<p>The Spring Creek Lodge is a historic former restaurant at 18389 Old Glenn Highway in the Chugiak area of Anchorage, Alaska. Vernon and Alma Haik built the Spring Creek Lodge in 1949. It served as an essential eatery and community center in southcentral Alaska from 1949 to 1974. The lodge was famous for its homemade bread and banana cream pies, and it was the place to go for a hearty Sunday dinner. For 25 years, the lodge served homesteaders, hunters from the Matanuska Valley, and military personnel from the Elmendorf Air Force Base and Fort Richardson in Anchorage. The lodge stands at Mile 20 on the two-lane Palmer Highway  halfway between Palmer and Anchorage. It also served as the first community center for the early settlers of Chugiak. On September 9, 2001, the Spring Creek Lodge was inducted to the National Register of Historic Places "in recognition of its contributions to the cultural heritage of Alaska."</p><br>
<h2>The Haiks</h2><br>
<p>Facing the hardships of the Great Depression, Vernon and Alma Haik set out to Alaska in search of new opportunities. The Haiks were among many intrepid men and women who left economically depressed cities to and create self-sustained communities. When the Haiks arrived in 1936, the valley they had hoped to homestead was closed off for the Matanuska Valley Project – an experimental farming community which was part of a. Their plans were delayed until, ten years later, a post-World War II construction boom at Fort Richardson promised jobs and a stable infrastructure in Anchorage. The Haik family moved to Anchorage in 1946 and Vern Haik worked as a surveyor at Fort Richardson.</p><br>
<h3>Community Involvement</h3><br>
<p>As one of six families in the area between Palmer and Anchorage, the Haik family were very involved in their small community of homesteads and they headed up many initiatives. Alma and Vernon Haik were instrumental in founding the town of Chugiak, establishing telephone lines, petitioning for a local schoolhouse, and bringing electricity to the area. Vernon also served as the first mayor when Chugiak was established as a town.</p><br>
<h4>Telephone Lines</h4><br>
<p>After unsuccessfully petitioning the Matanuska Telephone Association to establish a telephone system in Chugiak, the Haiks and six Chugiak families were determined to do it themselves. They went to the Army auction in Anchorage and bid on surplus telephone field wire and two types of hand-crank phones from the Army: one phone could be carried on the shoulder into battlefields, the other phone was made of oak and could be mounted on the wall. In the dead of winter, the families used dogsleds to string wire "up and down the highway between homesteads and made up a system using long and short rings." Starting at the Spring Creek Lodge, they transported a telephone line to a captain&#39;s house in Birchwood – this provided Birchwood residents with a place to call in the event of fire, since the line also tied into the volunteer fire department at Moosehorn.</p><br>
<h4>Chugiak's First School</h4><br>
<p>Because Anchorage and Palmer were quite a distance away, the Chugiak families needed a local school for their children. After petitioning the territorial government, they were promised a school teacher if they could find a schoolhouse. Their attempts to find a location were thwarted by the railroad depot and the USA commissioner in Juneau, who didnt believe the community had enough people to warrant a school precinct. At about the same time, Justine Parks was spearheading the campaign to establish a local voting precinct in Chugiak so the residents could cast votes locally. On October 12, 1948 – for what they hoped would be the last time – the Chugiak community trekked up to Anchorage to make their voices heard. They cast a total of 31 votes, much more than the commissioner expected, and Chugiak was granted a local voting precinct. Two years later, the territorial government recognized their burgeoning community and agreed to build their school. Vernon Haik had always been an active advocate for the cause, and he was appointed the first school agent for Chugiak Elementary. In preparation for the first wave of 66 students, Vern tracked down school materials and books at Fort Richardson. Chugiaks first school was ready in October 1951.</p><br>
<h4>Chugiak's First Mayor</h4><br>
<p>A driven man with an aptitude for organizing, Vern Haik was elected Chugiaks first mayor. He quickly planned a day of celebration for the hard-working community, and he announced that the coming Memorial Day weekend would be the. The entire town threw themselves into preparations for the festivities, as mayors from neighboring cities, the Governor, and people from all over Alaska were invited. During the opening day ceremonies, instead of presenting the Governor with a key to the city, Vern Haik presented him with an axe. He explained that it was a more appropriate symbol of the community, "who had hewn their homes from raw land." The three-day celebration was an enormous success; the crowds enjoyed motorcycle races, food booths, beauty contests, fortune tellers, and carnival games under sunshine and clear skies. The local paper called it "the miracle of Chugiak" and an editorial in the Anchorage Times declared, "Theres a new town on the map of Alaska today..."</p><br>
<h2>The Early Years</h2><br>
<p>Electricity was still a luxury household utility in 1949. For the first year of business, the Haiks ran the Spring Creek Lodge off-the-grid, employing the natural landscape to provide refrigeration. The creek was frigid year-round with a high of 38°, so the hamburger and milk were stored in a 10-gallon crock pot submerged in the freezing creek. When a food order was received, one of the Haik sisters would sprint to the creek and fetch the amount needed for cooking. At night, the cabin was lit with Coleman gas lanterns and Aladdin lamps.</p><br>
<h3>Menu</h3><br>
<p>Breakfast patrons looking for a quick pick-me-up might have chosen two doughnuts and a cup of coffee for 35 cents, according to an early menu that has been preserved in family scrapbooks. Hungrier customers would have dug deeper into their pockets for a full, cooked breakfast for $1.85.</p><br>
<p>A typical dinner at the lodge consisted of sirloin steak, baked ham or barbecued spare ribs, along with potatoes, candied yams, a side of vegetables, and tea or coffee. The Haiks included homemade bread in every dinner order — and of course, pie. Most dinners cost $2.85.</p><br>
<p>Patrons eating just dessert paid 35 cents for a piece of cake or a slice of pie, another nickel would buy you the house specialty. Although it sounds like steal by today&#39;s standards, the Lodge was not considered cheap eats at the time. It was a special occasion to eat out and many families made a ritual of going to the Lodge for Sunday lunch after church. Due to the remote location, many food items required a freight charge. As many ingredients as possible were locally sourced. The rich cream used in the banana cream pies came from the Matanuska Maid dairy co-op just down the road, but items like bananas had to be transported all the way from Seattle.</p><br>
<h2>Customers</h2><br>
<h3>Elmendorf Air Force Base and Fort Richardson</h3><br>
<p>After World War II the military shifted its centers to address the new Soviet threat; subsequently, Alaska became one of the main theaters of operation for the Cold War. Because of its vicinity to the Soviet Union, the military mission in Alaska centered on maintaining a deterrence against Soviet aggression and providing a training environment for Arctic, cold region warfare. On June 8, 1940, construction began to establish Elmendorf Air Force Base as a permanent military airfield. Two months later, the first Air Corps personnel arrived. The field played a vital role as the main air logistics center and staging area; as the base expanded, it eventually merged with the nearby Fort Richardson. With the influx of military personnel, the Spring Creek Lodge quickly became the go-to destination. The lodge was famous for its cozy atmosphere with smells of homemade bread and meals served by the Haik sisters. Meetings were held over dinner and pie and it was not uncommon to see military drills being performed in the parking lot.</p><br>
<h2>The Homestead Acts in Alaska</h2><br>
<p>was signed by Abraham Lincoln to prompt western expansion. The act offered up to 160 acres of free land in western states or territories to people who were willing to live on the land for 5 years, develop it for agriculture, and build a house on the land. If the requirements had been accomplished, after 5 years that person could receive full ownership of their 160-acre parcel. This opportunity would continue for over 123 years and prove instrumental in not only developing the western states but allowing millions of Americans to own their own private parcel of land.</p><br>
<p>As the more developed eastern states endured the growing pangs of industrialization, the government initiated new legislation to encourage citizens to move West and seek out new opportunities. Although the Alaskan land had been free since 1898, many prospective homesteaders were deterred by the difficult realities such as poor soil, weather, and transportation. By 1914, less than 200 applicants had been received in Alaska.</p><br>
<p>After WWII and the Vietnam War, applications increased as reunited young families sought out land ownership opportunities. On October 21, 1976, repealed the Homestead Act of 1862, but a provision permitted homesteading to continue in Alaska until 1986.</p><br>
<h2>Construction</h2><br>
<p>The one-story building is made of peeled logs and has a T-shaped plan with a shallow cross-gable roof. The logs are milled on two sides to provide level surfaces for stacking them. The logs retain round ends that extend a foot past the corners. A butt joint is used to join the logs at the corners. The gable ends have split log vertical siding applied over milled wood framing. The building&#39;s main section measures 20 by 36 feet. The kitchen and storeroom section, added on the back of the building in 1950, measure 10 by 24 feet.</p><br>
<p>The Buck Memorial Library is the public library of Bucksport, Maine. It is located at 47 Maine Street in the center of the town, in an architecturally distinguished Gothic Revival stone structure designed by George A. Clough and built in 1887. The building was a gift from the family of Richard Buck, a descendant of Bucksport founder Jonathan Buck, and was listed on the National Register of Historic Places in 1987.</p><br>
<h2>Architecture and history</h2><br>
<p>The library association in Bucksport was founded in 1806, and operated for many years as a private subscription service, operated first out of private homes and later out of a small leased space just off Maine Street. The need for larger and more permanent quarters in the 1880s prompted the drive that resulted in the construction of the present facilities. Richard Pike Buck, the grandson of Bucksport founder Jonathan Buck, promised funding for construction of a building and an endowment, but died before the gift was made. His wife and daughter saw through the donation.</p><br>
<p>The building is a 1-1/2 story structure, fashioned out of rough-cut ashlar Blue Hill granite with dressed granite trim, and covered with a gabled slate roof. The building has an L-shaped plan, with a forward projecting gable end at the left, and the entrance located under a porch in the crook of the L. The interior, which has retained all of its original finishes and woodwork, and is laid out with the librarian&#39;s desk and office in the center, a reading room to the right, and the stack area to the left. The building is one of four small-town Maine libraries designed by Boston architect George A. Clough, who summered in his native Blue Hill.</p><br>
<p>The Frank Hutchins House is a historic house at 47 High Street in Kingfield, Maine. Built in 1890, it is an architecturally and decoratively idiosyncratic work of a noted local builder, Lavella Norton, and is the best-preserved example of his work. The house is now home to the Kingfield Historical Society, and was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description</h2><br>
<p>The Hutchins House is a 2-1/2 story wood frame structure, basically rectangular in shape, with a number of ells and extensions to the sides and rear. The main block has a front-facing gambrel roof, which extends over a partially recessed porch extending the length of that sections right side. The porch is a modern recreation of the houses original porch, which had been removed, with fretwork decoration that differs slightly from the original. Gambrel-roofed dormers pierce the right side of the roof above the porch. The lower slope of the roof is clad in wood shingles, including several bands of decorative cut shingles, a detail repeated in the front-facing gable end. The house is attached to a carriage barn, which has been restored by the Kingsfield Historical Society and now houses museum displays.</p><br>
<p>The interior, accessed via the main entrance on the building&#39;s right side, follows a central hall plain, with chambers on either side on both floors. Distinctive and unusual decorative touches include Eastlake style stained glass windows, a uniquely carved staircase, and lavishly decorated metal ceilings. Window placements are sometimes unusual, and the woodwork gives the appearance of having been fashioned from whatever materials were at hand. Builtin storage spaces are also found in a number of odd and unconventional locations. Other surviving details include an early electrical intercom system and an early brick furnace in the basement.</p><br>
<p>The house was built in 1890 for Frank Hutchins, a local businessman whose activities include furniture retailing, painting, and funeral services. The builder was Lavella Norton, who built a number of Kingsfield&#39;s major buildings, and was locally well known for his idiosyncratic style. The Hutchins House is believed to be the best-preserved examples of his work.</p><br>
<p>The Slate River  or River Slate is a river in County Kildare and County Offaly, Ireland, a tributary of the Figile River.</p><br>
<h2>Name</h2><br>
<p>Its name derives from the slate quarries in the region. The Irish language name derives from tarae, meaning mill race, referring to Sally Corn Mill, Rathangan.</p><br>
<h2>Course</h2><br>
<p>Slate River rises at Ballynafagh Lake, near Prosperous and flows southwest, passing under the R403 road at Graigues. It continues westward parallel to, and north of, the Grand Canal. The Slate passes under the Grand Canal via the Derrymullen aqueduct and is bridged by the R415 at Littletown. The Slate River continues through Ballyteige forest and passes by the Lullymore Heritage and Discovery Park on the Bog of Allen. It passes through Rathangan, County Kildare where it passes under a Rathangan Bridge, part of the R401. There is also a footbridge downstream of this bridge, and another bridge (for the R414) at Rathangan Demesne.</p><br>
<p>The Slate River continues westward, passing into County Offaly and draining into the Figile River at Pollaghnagraigue.</p><br>
<h2>Wildlife</h2><br>
<p>Northern pike, European perch and brown trout are common.</p><br>
<p>The Perkins Homestead, also known as the Brick House, is a historic homestead at 478 River Road in Newcastle, Maine. The 57 acre property, including its 1837 brick farmhouse, was designated a National Historic Landmark for its association with the life of Frances Perkins , the first woman to hold a position in the United States Cabinet. Perkins spent many years, both as a child and later as an adult, at this property, which she considered to be her true home. The property was first listed on the National Register of Historic Places in 2009 as the Brick House Historic District in part for its archaeological significance.</p><br>
