ornamental plaster ceilings, and ornate aluminum light fixtures. The Main Street lobby has an oval plan and has walls of Tennessee brown marble with golden Sienna travertine accents and engaged columns of black and gold marble from Montana. The floor contains an inlaid, eight-pointed starburst design, in red, yellow and green terrazzo with Cardiff green marble accents. Two statues stand at opposite ends of the lobby. "Law," depicting a young woman with a tablet, is by Archibald Garner. The other titled "Young Lincoln" is by James Lee Hansen. The Spring Street lobby, which originally accommodated the post office, is larger, with a rectangular plan, and has a higher ceiling than the Main Street lobby. It is similar to the Spring Street lobby in its finishes. Four murals, originally installed in this lobby, were removed when the post office moved out. Two by Lucien Labaudt (Life on the Old Spanish and Mexican Ranchos, and Aeroydynamism) and one by Edward Biberman (Los Angeles Prehistoric Spanish Colonial) have been returned.</p><br>
<p>Eight original courtrooms for the USA District Court are located on the second floor. Designed according to four different plans, they are all three stories in height and similarly finished with walnut wainscoting and plaster ceilings bordered by various geometric designs such as stars, waves, and squares. The courtroom of the United States Court of Appeals on the sixteenth floor is also finished in walnut, with a plaster ceiling, but has less elaborate detailing than the second-floor courtrooms.</p><br>
<p>One of Los Angeles&#39; most distinguished buildings, the United States Courthouse is directly on axis with, and complements, the massing of the twenty-eight-story Los Angeles City Hall (1926–1928), located across Temple Street to the south. It is also across the street from the fourteen-story Classical Revival-style Hall of Justice (1925).</p><br>
<h2>Significant events</h2><br>
<p>1889-1892: The first federal building is constructed in Los Angeles.</p><br>
<p>1906-1910: As the first building proves inadequate, a larger, six-story federal building is built on the site of the existing USA Courthouse.</p><br>
<p>1937-1940: The USA Post Office and Courthouse (later known as the USA Courthouse) is constructed.</p><br>
<p>1940s: The courthouse is the venue for several high-profile Hollywood cases, including paternity suits against Charles Chaplin and Clark Gable.</p><br>
<p>1947: As anti-Communist fervor hits Hollywood, the House Un-American Activities Committee convenes in the building.</p><br>
<p>1965: The post office relocates. The first floor and portions of the Spring Street lobby are altered.</p><br>
<p>1993: Lucien Labaudt&#39;s Life on the Old Spanish and Mexican Ranchos and Aeroydynamism are returned to the Spring Street lobby.</p><br>
<p>2003: Edward Biberman&#39;s Los Angeles Prehistoric Spanish Colonial is returned to the Spring Street lobby.</p><br>
<h2>Building facts</h2><br>
<p>Architect: Gilbert Stanley Underwood</p><br>
<p>Construction Dates: 1937-1940</p><br>
<p>Landmark Status: Determined eligible for listing in the National Register of Historic Places</p><br>
<p>Location: 312 North Spring Street, in the Los Angeles Civic Center</p><br>
<p>Architectural Style: Art Moderne</p><br>
<p>Primary Materials: Polished granite and glazed terra-cotta</p><br>
<p>Prominent Features: Stepped massing and ornamental aluminum grilles; sculptures in Main Street lobby; murals in Spring Street lobby</p><br>
<h2>Attribution</h2><br>
<p>The USA Customhouse is a historic custom house located in San Francisco, California. It was built to house offices of the United States Customs Service.</p><br>
<h2>Building history</h2><br>
<p>Possessing an extraordinary natural harbor and one of the country&#39;s finest ports, San Francisco rapidly expanded during the nineteenth century. By the turn of the twentieth century, construction of the Panama Canal, which would dramatically shorten trade routes between the Atlantic and Pacific, had begun. City officials likely anticipated increased commerce and determined that a larger custom house was needed.</p><br>
<p>In 1905, Eames and Young, a St. Louis architectural firm, won a national design competition for a new custom house. The firm was chosen under the auspices of the Tarsney Act (1890–1912), which allowed the Treasury Department to hire private architects rather than use only government designers. William S. Eames and Thomas Crane Young were the principals of the prominent firm. They designed the building in the Beaux Arts Classicism style, which was popular as part of the City Beautiful movement that sought to create more appealing urban centers.</p><br>
<p>An earlier, more modest custom house, located on Battery Street between Jackson and Montgomery Streets, was demolished to make way for the present building. Ground was broken for the new custom house on January 28, 1906. Three months later, a devastating earthquake and subsequent fire decimated San Francisco. Because much of the city was being rebuilt simultaneously, there were severe labor and material shortages. As a result, construction of the custom house was not completed until 1911.</p><br>