<h2>Description and history</h2><br>
<p>The Perkins Homestead occupies 57 acre of land on the east side of River Road, about 2 mi south of the center of Newcastle, Maine. The roughly rectangular property slopes from the road down to the Damariscotta River, which like the road runs generally north-south. The westernmost part of the property includes all of its buildings, a walled garden, and a tract of historic farmland just north of the building complex. The central portion of the property is forested, with paths lined by stone walls leading to agricultural fields in the plain adjacent to the river. The easternmost area, in addition to these agricultural fields, includes the remains of several other Perkins family residences, and the remains of a brickmaking operation. This area also includes the archaeological remains of an 18th-century garrison house. The homestead complex consists of a brick two-story house, built in 1837, which is connected by a series of additions to a barn that was originally freestanding. A short way east of the barn is a small late-19th century outbuilding, which has seen a variety of uses, including as a chicken house and art studio.</p><br>
<p>The property has been owned by the Perkins family for more than 250 years. When Frances Perkins was a child, she often spent summers with her grandmother on the property, and was her home in the later years of her life. She and members of her immediate family are buried in the family cemetery, which is on the property. Perkins, born in 1880, was educated at Mount Holyoke College, and was working as a social worker in New York City when the Triangle Shirtwaist Factory fire occurred in 1911. Perkins&#39; profile was raised by her leadership in advocating for changes to fire codes in the aftermath of the blaze, which killed 146 workers. Perkins was appointed Secretary of Labor by President Franklin Delano Roosevelt in 1932, a time when the country was suffering great unemployment in the Great Depression. Perkins was responsible for seeing through legislative enactment of significant labor reforms, including the 40-hour work week, bans on child labor, and unemployment and worker compensation programs.</p><br>
<p>Perkins regularly spent summers at the Maine homestead, and inherited it with her sister in 1927. She was its primary resident and caretaker until her death in 1965. The property was first listed on the National Register of Historic Places for its pre-20th century historical and archaeological importance in 2009, and was designated a National Historic Landmark for its association with Perkins in 2014. The property is still owned by the Perkins family, and is occasionally open to the public for tours organized by the Damariscotta-based Frances Perkins Center.</p><br>
<p>The Little Powder River is a tributary of the Powder River, in southeastern Montana and northeastern Wyoming in the United States. It drains an area historically known as the Powder River Country on the high plains east of the Bighorn Mountains.</p><br>
<h2>Geography</h2><br>
<p>The stream flows northward, east of the Bighorns, and into Montana. It is joins the Powder River near the town of Broadus. The Little Powder River was so named because the sand along a portion of its banks resembled gunpowder. The Powder River Basin near the Montana/Wyoming border is a major source of low-sulfur coal mined in the United States.</p><br>
<h2>History</h2><br>
<p>The Raynolds Expedition traveled along a portion of the river to its mouth in July 1859, and the Battle of the Little Powder River was fought on September 10, 1865 near the river&#39;s mouth along the Powder River as part of the Powder River Expedition. In the late 19th century its valley was a corridor used for cattle drives from Texas to Montana.</p><br>
<p>Titus Mill Pond & New York State Tidal Wetlands is located at the northeastern end of New Rochelle Harbor in the city of New Rochelle in Westchester, New York. The waters in the harbor and pond flow from Long Island Sound, with tides up to eight feet in the inlet and with no fresh water stream entering into it.</p><br>
<h2>History</h2><br>
<p>Titus Mill Pond was the former site of the Lispenard Mill. In 1708 Antoine Lispenard bought from Jacob Leisler&#39;s son a half interest in the peninsula between New Rochelle Harbor and Long Island Sound. Six years later he bought the other half. Across the inlet he built a dam and a tidal grist mill. Each incoming tide filled a mill-pond behind the dam, and then, as the tide ebbed, the water was released through a millrace to turn the mill wheel. Nearby the mill-pond, on the neck itself, Lispenard built his home, a stone house of one-and-a-half stories, with the front eaves extending to form the roof of a wide porch. The Lispenard family was part of the group of Huguenot refugees who established New Rochelle in the late seventeenth century. Antoine Lispenard was the son of an important emissary of the English colonial government.</p><br>
<p>Lispenard died in 1758, but the mill continued to be operated by his son, David Lispenard, and son-in-law, Jacobus Bleecker. In 1797 it was purchased by Samuel Titus, who owned and operated it for about forty years. Eventually it became unprofitable, due largely to the effects of the opening of the Erie Canal and the rapid development of the milling industry in western New York, and it was finally torn down near the end of the nineteenth century.</p><br>
<h2>Tidal Wetlands</h2><br>
<p>The Titus Mill Pond State Tidal Wetlands are a protected natural resource area subject to the jurisdiction of the New York State Department of Environmental Conservation (NYSDEC). They are situated at the eastern edge of the pond, where the Davenport Neck peninsula connects to the mainland, and are classified as a "formerly connected tidal wetlands zone in which normal tidal flow is restricted by man-made causes", or in this instance, the Lispenard-Titus grist-mill and dam.</p><br>
<p>The Titus Mill Pond wetland area is an intertidal marsh(IM) consisting of a vegetated, tidal wetland zone lying between the average high and low tidal elevation of New Rochelle Harbor and the Titus Mill Pond. The predominant vegetation here is low marsh cordgrass, Spartina alterniflora. The water in the wetlands is saltwater from Long Island Sound. IM areas are the most biologically productive of all wetlands categories, and have high values for flood and sediment control. Even small patches of IM wetland are considered by the NYSDEC to be of critical importance.</p><br>
<p>Flower Island is one of the San Juan Islands in San Juan County, Washington, USA. The uninhabited, rocky island has a land area of 4.6 acres and is almost completely devoid of vegetation. Located off the coast from Spencer Spit State Park, it is a popular nesting location for gulls.</p><br>
<p>Flower Island was occupied for two summers in the 1930s by Floyd and Ruth Schmoe and their children while Floyd Schmoe was studying at the Friday Harbor Laboratories. Because the island was not, at the time, listed on tax rolls, the Schmoes were able to claim squatters&#39; rights.</p><br>
<p>Currently, Flower Island is part of the San Juan Islands National Wildlife Refuge and is managed by the USA Fish and Wildlife Service. As with almost all of the islands in the refuge, human access is prohibited and boats may not approach to within 200 yards.</p><br>
<p>The Sutton Community Hall is a historic municipal building in Sutton, Alaska. It is located on the west side of Jonesville Road, about 0.25 mi north of its junction with the Glenn Highway. It is a single-story wood frame structure, measuring 40 x, with a shallow-pitch gabled sheet metal roof. The building has entrances on the north, south and east sides, the east-facing one sheltered by a hood with diagonal bracing. The exterior has several types of cladding, including asphalt shingles and board-and-batten siding. The building was built in 1927 to serve as a bunkhouse for workers building the Eklutna Power Plant, and was moved to the present location in 1950 to serve the unincorporated community of Sutton as a meeting space. The hall served the community as its principal civic and social meeting space for forty years.</p><br>
<p>The building was listed on the National Register of Historic Places in 2013. It was at that time unused and in deteriorating condition.</p><br>
<p>The Gov. Abner Coburn House is a historic house on Main Street in Skowhegan, Maine. Built in 1849 by a local master builder, it is one of the town&#39;s finest examples of Greek Revival architecture. It was built for Skowhegan native Abner Coburn, one of its wealthiest citizens, who served one term as Governor of Maine. The house was listed on the National Register of Historic Places in 1974.</p><br>
<h2>Description and history</h2><br>
<p>The Coburn House is a rectangular 2-1/2 story wood frame structure with a front gable roof. Its front facade is dominated by a two-story Greek temple front, with four fluted Ionic columns supporting an entablature and gabled pediment. The pediment interior has two symmetrically placed sash windows. The wall behind the temple front is flushboarded, with three bays of windows on each level, and a porch at the second level with a low balustrade. The main entrance to the house is on the right, in a projecting single-story rectangular block that includes flanking Ionic columns and pilasters on either side of the recessed doorway. The building corners have paneled pilasters, which support a plain entablature that encircles the house below the roofline.</p><br>
<p>The house was built in 1849 for Abner and Philander Coburn, unmarried brothers who were among the state&#39;s wealthiest citizens, controlling at one time more than 700 square miles of timberland in the state. Abner Coburn was reported in 1882 to have a net worth of $6–7 million. He was involved in large-scale business endeavors, including the Maine Central Railroad, and sat on the boards of Colby College and the University of Maine. He served one term as Governor of Maine in 1863.</p><br>
<p>The builder of the Coburn House was Joseph Bigelow, a Skowhegan-based master builder with a statewide reputation. Other notable buildings he worked in include the Samuel Farrar House in Bangor, and Skowhegan&#39;s 1844 brick First Baptist Church. Bigelow hand-carved the columns and capitals found on this house.</p><br>
<p>The Horace Mann School Historic District of Norfork, Arkansas encompasses a complex of four Depression-era school buildings near the center of the community. It includes a main school building, built with Works Progress Administration  funding in 1936, a home economics building and a vocational educational building, both built in 1937 by the National Youth Administration, and the auditorium/gymnasium, built in 1940 with WPA funds. All are single-story Craftsman-style buildings, although the gymnasium presents more stories because of a partially exposed basement. The complex was used as a school until the mid-1980s, and is now owned by the city, which uses the buildings for a variety of purposes. It is a well-preserved and remarkably complete Depression-era school complex.</p><br>
<p>The complex was listed on the National Register of Historic Places in 2007.</p><br>
<p>Sura , was an ancient city on the Euphrates River in northern Syria, today on a site 25 km west of Raqqa and 35 km north of Resafa. In the Roman Empire, Sura was a fortress city in the Roman province of Syria, and later on, in the Euphratensis.</p><br>
<p>In the 3rd century, Sura was a marginal attachment to the Strata Diocletiana to protect it against the Parthians. According to the Notitia dignitatum, Sura was the seat of the Prefect of the Legio XVI Flavia Firma. The legionary camp was located in the city and the city wall (1700 × 450 meters) was renewed under Justinian.</p><br>
<h2>Bishopric</h2><br>
<p>Sura became a Christian bishopric, a suffragan of the metropolitan see of Hierapolis Euphratensis, the capital of the Roman province of Syria Euphratensis, as witnessed by a 6th-century Notitia Episcopatuum. At the Council of Chalcedon in 451, metropolitan bishop Stephanus signed the acts also on behalf of Bishop Uranius of Sura. Bishop Marius of Sura was deposed in 518 for joining the Jacobites.</p><br>
<p>No longer a residential bishopric, Sura is now listed by the Catholic Church as a titular see.</p><br>
<p>The Mary Birdsall House is known as the Lauramoore Guest House & Retreat Center and is located in Richmond, Indiana. It was built in 1859 for Thomas and Mary Birdsall, a leading woman&#39;s suffragist in Indiana. The Italianate brick-built house is a two-story structure standing at the corner of Northwest Fifth Street and Richmond Avenue. In 1927, the Whitewater Monthly Meeting Religious Society of Friends converted the building to a retirement home, adding on a two-story addition on the west and north sides of the building. Later, the property was given to Earlham College, and it now serves as a guest house and retreat center. It was listed on the National Register of Historic Places in 1999.</p><br>
<h2>Design</h2><br>
<p>Construction of the house began in 1859. The house now known as the Lauramoore Guest House & Retreat Center (Mary Birdsall House) was built for Mary Birdsall (née Thistlewaite) and her husband from bricks made in a kiln to the north of the house. The Italianate low-pitched roofed dwelling was completed in 1861. The architect designed a cross-shaped floor plan whose foundations included a stone cellar. The four wings of the cruciform layout incorporate American bond brickwork and cornices that are both bracketed and dentilated. All of the wings have separate staircases and chimneys, but it is the east room which is thought to have been the more formal area. This room is closest to Northwest Fifth Street and the house&#39;s entry vestibule. The first floor of the house was built on a grander scale than the second, with three-sided bay window extensions in both the east and west wings. It is said that the house design was "technologically progressive, healthy, and emancipating", reflecting the concept of "domestic architecture" advocated by Catharine Beecher and Harriet Beecher Stowe.</p><br>
<h2>Operation</h2><br>
<p>The house was a private residence until 1927. The Birdsalls owned the house until 1899, although they had rented out the house for some years after their move to Philadelphia. The house was sold to Charles and Laura Moore after Mary&#39;s sudden death in 1894. The Whitewater Monthly Meeting Religious Society of Friends, which Mary Birdsall had supported, bought the house in 1927 and converted it into a retirement home and prayer meeting site (services were held in the parlor). The society extended the building, adding bedrooms, a kitchen, and backstairs. Its plans to build a free-standing meeting house on the east side of the property were never realized. The Lauramoore Retirement Home was privately incorporated in 1951 and operated until 2010. The company that owned the building then gifted it to Earlham College. Today, the Mary Birdsall house is called the Lauramoore Guest House & Retreat Center, and it also hosts visitors to Earlham College.</p><br>
<h2>Significance</h2><br>
<p>The house was added to the National Register of Historic Places as a property "associated with events that have made a significant contribution to the broad patterns of our history" and one "associated with the lives of a persons significant in our past". The Lily was a nationally published magazine that focused on womens rights, womens suffrage, and temperance. In 1858, Birdsall served as secretary of the Indiana Womens Rights Convention, which was held in Richmond, and on January 19, 1859, she was one of the first three women (with Mary Thomas and Agnes Cook) to address the Indiana state legislature. The Civil War soon overtook many of the social issues that Birdsall was associated with in the 1860s, but both Thomas and Mary continued to campaign for temperance and suffrage causes until Marys death in 1894. Thomas, a successful businessman who was an active supporter of the Richmond&#39;s temperance society, died in 1901.</p><br>
<p>The Synagogue of Livorno is a historic synagogue in Livorno, Italy.</p><br>
<h2>Tempio Maggiore (1603)</h2><br>
<p>The first Synagogue of Livorno, called Tempio Maggiore, date back to 1603, when was built a modest and simply one on project by Claudio Cogorano and Alessandro Pieroni; in the following years due to the growing of the Jews in town, about 3,000 persons at that time, it was essential an enlargement of the synagogue. The project to build a larger worship hall and the galleries was by Francesco Cantagallina in 1642.</p><br>
<p>The temple underwent to works of stability following the 1742 earthquake, it was built a second row of gallery for the women on project by Ignazio Fazzi; the Temple hall was 28 meters long and 26 meters width and was the second large synagogue after Amsterdam. On September 20, 1789 first evening of Rosh Hashanah 5550, according to the Hebrew calendar, the synagogue was inaugurated. In the 19th century other works of expansion were made and a new façade toward south was built, the two buildings placed by side were demolished. The synagogue was partially destroyed during World War II.</p><br>
<h2>Tempio Maggiore (1962)</h2><br>
<p>The new Synagogue of Livorno is the main Jewish place of worship of the 700 Jews of Livorno who survived The Holocaust. The Temple is located in Piazza Elijah Benamozegh, not far from Piazza Grande, on the site of the ancient synagogue which was partially destroyed during World War II. It is one of the four synagogues built in the 1900s in Italy and is the only one erected after World War II. The synagogue was projected by the Italian architect Angelo Di Castro, the works began in 1958 and it was inaugurated on October 23, 1962.</p><br>
<p>The Temple is a modern, bold and original construction in reinforced concrete inspired to the tent in the desert in memory of The Exodus assigned to the guard of the Ark of the Covenant. At the centre of the synagogue is positioned the bimah, built with marbles recovered from the old destroyed synagogue; in front of it is the wooden Torah ark by Angelo Scoccianti, work dating from 1708 recuperated from the Synagogue of Pesaro. The Matroneum is placed on the back of the bimah at the first floor while in the superior part of the apse is a red stained glass in memory of the victims of The Holocaust. In the lower level is the Oratorio Lampronti where the bimah and the Torah ark come from the Temple of Spanish rite of Ferrara; the Oratory is used as synagogue in the winter time.</p><br>
<p>The James Martin House  is a historic residence in Florence, Alabama. Martin was a leading Florence industrialist of the Antebellum era, who owned a cotton spinning mill along Cypress Creek. He had come to Florence from Jefferson County, Kentucky, and established his mill in 1839. A fire destroyed the complex in 1844, but was rebuilt and reopened in 1850. The mill was destroyed during the Civil War, but not rebuilt before Martins death in 1869. Martins sons operated the mill until 1873, and owned the house until 1879. It was purchased in 1886 by John Bounds, and remained in his family until 1974.</p><br>
<p>The original block of the house is five bays wide, with a small pedimented porch covering the double front door, which is surrounded by a transom and sidelights. A pair of nine-over-six sash windows flank the porch on either side. An addition was built on the left side of the façade in the mid-19th century, adding a hallway and two rooms to the center-hall plan layout. A wing to the rear of the house was originally attached via an open breezeway which was later enclosed. The entire house has Federal-style woodwork with some Greek Revival details, such as fluted Doric columns and pilasters on the front porch.</p><br>
<p>The house was listed on the Alabama Register of Landmarks and Heritage in 1979 and the National Register of Historic Places in 1981.</p><br>
<p>McConnell Island is one of the San Juan Islands in San Juan County, Washington, United States. It is located less than 1 mile from the southwest end of Orcas Island. The island was the former private reserve of Thomas Gordon Thompson. A portion of it is currently a nature preserve.</p><br>
<h2>Geography</h2><br>
<p>The island has a land area of 12.83 hectare with the southern part of the island rocky and elevated and the northern part covered by bigleaf maple and Western redcedar trees.</p><br>
<h2>History</h2><br>
<p>The island was originally known as Brown Island, named by Charles Wilkes for fourteen members of his United States Exploring Expedition crew who shared the same surname. It was later acquired by Victor McConnell, its first settler, who claimed squatters&#39; rights.</p><br>
<p>McConnell Island was purchased at the end of World War II by Thomas Gordon Thompson, a University of Washington professor and USA Army chemical warfare researcher who was later the namesake of the USNS Thomas Thompson and R/V Thomas Thompson. Thompson financed the purchase of the island through the sale of his valuable stamp collection and later built a home on it from native stone and driftwood. During his proprietorship of the remote island, Thompson used it to entertain friends and guests from the nearby Friday Harbor Laboratories. In one summer alone he received more than 700 visitors.</p><br>
<p>In 1997 a 3.66 hectare portion of the island was transferred to the San Juan Preservation Trust, a private conservation organization, to be used as a nature preserve. What is known as the Thompson Preserve includes 985 feet of protected shoreline as well as the original Thomas Thompson home. The rest of the island remains under private ownership.</p><br>
<p>Mount Marami, or Mataas na Gulod Boulders, is a cliff at the southern portion of Mount Mataas na Gulod in Cavite province on the island of Luzon, Philippines. The mountain rises to an elevation of 633 m above mean sea level and is one of the ancient volcanic features of Bataan Arc.</p><br>
<h2>History</h2><br>
<p>The rock pillars feature was once called as Nagbuo by the locals. And as soon as mountaineers frequented the area, it was called Marami (en. plenty) as referencing to its feature having multiple rocky pillars.</p><br>
<h2>Hiking activity</h2><br>
<p>Mount Marami can be climbed from Barangay Ramirez of Magallanes, Cavite to where the trail ends at its summit where the Silyang Bato, a rock formation which means Stone Chair, can be climbed for a 360-degree view of the Mounts Palay-Palay–Mataas-na-Gulod Protected Landscape.</p><br>
<p>A trail traversing all the mountains of the protected landscape starting at the foot of Marami and ends at Palay-Palay in Nasugbu was mapped by a five-man expedition team in 2014.</p><br>
<p>Mount Palay-Palay, is a dormant volcano in Cavite province on the island of Luzon, Philippines. The mountain rises to an elevation of 688 m above mean sea level and is the highest peak of the Mounts Palay-Palay–Mataas-na-Gulod Protected Landscape. The mountain is one of the ancient volcanic features of Bataan Arc.</p><br>
<h2>History</h2><br>
<p>Pico de Loro was first named by Spanish sea-farers which means "Parrots Beak" as its pointed summit resembles the shape of a parrots beak from afar and it is commonly used as a signal by sea-farers to turn east to get to Manila Bay.</p><br>
<h2>Governance</h2><br>
<p>Under the Proclamation No. 1315 s. 2007 of the Philippine government, the Mounts Palay-Palay–Mataas-na-Gulod Protected Landscape is placed under the protection and jurisdiction of the Department of Environment and Natural Resources.</p><br>
<h2>Hiking activity</h2><br>
<p>Near its summit is a lone vertical cliff feature called the Parrot&#39;s Beak or the Monolith that offers a 360-degree view of the protected landscape and the shores of Limbones Cove. Hiking has been closed for rehabilitation purposes since October 1, 2016.</p><br>
<p>Academy Hill Historic District is a national historic district located at Statesville, Iredell County, North Carolina. It encompasses 40 contributing buildings in a mixed-use neighborhood of Statesville. The district includes notable examples of Late Victorian architecture including primarily brick educational and industrial buildings and one and two-story frame dwellings. They were mainly built between 1885 and 1930. Notable buildings include the former Statesville Male Academy , Statesville Graded School , J. C. Steele & Sons Brick Machinery Plant , Ash Tobacco Factory , O. W. Slane Glass Company , J. C. Steele House , C. M. Steele House , H. Oscar Steele House , and William E. Webb House .</p><br>
<p>It was listed on the National Register of Historic Places in 1980.</p><br>
<p>The Matanuska Colony Community Center, also Palmer Historic District, is a cluster of buildings near the center of Palmer, Alaska that were the centerpiece of the Depression-era Matanuska Valley Colony. This federal rural resettlement program was intended to give needy families resources and land to improve their condition. The colonys buildings were erected beginning in 1935, and those that survive represent a well-preserved example of government community planning. It is centered on a city block bounded by East Dahlia Avenue, South Valley Way, South Denali Street, and East Elmwood Avenue, and extends to the north and south. The buildings on this block are organized around a grassy quadrangle, laid out in 1935. Prominent buildings include the Palmer Depot and three churches, located in the block just southeast of the quadrangle, one of which, the United Protestant Church, is a distinctive log structure. The colonys Central School, now added to several times, houses the offices of the Matanuska-Susitna Borough.</p><br>
<p>The area was listed on the National Register of Historic Places in 1991.</p><br>
<h2>Demographics</h2><br>
<p>The Matanuska Valley Colony Community Center was returned on the 1940 USA Census as the Alaska Railroad Colony Community Center (unincorporated). It had a population of 94. It has since been annexed into the city of Palmer.</p><br>
<p>Statesville Commercial Historic District is a national historic district located at Statesville, Iredell County, North Carolina. It encompasses 54 contributing buildings in the central business district of Statesville. The district includes notable examples of Late Victorian architecture dated between about 1875 and 1925. Located in the district are the separately listed USA Post Office and County Courthouse and Iredell County Courthouse. Other notable buildings include the First A. R. Presbyterian Church, former County Jail, the U. S. Post Office, former Walton and Gage Store , Miller Block , Madison Building, former Merchants and Farmers Bank , former Carolina Motor Company , former Montgomery Ward Store, and former First National Bank.</p><br>
<p>It was listed on the National Register of Historic Places in 1980.</p><br>
<p>Mitchell College Historic District is a national historic district located at Statesville, Iredell County, North Carolina. It encompasses 336 contributing buildings and 1 contributing site associated with Mitchell Community College and the surrounding residential area in Statesville. The district includes notable examples of Greek Revival, Queen Anne, and Classical Revival architecture dated between about 1885 and 1930. Located in the district is the oldest building and separately listed; the Main Building, Mitchell College . Other notable contributing resources are the Fourth Creek Burying Ground, George Anderson House , Friends Meeting House , Broad St. Methodist Church , Congregation Emmanuel Synagogue , McRorie House , Dr. Tom H. Anderson House , Dr. Julius Lowenstein House , Ludwig Ash House , L. N. Mills House , Mills Apartment , R. A. Cooper House , Statesville Woman&#39;s Club , and the former Davis Hospital.</p><br>
<p>It was listed on the National Register of Historic Places in 1980, with a boundary increase in 2002.</p><br>
<p>The Mountain Home Commercial Historic District encompasses the historic central business district of Mountain Home, Arkansas, the county seat of Baxter County. The district is centered on the Baxter County Courthouse, and is bounded on the north by East 5th Street, the south by East 9th Street, the east by South Street, and the west by South Hickory Street. Most of the buildings in this area are commercial structures, one or two stories in height, of masonry construction. They are generally vernacular in style, and most were built in one of two periods: between about 1900 and 1920, after the arrival of the railroad, and in the 1950s, when the city experienced another major period of growth. The oldest building is the 1892 Baker Building at 601-603 Baker Street.</p><br>
<p>The district was listed on the National Register of Historic Places in 2010.</p><br>
<p>Allison Woods is a historic rural retreat and national historic district located near Statesville, Iredell County, North Carolina. It encompasses six contributing buildings, four contributing sites, and three contributing structures on a gentlemans farm developed by William Locke Allison between about 1926 and 1939. The district includes natural woodlands and water features and the developed landscape to include the stream course with impoundments and Lower Lake. The built features are of brick or stone construction, with some representative of the Bungalow / American Craftsman style. They include the spring house , Upper Mill House , smokehouse , Farm Managers House , silo and barn foundation , 19th century log cabin , Lower Mill House , ice house , and windmill .</p><br>
<p>It was listed on the National Register of Historic Places in 1995.</p><br>
<p>Killarney is a heritage-listed detached house at 9 Laurel Street, Enoggera, City of Brisbane, Queensland, Australia. It was built. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Killarney is thought to have been erected in the 1860s for Timothy Corbett – a Brisbane property owner and Kedron Brook farmer. It is one of the earliest surviving residences in the Kedron Brook district and, for Queensland, of rare early brick construction.</p><br>
<p>Timothy Corbett was an Irish Catholic immigrant and patriot, and a very early Moreton Bay settler, having arrived here in the early 1840s, possibly even before the penal settlement was declared open to free settlement in February 1842. He was involved in various Brisbane business enterprises, and from 1850 was included on the Brisbane jury lists.</p><br>
<p>In October 1851 Corbett purchased approximately 30 acres (12 hectares – portion 4, parish of Enoggera) of Crown land along Kedron Brook for the sum of £30, and in March 1852 purchased the adjoining 35 acres (14 hectares – portion 5, parish of Enoggera) for £35. The land had been surveyed in June 1849 and offered at public auction in November 1849, but did not sell at the time. These blocks were covered with Oak Brush and Tea Tree flat, and passing through them was a Proven road from Brisbane – the original line of the South Pine Road (Survey Plan M.1118.20).</p><br>