<p>The USA Custom House was listed in the National Register of Historic Places in 1975. After the 1989 Loma Prieta earthquake, seismic and other upgrades were made from 1993 to 1997. While the building continues to serve many of its original purposes, the USA Customs Service is now the USA Customs and Border Protection, part of the Department of Homeland Security.</p><br>
<h2>Architecture</h2><br>
<p>The USA Custom House is an excellent example of the Beaux Arts Classicism style of architecture, which is characterized by classical yet exuberant details. Many important federal buildings were designed in this style during the late 19th century and early 20th century. Some elements of Beaux Arts Classicism that are found on the USA Custom House include a symmetrical facade and articulated entrances that are highlighted with granite entablatures and carvings. The main entrance on Battery Street has a grouping of sculptural figures over the cornice.</p><br>
<p>The imposing six-story building is faced in pale granite from Raymond, California. The concrete foundation of the building rests on timbers from the hull of the steamship Georgian, a vessel from San Francisco&#39;s gold rush days that was abandoned. The building essentially has a U-shaped plan that surrounds an oval, two-story pavilion that contains the post office and Custom Hall.</p><br>
<p>Like many buildings with Beaux Arts Classicism features, the facade is divided into three horizontal zones. The lower zone is a rusticated granite base with deeply recessed joints that extends across the first story. The middle zone is characterized by smooth granite with windows topped with pediments and cartouches (decorative ovals). The upper zone is a recessed fifth story, where stylized eagle motifs separate the windows, and parapet.</p><br>
<p>The interior of the USA Custom House contains a variety of high-quality finishes. Oak parquet floors are set in a herringbone pattern. Walls are paneled in oak with applied carved ornaments and inset with panels of green leather and decorated canvas. Other floors and walls are covered with marble. Ceilings are decorated with elaborate molded and painted plaster. The central lobby contains marble stairs and flooring, and a high ceiling with decorative plaster work.</p><br>
<p>The monumental Custom Hall originally functioned as the most important operational and public space. The rich finishes include a marble floor and applied plaster ornamentation such as pilasters (attached columns). The walls and vaulted ceiling of the Custom Hall are finished with plaster and painted with a vibrant color scheme. Three historic skylights were restored to their original appearance as part of a renovation and restoration in 1997. Large, arched windows dominate the space. The curved end walls of the room incorporate two large murals painted in 1915 by Abraham Lincoln Cooper, who also painted murals at the USA Courthouse and Post Office in Columbus, Ohio. Building the Panama Canal commemorates the completion of the canal in 1915, and Allegory of San Francisco is a representation of the port city. The paintings were restored in 1938 and 1971.</p><br>
<p>Another significant interior space is the Port Director&#39;s Office on the third floor. Originally used as an office suite by the Collector of Customs, the rooms have undergone only minor changes. Walls are paneled in oak with an ornamental frieze and a patterned cornice. The rooms contain stained oak parquet floors and a marble fireplace. The office was used as a set in the movie The Right Stuff in 1983.</p><br>
<p>The USA Custom House retains a high degree of architectural integrity. Relatively few changes have been made to the building since its construction. In 1997, a renovation that increased seismic resistance and upgraded electrical, plumbing, and data systems while preserving the historic character of the building was completed. Original historic finishes were restored as part of the project.</p><br>
<h2>Significant events</h2><br>
<p>1905: Design competition won by Eames & Young</p><br>
<p>1906: Ground broken for construction great earthquake and fire destroy much of San Francisco</p><br>
<p>1911: Construction completed</p><br>
<p>1975: USA Custom House listed in the National Register of Historic Places</p><br>
<p>1989: Loma Prieta earthquake</p><br>
<p>1997: Renovation completed</p><br>
<h2>Building facts</h2><br>
<p>Location: 555 Battery Street</p><br>
<p>Architect: Eames & Young</p><br>
<p>Construction dates: 1906–1911</p><br>
<p>Landmark Status: Listed in the National Register of Historic Places</p><br>
<p>Architectural Style: Beaux Arts Classicism</p><br>
<p>Primary Material: Granite</p><br>
<p>Prominent Features: Classical Facade; Custom Hall; Port Director&#39;s Office</p><br>