<p>From the 1860s, the Kedron Brook district was well known for its mixed farming, vineyards and orchards, and as the gateway to the farming and timber centres of Samford and South Pine. Reputedly, the first Governor of Queensland, Sir George Bowen, and Lady Bowen were frequent visitors to the Surrenden vineyard on Kedron Brook in the early 1860s.</p><br>
<p>It is not clear when Corbett started to farm his Kedron Brook land, nor when he moved there. In government land sales registers he is recorded in August 1853 and again in December 1857 (when he bought a farm block on the river at St Lucia) as being resident in Brisbane. He married Alice Finn in Brisbane in 1856 and their first three children were all Brisbane births. In 1864-1865, Corbett was in partnership with George Edmonstone in the construction of Queen Street buildings designed by architect William Henry Ellerker. Whether Ellerker, who left Queensland in late 1866, was associated also with the design of Killarney, has yet to be established.</p><br>
<p>It is likely that the Corbetts moved to Kedron Brook in the 1860s, and probably were resident there by mid-1871, when T Corbett, Church of Rome, was elected by the local community as a school patron. Corbett and his neighbour James Mooney each gave part of their land fronting South Pine Road, (on portions 5 and 6 respectively), for the establishment of the Enoggera Primary School, which opened in September 1871. The Corbetts were among the earliest settlers along Kedron Brook and were well known in the district, their property being the venue for many community gatherings. Other early settlers included the Lade, Mott, Robinson, Dunlop, and McDowall families.</p><br>
<p>The district remained an isolated farming community until the extension of the now Ferny Grove railway line from the Newmarket saleyards to Enoggera railway station, which opened for traffic on 4 February 1889. After this the Kedron Brook district slowly acquired a suburban character, and by the 1920s was divided into a number of smaller, closely settled suburbs: Alderley, Enoggera, Gaythorne, and Groveley. By the 1930s, the district also had an industrial focus, with sawmills, potteries, and brickworks.</p><br>
<p>Following Timothy Corbetts death at his Enoggera residence on 30 March 1887, Killarney passed to his eldest son Edward Joseph Corbett, a solicitor who had developed a successful law practice in Brisbane and chairman of the Enoggera Divisional Board. Timothys widow, Alice, was bequeathed the use of the house for as long as she wished to continue residence there. In 1889 EJ Corbett married Cecelia Mary Beirne, and the couple continued to reside at Killarney, with Alice Corbett, until Edward&#39;s death on 19 July 1893 at the early age of 32 when his horse bolted. Killarney then passed to his widow Cecelia and to his brother William Francis Corbett, of Hamilton, as administrators. Although the Corbett family retained the property until the 1910s, Killarney appears to have become a rental property by 1895.</p><br>
<p>In 1912, title to the Corbett farm, including the residence, was transferred to David Rhoades, who subdivided the land into residential allotments as the Derby Estate. By 1931, the estate was thickly settled. In 1925 title to Killarney and its remaining 62 perches (1578m2) passed to the Tate family, then in 1934 to Emily Firrell. Killarney passed to Mrs Firrell&#39;s daughter, Beryl Agnes Farry, in 1948, and it remains her property.</p><br>
<h2>Description</h2><br>
<p>Killarney was originally a four-roomed single-storeyed house surrounded by a verandah, with a detached kitchen at the rear. It was built of hand-made bricks, with a short ridge roof of corrugated iron. The front windows are six-paned double-hung sashes. French doors open to the side verandahs which have broad timber posts. The internal brick walls are lined with lime plaster, while the ceilings are cedar boards.</p><br>
<p>The interior has been modified by the sheeting of the walls and ceilings. A modern kitchen has been incorporated in the house and a bathroom added on the back verandah. The original kitchen was demolished in 1975 and replaced with a four-roomed wing joined to the house by an enclosed verandah. The bricks from the kitchen were reused in the new structure.</p><br>
<p>An early underground water tank is located in the back yard.</p><br>
<h2>Heritage listing</h2><br>
<p>Killarney was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Killarney, erected s, is important for its association with the early settlement of Kedron Brook/Enoggera as a farming district.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The house is one of comparatively few surviving, mid-19th century Brisbane residences, and is one of the oldest remaining houses in the Kedron Brook district. It is a rare surviving example of a mid-19th century brick house in Queensland, and has potential to reveal more about Brisbane&#39;s early brickmaking history and technology.</p><br>
<p>The place has potential to yield information that will contribute to an understanding of Queensland&#39;s history.</p><br>
<p>It is a rare surviving example of a mid-19th century brick house in Queensland, and has potential to reveal more about Brisbane&#39;s early brickmaking history and technology.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It is a rare surviving example of a mid-19th century brick house in Queensland, and has potential to reveal more about Brisbane&#39;s early brickmaking history and technology.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It has aesthetic value, particularly in the rustic materials and simple design.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place has a strong association with the life and work of Timothy Corbett and his family, Corbett being amongst the earliest free settlers following the closure of the Moreton Bay penal colony in 1842.</p><br>
<p>Rogers Department Store was a department store chain based in Florence, Alabama. Founded in 1894, the company grew to include locations across the Tennessee Valley. The original building, constructed in 1910, was listed on the Alabama Register of Landmarks and Heritage in 1994 and the National Register of Historic Places in 1998.</p><br>
<h2>History</h2><br>
<p>Benjamin A. Rogers and his sons came to Florence in 1894 during a boom in the local economy driven by the construction of a canal to bypass the Muscle Shoals on the Tennessee River. The family erected a two-story frame building to house a department store. The store was one of the first in the area to clearly mark prices on items, rather than leaving the purchase up to negotiation.</p><br>
<p>Benjamin Rogers died in 1902, and the store burned in 1910, leaving the Rogers sons to rebuild. They erected the current two-story building, which was expanded to three stories and partially rebuilt after a fire in 1946. Rogers opened other locations, including in Muscle Shoals, Decatur, and Athens. The company remained in the family until 1998, when it was sold to The Dunlap Company, who closed the downtown Florence location in 2001. The store in Athens was closed in 1996, the Decatur store in 2006, and Muscle Shoals location (at Southgate Mall) was closed in 2007. As of 2013, the Florence building is occupied by an Asian fusion restaurant, Jos. A. Bank, and Alabama Outdoors on the ground floor, while the Martin Supply Company offices occupy the upper floors.</p><br>
<h2>Architecture</h2><br>
<p>The building is a three-story Art Deco structure, with over 65,500 square feet (6,100 sq. m) of interior space. It was originally constructed of solid brick, with some concrete block and poured reinforced concrete walls dating from the late 1940s expansion and post-fire restoration. The rear of the building, separated from a parking garage by a narrow alley, retains its original brick, with evidence of arched window openings on the two lower floors, along with twin chimneys.</p><br>
<p>The front and side façades are covered in beige limestone, with decorative carved rams heads on the chamfered corner and on the side of the building. There are two entrances at the front and side, and large aluminum-framed display windows line the front. A row of polished pink granite lines the base of the building. The buildings Art Deco character is derived from the two upper floors. Each bay is recessed, and contains three-part windows with a central casement surrounded by fixed panels. Projecting limestone panels between the bays rise slightly above the parapet line, further visually separated by scored panels above the third-floor windows. In the center of the front façade and twice on the side, a further recessed bay is flanked by panels that project further above the roofline.</p><br>
<p>The first and third floors feature mezzanines. The store was one of the first in North Alabama to have elevators, along with central air conditioning and heat.</p><br>
<p>The building sits across Mobile Street from Southall Drugs, also listed on the National Register.</p><br>
<p>Slab Hut Farm is a heritage-listed farm at 847 Mt Nebo Road, Enoggera Reservoir, City of Brisbane, Queensland, Australia. It was built from 1890s to 1890s. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The present slab structures mostly date from the 1890s, but the site was occupied from the 1870s.</p><br>
<p>In 1873 English immigrant George Powers Remfry selected 80 acres (32 hectares) of farmland at Mount Nebo (portion 844, parish of Enoggera). An 1873 survey plan shows a two-roomed store already on the site, erected close to the main road. This store probably serviced timbergetters and goldminers who were working the Enoggera area in the 1860s and 1870s.</p><br>
<p>By January 1877 Remfry had erected a four-roomed house and outbuildings and had 8 acres (3.2 hectares) cleared and cultivated. Shortly after he was granted a deed to portion 844.</p><br>
<p>In 1875 Remfry also selected neighbouring portion 863, which comprised 61.5 acres (24.6 hectares). Together with portion 844, he owned over 140 acres (52 hectares) of mostly uncleared land. In 1879 he raised a mortgage of £100 on the property, but was declared insolvent in 1880 and portion 844 was forfeited. He retained portion 863 until 1890.</p><br>
<p>Thomas McAfee of Samford appears to have leased portion 844 from the mid-1890s at least, and purchased portion 863 in 1897, although he may have been renting the site previously.</p><br>
<p>The McAfees developed both portions as a dairy farm, and it was during their occupancy that the present buildings were constructed, erected by owner labour and making use of local hardwood and stone.</p><br>
<p>Reputedly, McAfee built the three-roomed slab house as the familys first dwelling. Whether there is any connection between the early store of the survey plan (by 1873), Remfrys four-roomed house (by early 1877) and the extant three-roomed slab house (mid-1890s) is not clear. There appears to be no trace of the remains of Remfry&#39;s house and outbuildings, unless the McAfees recycled the materials in their buildings.</p><br>
<p>Around 1910 a second dwelling house was erected, the prefabricated timber building which still functions as the main residence.</p><br>
<p>In 1931 McAfee&#39;s widow purchased portion 844, and the property was maintained as a dairy farm until sold in 1959. The site was subdivided in the 1960s into 5 acre (2 hectare) lots.</p><br>
<p>For nearly six decades the McAfees were well known in the Mt Nebo community, and their name has been perpetuated in the lookout opposite the present entrance to Slab Hut Farm.</p><br>
<p>There are few comparable slab structures remaining in the Brisbane area. The only other known, extant slab house remaining on its original site was at Magnolia Farm (1890s) at Sunnybank, which was destroyed by fire early in 1999.</p><br>
<h2>Description</h2><br>
<p>Slab Hut Farm occupies a 5-acre (2 hectare) site at Peewee Bend on Mt Nebo Road. The non-urban zoned property is adjacent to the State Forest near the boundary of Brisbane City and Moreton Bay Region (formerly Pine Rivers Shire), in what has become a rural commuter suburb. Although the land has been cleared, several mature fig trees remain.</p><br>
<p>The various buildings and structures associated with the early development of the property as a dairy farm are grouped in close proximity, clustered along a ridge to take advantage of the natural drainage. These comprise:</p><br>
<h3>Slab House</h3><br>
<p>This is a low-set, single-storeyed, timber-framed structure with hardwood slab walls and floors and a hipped roof of unlined corrugated iron. Adzed timber rafters and tie beams with few battens support this roof, and the galvanised iron guttering is of early half-round profile. The principal uprights are morticed and tenoned to a bottom plate and carry a top plate, and the whole rests on timber stumps. Split hardwood slabs, both vertical and horizontal, provide the infill between the frames. There are no internal doorways. Slab partitions to ceiling height divide the structure into three rooms, each of which opens onto a verandah which runs the length of the building on the southwest side. The outer edge of the verandah floor is carried by a ground log. The former kitchen features a cooking alcove and chimney of corrugated iron attached to the end wall. This alcove is clad externally with vertical slabs and has a stone floor. Beyond the kitchen a small iron-roofed lean-to supported by timber posts is attached to the rear of the fireplace. The building remains substantially intact and has been furnished as a private museum, illustrating a typical bedroom and kitchen of the pioneer era.</p><br>
<h3>Creamery</h3><br>
<p>Although similar in structure to the early dwelling, the slab walls of the creamery are horizontal and the light-framed, steeply pitched gabled roof is continued as a shallower pitched hipped roof on all sides to form verandahs. This roof was shingled originally, but is clad now with unlined corrugated iron. The outer edges are supported by timber posts and one of the gabled ends retains its original slab infill. The creamery has been modified sympathetically to provide residential accommodation. This has involved enclosing sections of the verandahs with vertical slabs, glazing of the eastern gable end, some brick walling, and setting in of windows. Concrete covers the original earth floor.</p><br>
<h3>Dairy</h3><br>
<p>Adjoining the creamery is the dairy, a simple rectangular building of slab construction which is open on one side. The frame consists of large timber posts set into the ground with a top plate to support the roof, which was shingled originally. The current roof has a frame of milled timber, with corrugated iron cladding and modern guttering. Vertical slabs attached to top and bottom plates provide the infill along three sides. Internally the dairy retains the posts and rails which form the milking stalls, and at the eastern end there is a sapling storage shelf at ceiling level.</p><br>
<h3>Calf Shed</h3><br>
<p>Beyond the dairy stands the calf shed, a small structure of four posts with slab walls on three sides and open along one length. It has a corrugated iron gabled roof and slab gable infill. The long side enclosing wall has been shifted from the north to the south of the structure using the old nails.</p><br>
<h3>Farmhouse</h3><br>
<p>The dwelling house is a one-storeyed prefabricated structure of milled timber with a gabled corrugated iron roof. The front is single-skin chamferboard with exposed cross-bracing; the remaining sides are clad in weatherboards and lined with tongue and groove v-joints. Although the farmhouse has been altered with extensions to each end, picture-windows in the rear wall and an additional verandah beyond this, the cottage atmosphere has been retained.</p><br>
<h2>Heritage listing</h2><br>
<p>Slab Hut Farm was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Slab Hut Farm at Mt Nebo, established in the 1890s, is significant historically for its association with the early opening of Mt Nebo to timbergetters and goldminers, and with the development of the area as a farming district in the late 19th century.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>It is a rare Brisbane survivor of the pioneer era, rarer still for the site integrity and intactness of the buildings and structures, which provide unique evidence of the working of a late 19th century Queensland dairy farm.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>They also provide rare surviving evidence of pioneer house construction techniques and materials, and of bush lifestyle.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Slab Hut Farm has a strong aesthetic appeal, engendered by the rustic setting and materials.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place is significant for its local association with the McAfee family.</p><br>
<p>Brisbane General Hospital Precinct is a heritage-listed hospital precinct at 40 Bowen Bridge Road, Herston, City of Brisbane, Queensland, Australia. It was built from 1875 to 1941. It includes six historic buildings associated with the Royal Brisbane and Womens Hospital and the former Royal Childrens Hospital, as well as aspects of their grounds and landscaping. It was added to the Queensland Heritage Register on 28 March 2003. A number of buildings in the precinct, in particular the Lady Lamington Nurses Home, will be redeveloped as part of the Herston Quarter development.</p><br>
<h2>History</h2><br>
<p>A landmark group of buildings occupying a large parcel of land bordered by Bowen Bridge Road, Butterfield Street, Garrick Terrace, Bramston Terrace and Herston Road, the Herston Hospitals Complex comprises the Royal Brisbane Hospital, Royal Childrens Hospital and Royal Womens Hospital. When established on the site in 1867, the General Hospital contained a ward block with accommodation for 100 patients, a residence for the medical superintendent and a block with kitchen facilities and nurses accommodation. At the end of the 20th century the site contains more than 90 buildings and structures. The place is the largest hospital complex in Australia and provides the most extensive range of general and specialist services, is the major teaching facility for medical, nursing and paramedical training and is a major medical research facility for Queensland.</p><br>
<p>Initially, the Brisbane General Hospital was managed by a voluntary committee and funded by public subscriptions and government subsidies. In 1863, the Queensland Government established a hospital reserve of 15 acres on Bowen Bridge Road which the Hospital Committee reluctantly accepted expressing concern that it was an inconvenient site for the residents of Brisbane. The site, known as "The Quarries", was bounded by Bowen Bridge Road to the east, O&#39;Connell Terrace to the north and the open space of Victoria Park to the west and south. The General Hospital opened in January 1867 with an impressive two-storeyed, masonry building with a central tower designed by the Queensland Colonial Architect Charles Tiffin.</p><br>
<p>By the early 1900s the Hospital Committee faced a severe financial crisis. The growth in population was not matched by increases in voluntary contributions and new facilities and upgrading of existing facilities were necessary. Considerable construction work was undertaken during 1909-20 including open air pavilions, new operating theatre, outpatients building, mental ward and extensions to the Lady Lamington Nurses Home.</p><br>
<p>The Queensland Government assumed control of the Hospital in 1917 after the committee experienced severe financial difficulties in the operation of the hospital facilities. The Hospital Act of 1923 signalled the transition from hospitals operating as charitable institutions to being regarded as essential public community services funded and maintained by government. Developments in medicine, increasing population and changing social conditions and attitudes to health care resulted in increasing numbers of people seeking treatment at the Hospital. The Brisbane and South Coasts Hospitals Board was established in 1924 and assumed responsibility for the General Hospital and Hospital for Sick Children.</p><br>
<p>The 19th century British convention of local authorities administering isolation or infectious diseases hospitals was adopted in Queensland when the Health Act of 1900 vested responsibility for the treatment of persons with infectious diseases with local authorities. Responding to this legislation, the Metropolitan Joint Board for Infectious Diseases was formed in Brisbane and in 1902 the Wattlebrae Infectious Disease Hospital was established on property adjacent to the Hospital for Sick Children. Substantial buildings for the Wattlebrae Hospital were designed by the architectural firm Hall and Dods. Constructed in 1911 the complex included four open air pavilions with a small central brick building for ablutions and a two-storey timber administration block. Three open air pavilions and the administration block were demolished in 1999.</p><br>
<h3>1866-1923</h3><br>
<p>From 1866 to 1923 there was an intense program of building on the site in response to increasing demands for health care from a growing population. Building constructed during this time include the General Hospital Tower Block (1866), Nurses Quarters (1866), Surgeons Cottage (1866), Fever Ward (Ward 6) (1875), Male and Female Fever Wards (1880), Hospital for Sick Children (1884), Childrens Fever Ward (1884), Outpatients Building (1885), Operating Theatre (1887), Female Wards (5 and 7) (1885), Lady Norman Block (1895), Lady Lamington Nurses Home (1896), OConnell Block (1899), Courier Building (1908), Wattlebrae Infectious Diseases Hospital Open Air Pavilions (1911), Wattlebrae Administration Block (1911), Outpatients Department (1916), Ward 16 (1918), Mortuary Chapel (1918), Edith Cavell Block (1922) and a number of ancillary buildings and structures. The following buildings constructed during this period remain on the site:</p><br>
<h3>Fever Ward (now Building 19)</h3><br>
<p>The Hospital expanded throughout the 19th century in response to increased demands for health care from a growing population. The building program included a single storey brick building for the treatment of fever cases erected in 1875 to the north of the site overlooking OConnell Terrace. Modelled on the pavilion plan, this building contained a single open ward surrounded by verandahs providing accommodation for twenty-five patients. Known as Ward 6 it was converted to a gynaecological ward in 1890 and with adjacent wards 5 and 7 constructed in 1885 became the focus of female health care in the Hospital. In 1999, Ward 6 remains as building 19 (Wardsmens Amenity Building).</p><br>
<h3>Lady Norman Wing</h3><br>
<p>The Hospital for Sick Children was established in 1883 in a two-storeyed timber building to the western end of the site. Responding to the constant problem of overcrowding in the Childrens Hospital, a two-storeyed brick building, designed by John James Clark and Charles McLay, was constructed in 1895 to the pavilion plan and named the Lady Norman Wing in honour of the wife of Queensland Governor Sir Henry Norman who opened the building. Between 1908 and 1923 major development of the Childrens Hospital was undertaken in response to the increasing population and advances in medicine and surgery.</p><br>
<h3>Edith Cavell Block</h3><br>
<p>The Hospital Committee purchased a portion of the Herston Estate and erected the Edith Cavell Nurses Home to accommodate the increasing numbers of nurses required for the expanding Childrens Hospital. Designed by the Department of Public Works, the building was completed in 1922. The building was named in honour of Edith Cavell, a British nurse executed for helping refugees escape in Brussels during World War I. A swimming pool with associated landscaping was constructed to the north of the building in 1958 and the area remains one of the few extensive open spaces on the site.</p><br>
<h3>Mental Ward - Ward 16 (Ward 15)</h3><br>
<p>In 1918 a single-storey, brick building was constructed to accommodate patients with mild psychiatric problems. Known as Ward 16, it heralded a new approach in the treatment of mental illness. Previously patients requiring psychiatric treatment could only be admitted to hospitals for the insane at Goodna, Ipswich and Toowoomba. This was the first ward in a general hospital in Queensland to provide treatment for the mentally ill. Initiative for constructing this ward came from Dr Henry Byam Ellerton, Inspector of Hospitals for the Insane who was closely involved in the design with the Department of Public Works. Responsibility for individual projects within the Department of Public Works is seldom clear-cut but the files of the Department suggest that Thomas Pye had a major influence on the design of projects in the office during this time. Residential in scale and characteristic of the Arts and Crafts architectural style, the U-shaped building accommodated male and female patients in separate wings divided into cells, a marked difference from the dormitory type buildings at contemporary mental hospitals. The garden was an important element of the setting of the building with grassed areas to the front planted with trees. Following increased demand to accommodate acute alcoholics and prisoners requiring medical treatment locked cells were erected to the rear in 1948. The rear portion was known as Ward 14 and front became known as Ward 16. In 1958 the former Wattlebrae Infectious Diseases Hospital (1930) was converted into a psychiatric unit and named Lowson House and Ward 16 became known as Ward 15. The building currently houses offices. Externally, the building retains its original form except that front parapets have been removed from the north and south wings and infilled with fibrous cement sheeting, the front verandahs to the main wing have been enclosed with glass and metal louvres and the verandahs to the north and south wings have been enclosed with timber and glass. The building interior has been altered but the integrity of the building form and plan remains.</p><br>
<h3>1923-1945</h3><br>
<p>Between 1926 and 1938, there was a major redevelopment of the Brisbane General Hospital with the construction of blocks 1 (1928), 2 (1930), 3 (1938) and 4 (1937); service buildings including the laundry (1926), kitchen (1935) and boiler house (1935); and additional staff accommodation including major extensions to the Lady Lamington Nurses&#39; Home.</p><br>
<h3>Superintendents Residence (Social Workers Office)</h3><br>
<p>Located to the east of the Lady Lamington Nurses&#39; Home, the Residence for the Medical Superintendent designed by Atkinson and Conrad in an Old English style was completed in 1941. Dr Aubrey Pye, was the first Superintendent to occupy this residence. In office from 1935 to 1967, Pye was the longest serving Superintendent of the Hospital, presiding over a period of extraordinary development and dramatic change. The building is now used as offices by social workers. Few changes have been made to the building.</p><br>
<h3>1945 to the 1990s</h3><br>
<p>By the end of the 1930s the site had become the largest hospital complex in Australia and has continued to expand to the late 1990s except for disruptions during 1940-45 caused by World War II. During the 1950s new buildings included the Lady Ramsey Wing, a nurses home for the Women&#39;s Hospital. From the mid-1950s an increasing proportion of the capital works budget was devoted to facilities and equipment for support services. The first major building on the site to specifically accommodate specialist services, Block 8 commenced in 1956 and built in three stages over fourteen years, accommodated the pathology department and the Queensland Radium Institute. The continuing role in medical education was reflected in the construction of the Edwin Tooth Lecture Theatre (1957) and the Clinical Sciences building (1966). During the 1970s, the major building project was the fourteen-storey Block 7 completed in 1977 with accommodation for casualty and outpatients, general wards and administration.</p><br>
<p>Redevelopment and expansion of the Hospital has continued from 1970s with demolition, construction of new buildings, additions and renovations to existing stock and acquisition of additional property. More recent developments include new blocks for the Children&#39;s Hospital and the Queensland Institute for Medical Research. An extensive redevelopment of the northern part of the site has been undertaken during the 1990s and is expected to reach completion around 2004.</p><br>
<h3>The grounds and landscaping</h3><br>
<p>The grounds contain strong evidence of the layering and close conjunction of garden areas or elements from different periods of hospital development. The steepness of the site has required terracing and stone retaining walls for major buildings and roads. The site contains a wide range of landscaping elements. The use of porphyry, obtained from quarries on site, is a major element of the landscaping. One of the most striking walls is the large porphyry wall to Bowen Bridge Road constructed in the 1930s as a result of a road widening.</p><br>
<p>Roads, pathways and walls throughout the site demonstrate the early planning and subsequent development of the site.</p><br>
<p>The roadway from Bramston Terrace running between the Lady Norman Wing and the Edith Cavell block was formerly part of OConnell Terrace and was the main entrance to the Childrens Hospital. The pathway connecting the Lady Lamington Nurses&#39; Home to the main Hospital complex is an integral element of the site.</p><br>
<p>The hospital grounds have two distinct garden styles - the 1930s hybrid character of picturesque and gardenesque beds and stone work and the more recent style of mixed shrubbery of native and exotic plants. Distinctive features of the grounds include the planting of large flowering trees (in particular Poinciana and Jacaranda); palms; large shade trees (Ficus and Camphor Laurel) and Pines (hoop pine, Bunya pine, Callitris and Kauri).</p><br>
<p>The Lady Norman Wing, Edith Cavell Block, Superintendents Residence, Ward 15 and Lady Lamington Nurses Home form a gardened residential precinct within the Hospital site.</p><br>
<h2>Description</h2><br>
<h3>Former Pavilion Ward: Fever Ward (building 19)</h3><br>
<p>The former pavilion ward, constructed in 1875, is important as a rare example of a single-storey 19th century pavilion plan ward. As the oldest ward on the site, the place is important in demonstrating the early development of the hospital.</p><br>
<p>The former Fever Ward, now the wardsmens amenities building, is a rectangular, single-storey, brick building located towards the middle of the site overlooking the portion of OConnell Terrace within the Hospital complex. The building contains a single open ward with timber verandahs to the north, east and west with a timber pedimented entrance to O&#39;Connell Terrace. Despite demolition of part of the building and the enclosure of verandahs, the remaining fabric including the verandahs, doors, windows and clerestory, demonstrate its previous form as a pavilion ward. The connecting link with the adjoining pavilion ward remains. The interior has been altered but the original queen post trusses and timber ceiling remain intact above a suspended plasterboard ceiling.</p><br>
<h3>Lady Norman Wing (C18)</h3><br>
<p>The Lady Norman Wing, important in demonstrating the early development of the Childrens Hospital, was opened in 1896 and is the only building surviving from the pre-1920 era of the Childrens Hospital complex. Built in response to problems of overcrowding in the children&#39;s hospital, the building is a well designed two-storey late Victorian hospital block based on the pavilion plan. The building was designed by architects JJ Clark and CH McLay, who both made important contributions to Queensland architecture including the Treasury Building (JJ Clark) and the Customs House (CH McLay).</p><br>
<p>An L-shaped, two-storey brick building designed to the pavilion plan, each floor consists of a large ward with a smaller ward opening onto wide verandahs. Two brick towers with distinctive pyramidal roofs attach to the western side of the building accommodating ablutions facilities. Recently refurbished to accommodate administration facilities for the Children&#39;s Hospital, the building retains the principal spaces and planning. Many original features remain including a large internal staircase and brick towers to the west. The upper ward has been partitioned for offices but the lower ward remains as one space. Many internal finishes are intact. The corrugated iron ceiling to part of the upper floor remains.</p><br>
<h3>Lady Lamington Nurses Home</h3><br>
<p>The Lady Lamington Nurses Home was separately listed on the Queensland Heritage Register in 1992.</p><br>
<h3>Mental Ward (Ward 15)</h3><br>
<p>Originally known as Ward 16, this single-storey red facebrick building constructed in 1918 heralded a new approach in the treatment of mental illness. This was the first ward in a general hospital in Queensland to provide treatment for the mentally ill and was the forerunner of psychiatric wards attached to general hospitals. Dr Henry Byam Ellerton, Inspector of Hospitals for the Insane from 1909 to 1937 was instrumental in initiating the concept of mental health facilities as part of a general hospital and was influential in the design of Ward 15. The building is important for its later use as a hospital for prisoners and acute alcoholics.</p><br>
<p>Located within the garden setting for the Lady Lamington Nurses Home and the Superintendents Residence, Ward 15 is a single-storey, U-shaped building to the northeast of the Lady Lamington Nurses&#39; Home. Residential in scale, the detailing and massing are characteristic of the Arts and Crafts idiom. Symmetrical about a rectangular central wing which terminates in rectangular wings to the north and south, the building is distinguished by the steeply pitched roofs covered with terracotta tiles and three large roof ventilators. Approached from the east up a flight of concrete steps from the garden below, the central arched entrance of the main wing sits beneath a bullseye vent within a bell-shaped parapet with a decorative concrete capping. The verandahs flanking the main entrance have been enclosed with glazing. The parapets to the north and south wings have been removed and are now sheeted with fibrous cement. Verandahs to the north and south wings have been enclosed.</p><br>
<h3>Edith Cavell Block (27)</h3><br>
<p>The Edith Cavell Block is important in the development of the Childrens Hospital during the early twentieth century. Constructed in 1922 to accommodate the increasing numbers of nurses required for the expanding Childrens Hospital, the building was designed by the Department of Public Works and is a good example of a public building in the Arts and Crafts idiom. The building is enhanced by the swimming pool and open space with mature plantings to the north established in 1958. The building is a memorial to Sister Edith Cavell (1865-1915), a British nurse executed by a German firing squad in 1915 for assisting in the escape of allied prisoners in Brussels. The portico entrance contains a marble and sandstone memorial commemorating the laying of the foundation stone by the Governor, Sir Matthew Nathan.</p><br>
<p>Dramatically posed on the west ridge at the summit of the steeply sloping Hospital site, the Edith Cavell Block affords sweeping views across to the north of Brisbane. The building is a three-storey, H-shaped, facebrick building with a partial basement. The south elevation is symmetrical about a projecting central bay with a polychrome arched loggia entrance at ground level. This bay is divided by brick piers between which there are concrete spandrel infills and sash windows. The central wing terminates in pavilions to the east and west. The external walls are faced at ground and first floor level with glazed brown bricks and above with a rough cast finish. The south elevation has a regular rhythm of flat arched window openings with prominent rendered keystones and rendered sills. The striking north elevation consists of a polychrome arched loggia to the ground level opening from the building to the garden and swimming pool area. Verandahs to the first and second floors are divided into bays by brick piers and infilled with painted timber slat balustrading. These verandahs overlook the garden and swimming pool. The associated grounds of the Edith Cavell Block form part of the larger residential precinct associated with the Lady Lamington Nurses Home, Superintendents Residence and Ward 15.</p><br>
<h3>Superintendent's Residence (22)</h3><br>
<p>The former Superintendents Residence (now the Social Workers Office) is important in demonstrating the practice of accommodating the medical superintendent on the Hospital site. The medical superintendent had resided on the hospital site since 1866. Constructed in 1941, this building replaced two earlier residences. Dr Aubrey Pye, medical superintendent from 1933 to 1967, was the first superintendent to occupy this residence. Pye exercised significant influence over the administration of the Hospital and oversaw major changes and expansion to all facets of the Hospital activities. Residential in scale and materials, the former residence belongs to a cohesive group of residential buildings in the centre of the Hospital site. The building was refurbished in 1966. It is no longer used as a residence and now accommodates offices.</p><br>
<p>Situated to the east of the Lady Lamington Nurses Home and between the now demolished resident medical officers quarters and Ward 15, the building forms part of a well defined group of residential buildings in the centre of the Hospital complex. The building was skilfully designed and detailed in the Old English style by architects Conrad and Gargett. A two-storey building, the lower floor is constructed in cavity brickwork and the upper floor is stucco over a timber stud frame. The house has a tiled roof and a distinctive asymmetical front elevation to the east. The lower level contains living rooms and the upper floor contains bedrooms. Maids quarters are provided in a single storey semi-detached portion to the rear. There is a distinctive decorative bargeboard above a large bay window to the north of the arched entrance. The form and integrity of the place remain. The associated north lawn and planted gardens are part of the larger residential precinct of the Lady Lamington Nurses&#39; Home, Lady Norm Wing, Edith Cavell Block and Ward 15.</p><br>
<h3>Grounds and Landscaping Elements</h3><br>
<p>The grounds contain strong evidence of the layering and close conjunction of garden areas or elements from different periods of hospital development. The steepness of the site has required terracing and stone retaining walls for major buildings and roads. The site contains a wide range of landscaping elements.</p><br>
<p>The use of porphyry, obtained from quarries on site, is a major element of the landscaping. One of the most striking walls is the large porphyry wall to Bowen Bridge Road constructed in the 1930s as a result of a road widening.</p><br>
<p>Roads, pathways and walls throughout the site demonstrate the early planning and subsequent development of the site.</p><br>
<p>The roadway from Bramston Terrace running between the Lady Norman Wing and the Edith Cavell block was formerly part of OConnell Terrace and was the main entrance to the Childrens Hospital. The pathway connecting the Lady Lamington Nurses&#39; Home to the main Hospital complex is an integral element of the site.</p><br>
<p>The grounds associated with the Edith Cavell Block are one of the few open spaces remaining on the site and provide the building with a pleasant garden setting and opportunities for sweeping views across the north of Brisbane. The garden area contains a fenced swimming pool area with garden seats, mature plantings and a stone edged circular bed. Two large poincianas remain from early planting.</p><br>
<p>The garden area surrounding the Lady Lamington Nurses Home, the Superintendents Residence and Ward 15 is the most extensive area of landscaping on the site. This area contains two mature poincianas on the southern lawn terrace, concrete paths with brick edging, circular stone edged beds with azaleas around palms, two Queen palms, two phoenix dactylifera, two livistona palms, a circular rose bed, camphor laurels, jacarandas and a number of other mature trees. There are two poincianas on the terrace of Ward 15, along with a path with raised porphyry edging, steps at the upper end and a stone spoon drain, stone edged rose beds, mature araucaria cunninghamii and ficus.</p><br>
<p>The associated grounds of the Lady Norman Wing, Edith Cavell Block, Superintendents Residence, Ward 15 and the Lady Lamington Nurses Home form the residential precinct within the Hospital site.</p><br>
<h2>Heritage listing</h2><br>
<p>Brisbane General Hospital Precinct was listed on the Queensland Heritage Register on 28 March 2003 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Brisbane General Hospital Precinct is important for its association with the development of hospital health care in Queensland since 1866 and in demonstrating on the one site the major changes in hospital health care since that time. The place demonstrates changes in government involvement in the financing and control of health services in Queensland from the mid-nineteenth century. The place is important for its association with the development of nursing training, medical education and medical research in Queensland.</p><br>
<p>As the oldest ward on the site, the Fever Ward is important in demonstrating the early development of the Hospital.</p><br>
<p>The Mental Ward (known as Ward 16, now known as Ward 15) is important in demonstrating changing attitudes in the treatment of patients with mental illnesses in Queensland. The place is important for its later use as a hospital for the treatment of prisoners and acute alcoholics.</p><br>
<p>The Edith Cavell Block is important in demonstrating the development of the Children&#39;s Hospital during the early 20th century.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Fever Ward (now building 19) is important as a rare example of a single-storey 19th century pavilion plan ward.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Lady Norman Wing is important in demonstrating the early development of the Children&#39;s Hospital and is a fine example of a well planned two-storey late Victorian hospital block.</p><br>
<p>The Superintendents Residence (now the Social Workers Office) is important in demonstrating the practice of accommodating the medical superintendent on the site since the 1860s.</p><br>
<p>The following buildings have been identified as being of cultural heritage significance satisfying one or more criteria as contained in the Queensland Cultural Heritage Act 1992:</p><br>
<p>Fever Ward. 1875. Now building 19</p><br>
<p>Lady Norman Wing. 1895. Building C18.</p><br>
<p>Mental Ward. 1918. Building 15.</p><br>
<p>Edith Cavell Block. 1922. Building 27.</p><br>
<p>Superindendent&#39;s Residence (1941), Building 22</p><br>
<p>Lady Lamington Nurses Home (1897-1938), Building 25</p><br>
<p>These elements of the grounds and landscaping have been identified as being of cultural heritage significance satisfying one or more of the criteria of the Queensland Heritage Act 1992:</p><br>
<p>Roadway from Bramston Terrace between Lady Norman wing and Edith Cavell block</p><br>
<p>Pathway from Lady Lamington Nurses&#39; Home to main hospital complex</p><br>
<p>Bowen Bridge Road porphyry wall</p><br>
<p>Edith Cavell associated grounds</p><br>
<p>Associated grounds for Lady Lamington Nurses Home, former Superindendents Residence, and Ward 15</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Brisbane General Hospital Precinct is notable for the collective quality of groups of buildings and landscaping elements. The place is important for the range of building types and architectural idioms employed, the extensiveness site and the dramatic sitings made possible by the steeply sloping site.</p><br>
<p>Occupying a prominent site on Bowen Bridge Road, a major arterial road for Brisbane, the place is a major landmark within the inner northern suburbs townscape. The porphyry wall to Bowen Bridge Road provides an imposing presence to this Road and has a synonymous association with the Hospital. The drama of the view up hill towards Lady Lamington Nurses Home contrasts with the repose of the garden setting for the Superintendents Residence and Ward 15 nestled in the gully below. The Edith Cavell Block and associated grounds occupy the upper west ridge of the site and command sweeping views across the north of Brisbane.</p><br>
<p>The garden setting amplifies the picturesque presentation of the building (the Mental Ward) and provides an area of repose within the Hospital.</p><br>
<p>A substantial 1920s public building in the Arts and Crafts idiom sited on the western ridge of the steeply sloping site, the Edith Cavell commands a dramatic view to the north and its striking north elevation is enhanced by the open space and mature plantings to the rear of the building.</p><br>
<p>Discrete in scale and materials it (the Superindendent&#39;s Residence) belongs to a cohesive group of residential buildings within a garden setting in the centre of the Hospital site.</p><br>
<p>These designated roads, pathways, walls and gardens are important in demonstrating early planning and subsequent development of the Hospital site and contribute to the aesthetic qualities of the settings of the structures, buildings and groups of buildings on the site: the roadway from Bramston Terrace between Lady Norman Wing and the Edith Cavell Block; the pathway from the Lady Lamington Nurses Home to the main Hospital complex; the porphyry wall to Bowen Bridge Road; the grounds associated with the Edith Cavell Block; the grounds associated with the Lady Lamington Nurses Home, Superintendent&#39;s Residence and Ward 15.</p><br>
<p>The Lady Norman Wing, the Edith Cavell Block, the Superintendents Residence, Ward 15 and the Lady Lamington Nurses Home are important as a residential precinct within the Hospital site.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The Mental Ward was the first ward in Queensland attached to a general hospital for the treatment of patients with acute psychiatric disorders and a model for other psychiatric wards within a general hospital.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Brisbane General Hospital Precinct has a special association for the Brisbane community as the principal hospital complex in the City since 1866.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The Brisbane General Hospital Precinct is important for its association with major figures in the development of medicine and health services in Queensland including Dr Aubrey Pye and Dr HB Ellerton. The Brisbane General Hospital Precinct is important for its association with the work of architects Hall and Dods; JJ Clark and CH McLay; architects of the Department of Public Works.</p><br>
<p>The Lady Norman Wing is important for its association with the work of architects JJ Clark and CH McLay.</p><br>
<p>The Mental Ward is important for its association with Dr HB Ellerton who was instrumental in introducing the concept to Queensland and was influential in the design of this Ward.</p><br>
<p>The Edith Cavell Block is important for its association with the Department of Public Works.</p><br>
<p>The Superindendent&#39;s Residence is important for its association with Dr Aubrey Pye, medical superintendent from 1933 to 1967, and the first superintendent to occupy this residence.</p><br>
<h2>Notable staff</h2><br>
<p>Errol Solomon Meyers, prominent Brisbane doctor and one of the founding fathers of the University of Queensland School of Medicine</p><br>
<p>The Sannoner Historic District is a historic district in Florence, Alabama. The district lies between downtown Florence and the University of North Alabama and is named for Ferdinand Sannoner, who surveyed the new town in 1818. In the first half of the 19th century, many wealthy merchants, planters, and lawyers built their homes in the neighborhood. Wakefield, believed to be the first brick house in Florence, was built in 1825 in Federal style by an operator of a brick yard. Governors Edward A. ONeal and Emmet ONeal, as well as the son of Governor Hugh McVay all made their homes in the district. Emmet ONeals house, Courtview, is the centerpiece of the district; the Greek Revival mansion is situated on a hill at the end of Court Street.</p><br>
<p>After the Civil War and Reconstruction, Florence underwent a series of economic booms in the late 19th and early 20th centuries. Several Victorian houses were built before the turn of the century, as well as the Gothic Revival Trinity Episcopal Church. 20th century structures include houses in the bungalow, Neoclassical, and Tudor Revival styles, as well as a Spanish Colonial Revival office building at the downtown end of the district.</p><br>
<p>The district was listed on the National Register of Historic Places in 1976.</p><br>
<p>Signal Station, Moreton Island is a heritage-listed signal station at 25 Dorothy Newnham Street, Moreton Island, City of Brisbane, Queensland, Australia. It was built in the 1930s. It is also known as Former Navy Signal Station Fort Cowan. It was added to the Queensland Heritage Register on 1 February 1995.</p><br>
<h2>History</h2><br>
<p>Erected probably during the late 1930s by the Royal Australian Navy, and acquired by the Queensland Government in 1947, this structure was the second signal station to be used at Cowan Cowan, on the western side of Moreton Island.</p><br>
<p>During the early period of the Moreton Bay penal settlement, vessels entered Moreton Bay primarily through the South Entrance, which was the passage between Moreton and North Stradbroke Islands. The first navigation aids were placed in Moreton Bay in 1825, and marked the south entrance. A Pilot Station was established at Amity Point on North Stradbroke Island by 1827. The south entrance proved to be difficult and hazardous for vessels and during the 1830s, consideration was given to the advantages of using the northern entrance into Moreton Bay. Despite the hazards however, the southern entrance remained the main entrance to the Moreton Bay settlement as it better suited the colony, the entrances were already marked, and the pilot station was already established at Amity Point.</p><br>
<p>Following proclamation of Moreton Bay as a free settlement in 1842, the Regulations prohibiting all but authorised vessels to come to an anchorage at a penal settlement except in cases of distress or necessity, were revoked, and shipping activity in Moreton Bay increased. Brisbane was declared a Port of Entry in 1846, and a Warehousing Port in 1849.</p><br>
<p>By the mid 1840s both the north and south entrances were used by vessels entering Moreton Bay. Captain John Clements Wickham and Lieutenant Yule carried out extensive surveys in Moreton Bay in 1846, and buoys marking the northern entrance were laid soon after. Sailing directions for the northern entrance were published in the Moreton Bay Courier in April 1847, in preparation for the closure of the southern passage as the main entrance to the Bay. Following the sinking of the Sovereign in 1847, a harbour master was appointed for Brisbane. Additional buoys were laid to better indicate the northern entrance, and in 1848 the pilot station was moved from Amity Point, firstly to Cowan Cowan then to Bulwer, on Moreton Island. The pilot station marked the first official European settlement of Moreton Island.</p><br>
<p>The pilot station at Bulwer was closed in 1909, with the exception of the signalman who was also in charge of the telephone station. In 1912 the Signal Station was removed to Cowan Cowan, considered to be more convenient for vessels using the North West Channel which had been declared the safest entrance into Moreton Bay during the 1890s. The Channel ran close to the shore near Caloundra, across the bar in a southeasterly direction towards Moreton Island, and then southwesterly towards the mouth of the river, forming a Z-shaped route. James Palmer, the signalman at Bulwer, was appointed Signalman at Cowan Cowan Point from March 1913. Other signalmen stationed at Cowan Cowan included Charles William Hill, Keeper of the Cowan Cowan light for a number of years, and Harry Wadsworth appointed in 1939. By the mid 1940s, the Signal Station building which had been removed from Bulwer to Cowan Cowan, was in a deteriorated condition, and erosion of the coastline placed the building in danger of falling into the sea.</p><br>
<p>Fort Cowan, located north of the Signal Station, was completed in the late 1930s (sources differ as to whether this was prior to or shortly after the commencement of the Second World War), and formed part of the defensive system for southeast Queensland. Other fortifications apparent throughout Moreton Bay during the Second World War included Caloundra, Bribie Island Fortifications, and at Rous also on Moreton Island, which together with the existing installations at Fort Lytton (now part of Fort Lytton National Park), provided a coordinated series of defensive batteries for the region.</p><br>
<p>The shipping channels in Moreton Bay simplified the proposed placement of batteries. The major access route into the Brisbane River was still the North West Channel, which dictated the ideal positions for artillery batteries, the most effective sites for guns being the closest points to the channel bends. Fort Cowan took over the role of an Examination Battery from Fort Lytton, and a Port War Signal Station (PWSS), also referred to as the Naval Signal Station, was erected in conjunction with this duty. The Examination Service was staffed by Naval Reserve Volunteers, who had been called up in August 1939. As described in a Navy paper prepared in 1949, the function of the Examination Service was to identify and ascertain the character and intentions of vessels seeking to enter defended ports. This was necessary in order that defences could be made aware of any attempted entry of suspicious or unfriendly vessels. Merchant vessels approaching a port would be met by an Examination Vessel, stationed permanently at the Examination Anchorage near the entrance to the port. If an approaching vessel could not be identified, it was directed to proceed to the Examination Anchorage under the observation of the Examination Battery, and further investigation was undertaken. The major function of the Naval Signal Station appears to have been to receive signals from the Examination Vessels and relay messages to the gunnery, rather than to send signals which would have revealed the position of the battery. Two examination vessels appear to have also been stationed at Cowan Cowan during the First World War.</p><br>
<p>All PWSSs were closed down after September 1945. In 1946, with its own Signal Station in a state of disrepair, the Department of Public Works in Queensland entered into negotiations with the Commonwealth Disposals Commission, for the purchase of the former Naval Signal Station, mast and a nearby cottage. Although consideration was given to acquiring and relocating the former Naval Signal Station, it was decided that to shift the building to another site would risk extensive damage to the fibro walls and roof, and that the building in its present position is an ideal situation for Signal Station, with Signal tower mast and flag room close by. This position has a commanding view of Bay and is more suitable than existing site of old signal station. The former Naval Signal Station, including mast, and a residence were acquired by the Queensland Government in May 1947, for a sum of £1,300.</p><br>
<p>In 1954 the Postmaster-General&#39;s Department (PMG) proposed to establish a radio telephone communication service between Brisbane and Cowan Cowan. The PMG had previously expressed interest in acquiring the former Naval Signal Station to house radio telephone equipment, however it was decided that the building was too large for the PMG requirements. The radio telephone equipment was housed in the Signal Station and maintained by Wadsworth in addition to his signal station and lighthouse duties.</p><br>
<p>With the advent of VHF radio communication for shipping in the early 1960s, the need for signal stations was reduced, and following Wadsworth&#39;s retirement in December it was decided to close the Signal Station (the lighthouse which had been converted to automatic gas light in 1950, would continue to operate unattended).</p><br>
<p>Wadsworth and his wife Jessie, had acquired land adjacent to the Signal Station in 1952. Following the closure of the Signal Station, the Wadsworths sought to acquire the use of part of the signal station building, and were granted an Informal Lease over the former Signal Station site in 1967.</p><br>
<p>The Australian Telecommunications Commission (Telecom) removed the radio telephone equipment installed by the former PMG&#39;s Department, from the building in 1976.</p><br>
<p>Harry Wadsworth died in 1979, and Jessie died in 1985. In 1987, the Brisbane City Council recommended that the land be set aside as a recreation reserve and a Reserve for Local Government (Historical Park and Recreation) Purposes was gazetted in 1989, under the control of the Brisbane City Council as trustee.</p><br>
<p>The timber stairs to the upper level of the structure were removed in May 1990. The radio mast/signal mast was removed to the Enoggera Army Barracks in 1993, as the mast was infested with white ants and one of the stays fallen onto the beach.</p><br>
<h2>Description</h2><br>
<p>Located on the western side of Moreton Island at Cowan Cowan, the two storeyed Signal Station is positioned behind the first dune overlooking the beach and shipping channel. To the north along the beach are the remains of concrete gun emplacements.</p><br>
<p>A small timber framed building, rectangular in plan, it is mounted on low concrete stumps and clad internally and externally with asbestos cement sheeting with asbestos cement cover strips. On the south east corner a double row of stumps lead to a timber door indicating the former position of the entry steps. This door opens into the lower level which consists of two rooms joined by a connecting door. These rooms have suspended timber floors and double hung timber framed windows which are barred and screened.</p><br>
<p>The upper level, similarly divided into two, consists of a single room with a hip roof and a roof terrace. This upper level is inaccessible as the staircase, formerly an external stair on the eastern side of the building, has been removed. The room has continuous windows running around the perimeter walls which are interrupted only by the two doorways. A doorway remains which would have formerly been at the top of the stair. Another doorway, in the centre of the southern wall, opens from the room onto the roof terrace.</p><br>
<p>A number of small concrete slabs and other remains are located in the grass around the Signal Station.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Signal Station was listed on the Queensland Heritage Register on 1 February 1995 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Former Signal Station survives as evidence of the role of Cowan Cowan and Moreton Island in the Moreton Bay navigation network, from the mid-19th century when the pilot station was relocated from North Stradbroke to Moreton Island.</p><br>
<p>Located as part of the former Fort Cowan/Cowan Cowan Battery, this former Naval Signal Station has an association with the defence of Queensland during the Second World War by the Australian Military Force and particularly by the Royal Australian Navy. The former Naval Signal Station is also significant as part of the Cowan Cowan Battery, in turn, part of an integrated series of defence batteries around Moreton Bay.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Former Signal Station survives as evidence of the role of Cowan Cowan and Moreton Island in the Moreton Bay navigation network, from the mid-19th century when the pilot station was relocated from North Stradbroke to Moreton Island.</p><br>
<p>Newmarket Air Raid Shelter is a heritage-listed air raid shelter at Enoggera Road, Newmarket, City of Brisbane, Queensland, Australia. It was designed by Frank Gibson Costello and built by Brisbane City Council. It was added to the Queensland Heritage Register on 6 April 2005.</p><br>
<h2>History</h2><br>
<p>The Brisbane City Council built the concrete shelter at Newmarket as an air raid shelter in 1942.</p><br>
<p>On 7 December 1941, the United States of America entered World War Two following the bombing of the American fleet at Pearl Harbour in Hawaii by Japanese carrier-borne aircraft. England and its Commonwealth had been at war with Germany since September 1939, but now the war was truly global. The Japanese first bombed Darwin on 19 February 1942 and 14,000 Australians were taken prisoner following the fall of Singapore. Plans to defend Australia from an anticipated Japanese invasion and to use Queensland as a support base for the conduct of the Pacific war were implemented quickly. Australian and American personnel poured into Queensland and urgently required a wide range of new buildings and facilities.</p><br>
<p>The population of Brisbane swelled dramatically. As it was the major city in Queensland, and the most northerly major population centre in Australia, military planning headquarters were set up in Brisbane, as were a number of important maintenance, communication, and supply facilities. General Douglas MacArthur, Commander in Chief of the Allied Forces, Southwest Pacific, was based in the AMP building at the corner of Queen Street and Edward Street in Brisbane, and General Sir Thomas Blamey, Commander in Chief of the Australian Forces, used the recently constructed University of Queensland buildings at St Lucia. Brisbane was obviously a strategic target for bombing, and rapid action had to be taken to protect the population in the event of air raids.</p><br>
<p>The demand on materials, services and labour was enormous and military projects took precedence in their allocation. Heavy Anti-Aircraft batteries were built at Victoria Park, Hendra, Pinkenba, Fort Lytton, Hemmant and Balmoral, and coastal artillery batteries were established on Bribie and Moreton Islands. Before the war, Queensland had a small population and no heavy manufacturing industries. To help overcome these problems, some buildings were prefabricated and standard designs for many structures were used. Designs took into account the scarcity of skilled labour and of some materials.</p><br>
<p>The Brisbane City Council took responsibility for Air Raid Precautions activities, including establishing an Air Raid Warden system, firefighting systems and constructing air raid shelters. Aboveground salt water pipes were laid along city streets to aid in firefighting. On Christmas Eve, 1941, each Australian State&#39;s Emergency Committee issued instructions for government, private employers and private households to immediately start building shelters. Slit trenches were built in parks and schoolyards, windows were taped, and brownouts were applied to buildings.</p><br>
<p>In the Protection of Persons and Property Order No.1, gazetted 23 December 1941, Premier William Forgan Smith, with powers conferred by Regulation 35a, National Security (General) Regulations, ordered the Brisbane City Council to construct 200 public surface shelters in the city area. Work had already started on 15 December, and later another 75 shelters were ordered. However, only 235 air raid shelters were constructed, the building programme being 90% complete by June 1942. In addition, around three kilometres of covered trenches were constructed in public parks, in 13 projects, including 315 metres of concrete-pipe covered trench in the City Botanic Gardens, and 150m of the same in Victoria Park. It was believed that one person could be accommodated by each foot of trench. In addition to the public shelters, the Brisbane City Council also constructed shelters for leased wharves and council properties, including at the Stanley Wharf, Circular Quay Wharves 2,3 and 4, Norman Wharf, and Musgrave\ Wharf. Shelters were built under the Story Bridge, for Kangaroo Point shipbuilding workers, and five shelters were constructed on behalf of the Bureau of Industry at the Howard Smith Wharves.</p><br>
<p>The Protection of Persons and Property Order No.1 was applied statewide, and outside Brisbane another 24 Local Authorities in Queenslands coastal areas were ordered to produce surface or trench shelters for the public, to be built according to the Air Raid Shelter Code laid down in the Second Schedule of Order No.1. Initially, 20 of the Local Authorities were expected to construct a minimum total of 133 surface shelters, which were supposed to be able to withstand the blast of a 500-pound bomb bursting 50 feet away. Four other Local Authorities would only build trenches. However, after plans were amended, 23 Local Authorities outside Brisbane, excluding Thursday Island, ended up possessing a total of 129 public shelters: 123 surface and six underground. This effort had cost £56,596. Where Local Authorities were unwilling or unable to build the required number of code-compliant shelters, in some cases because they had already begun erecting other shelters, the Department of Public Works became responsible for the shelters construction. However, this led to problems when the Department tried to recoup half of the cost from the Local Authorities in question. Townsville, Toowoomba, Gladstone, and Ayr denied any liability for costs, and a Bill had to be passed in December 1942 to force their compliance. The Ayr Shire Council had claimed that the shelters would be death traps during an air raid.</p><br>
<p>Of the 235 surface shelters built in Brisbane for the public, 21 survive and are still owned by the Brisbane City Council. One of the shelters, on Queens Wharf Road, is a site-specific "special" variation of the standard pillbox design. It is listed in the Queensland Heritage Register as part of the entry for the porphyry retaining wall on William Street. The other 20 public shelters owned by the Brisbane City Council can be divided into three types of pillbox intended for conversion after the war: "park", "bus", and "bus (stone)". They were designed to serve as structures such as bus waiting shelters or shade structures for parks, with some or all of the perimeter blast walls to be removed, leaving the concrete slab roof, floor slab and piers. The reusable pillboxes were designed to hold 70 people, as were the non-reusable standard pillboxes.</p><br>
<p>F.G. Costello, Brisbane City Council City Architect between 1941 and 1952, was responsible for the design of the surface air raid shelters, and his variants of the standard pillbox were designed to provide a post-war utility for at least part of the Council&#39;s shelter building programme. In an address delivered to the Constitutional Club in Brisbane on February 1942, Costello noted that if the emergency for their use does not arise...(unused shelters)... remain in brick and concrete, in many cases having no further value and being a possible source of nuisance. He added that I can assure you that wherever it is possible, without sacrificing the primary requirements of shelter from air attack, I have endeavoured in our Council buildings to so plan the shelters that they will fit into schemes of improvement which we hope will proceed immediately after the war.</p><br>
<p>Costello&#39;s work was characterised by the use of an architectural language inspired by the modern movement in architecture. This movement pursued the rational use of modern materials and principles of functionalist planning and established a visual aesthetic largely inspired by the machine. It was part of an architecture employing the language of vertical and horizontal volumes and planes, floating flat roofs, masses set against voids and monumentality. Though modest in scale and form, the design of the shelters is characteristic of work in this idiom. The reusable shelters were often sited under fig trees, to aid in camouflage.</p><br>
<p>The first of Costellos reusable designs is the pillbox with double- cantilevered roof slab, or "park" type shelter. In an original list of all the shelters constructed by the Brisbane City Council, these were simply labelled as "cantilever". They had four central piers supporting the roof slab, which allowed for the removal of the four blast walls after the war. There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelters dimension was 409" by 133" by 86" high, and if concrete was used the dimensions were 40 by 126" by 86" high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete. The roof slab was intended to have at least four inches of concrete.</p><br>
<p>Of the 37 reusable shelters listed as being of the park type only 17 survive: one at Hefferan Park in Annerley; two at Albert Park; two at Wickham Park; one in Buranda Playground in Woolloongabba; two in Raymond Park in Kangaroo Point; and one each at Kelvin Grove, Morningside, Nundah, Stones Corner, and Windsor. Four other shelters stand on East Street and Wickham Street in Fortitude Valley. Most are used as simple park shelters, as intended, but the shelter at Nundah has been modified as a toilet block, and the shelter at Kelvin Grove is used as a bus shelter (as distinct from those shelters in the next category, which were specifically designed as "bus" type shelters). About half of the surviving park shelters had concrete blast walls, while half used brick.</p><br>
<p>The second design was the pillbox with single-cantilevered roof slab, or "bus" type shelter, as it was called in the original Brisbane City Council list. These were designed so that the three brick blast walls could be removed after the war, leaving a concrete back wall and five brick piers at the front. Again, entrances were at each end of the front wall. Of the 19 "bus" types listed only two survive, at Newmarket and Newstead.</p><br>
<p>The third design was also a "bus" type shelter, but it was built with a stone rear wall, instead of concrete, and six stone piers were later added, instead of five brick piers. The three brick blast walls could be removed as normal. Two of these "colonnade" types were built- referred to in the Brisbane City Council list as "bus (stone)"- and only one survives, at King Edward Park.</p><br>
<p>Most of the Brisbane structures built for the war were removed at the end of World War Two. The saltwater mains, slit trenches, and sirens disappeared, as did the many standard pillboxes that had stood in the middle of the streets of the Central Business District. 156 standard pillboxes were built, but none of the surviving public shelters in Brisbane City Council ownership are of that design. Of the 21 special shelters, only the one on Queens Wharf Road survives. However, of Costellos 58 reusable public surface shelters, 20 have survived; the removal of their blast walls, as planned, had given them a renewed purpose. The workers shelters at the Story Bridge Hotel and Howard Smith Wharves also still exist.</p><br>
<p>The front blast wall of the air raid shelter at Newmarket was removed according to plan after World War Two, although evidence of the location of the wall is still visible. The original floor slab has been covered with topping and a mural has been painted on the interior of the rear blast wall. A row of five brick piers has been added and electrical wiring has been introduced. The original seat has been removed and refixed within the shelter.</p><br>
<h2>Description</h2><br>
<p>The Newmarket air raid shelter is a rectangular concrete structure comprising a heavy floor slab, rear and side nib blast walls, a flat roof and five brick piers. The original floor slab is covered with concrete topping and an outer edge of pavers, and the rear concrete wall has a mural painted to the interior while the exterior of the rear wall remains unpainted. The roof fascias are painted yellow. The original air-raid shelter timber seat is painted green and is located against the rear wall. There is evidence of the entrances to Enoggera Road on the soffit. Wiring for lighting has been introduced.</p><br>
<h2>Heritage listing</h2><br>
<p>Newmarket Air Raid Shelter was listed on the Queensland Heritage Register on 6 April 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Newmarket air raid shelter is important as a part of the Air Raid Precaution activities that were implemented for the defence of Brisbane during World War Two. Designed to afford protection to the civilian population of Brisbane in the event of air raid attacks or other emergencies, the air raid shelter located at the intersection of Enoggera Road and Banks Street is important in demonstrating the impact of World War Two on the civilian population of Brisbane.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Although many air raid shelters were constructed during World War Two in Queensland, comparatively few survive. Also, there are not many types of structures built by the Brisbane City Council during World War Two, for wartime purposes, which survive.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The shelter&#39;s solid construction, rectangular shape, and its siting near a population concentration, demonstrate the principal characteristics of a World War Two Brisbane public air raid shelter.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The Newmarket air raid shelter, now used as a bus shelter, demonstrates the secondary uses that were part of the original design intention. The shelter is a durable example of innovative design and use of concrete technology during World War Two.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The air raid shelter is important as an example of the wartime work of the City Architect&#39;s Office and particularly the work of City Architect F.G. Costello.</p><br>
<p>The Fisher Building-Latham Block is a historic commercial structure located at 111, 113, and 115 North Sixth Street in Springfield, Illinois. While built as two separate buildings, the Fisher Building and Latham Block are connected by internal entrances and are now considered components of a single building. Construction on both buildings began in 1856. The larger Latham Block has a typical mid-19th Century commercial design with classical influences, which can be seen in its symmetrical windows with cast iron hoods. While the Fisher Building originally had a similar design, it was renovated in the Classical Revival style in 1900. Its design includes a two-story bay window, a decorative cornice, and limestone trim.</p><br>
<p>The building was added to the National Register of Historic Places on April 28, 2000.</p><br>
<p>Monte Emilius   is a mountain of the Graian Alps in Aosta Valley, north-western Italy. Located just above the town of Aosta, from where it is visible looking southwards behind the lower Becca di Nona, it is usually climbed starting from the ski resort of Pila, at a height of 1,870 m.</p><br>
<h2>History</h2><br>
<p>This mountain was formerly known as Pic de dix heures, meaning "10 a.m. peak" in French, as the sun stands right on top of it at 10am, or even as Pic Chamosser or Pic Chamoisier. In 1839 the canon Georges Carrel climbed the peak with a 14-year-old girl named Émilie Argentier, the sister of the mountaineer and doctor Auguste Argentier (1830-1874) from Cogne, in order to promote mountaineering. The peak was thus named after her. Aostan canons thought about naming it Pic Pie in honour of Pope Pius IX, but decided against it as Pie in French means magpie.</p><br>
<h2>Ascent</h2><br>
<p>A marked path from Pila usually takes one to the summit, past various lakes, with a bit of scrambling involved. The view from the top includes famous peaks such as Mont Blanc, Monte Rosa, the Matterhorn and Grand Combin</p><br>
<p>The Plackwald is a ridge of hills, up to, and part of the Rhenish Massif in the counties of Soest and Hochsauerlandkreis, North Rhine-Westphalia, Germany. Within the North Sauerland Highlands  it forms the natural region sub-unit of Plackweghöhe  .</p><br>
<h2>Geography</h2><br>
<h3>Location</h3><br>
<p>The Plackwald lies in the Arnsberg Forest Nature Park between Meschede in the south and Warstein in the north. It runs from the northeast of the town of Arnsberg in the west to the village of Esshoff in the borough of Brilon in the east. As part of the watershed between the River Ruhr in the south and its tributary, the Möhne, in the north it consists of a chain of hills with the Plackweghöhe as its highest point, whose name is a synonym for the hill ridge either side of the Plackweg, a long-distance path. Its main transport axis is the B 55 federal highway that divides the region roughly in the centre at the pass of Stimmstamm. Amongst the more notable sites of the Plackwald are the Meschede Transmission Tower and the Lörmecke observation tower as well as the rivers of the Heve, Langer Bach, Lörmecke and Wideybach.</p><br>
<h3>Natural regions</h3><br>
<p>In Germany’s natural region classification system, the Plackwald forms the sub-unit of Plackweghöhe (Plackwald) (334.5). with the major unit group of the Süder Uplands (No. 33) and major unit of the North Sauerland Uplands (334). To the north are the sub-units of the Upper Arnsberg Forest (334.3) and Warstein Hills (334.4), to the east the Upper Möhne and Alme Forest (334.6), to the southwest and west the Oeventrop Ruhr Valley (334.1) and to the south the major unit of the Sauerland Basins (335).</p><br>
<h2>Description</h2><br>
<p>The Plackwald is a high, flat-topped ridge, roughly 500 to, that runs eastwards from the Großer Berg near the Arnsberg village of Oeventrop over the Warsteiner Kopf and Nuttlarhöhe to the Brilon Plateau. Geologically the hill ridge comprises folded rocks of the Upper Carboniferous. In the Nuttlar Bowl, quartzitic argillaceous and greywacke slates of the Arnsberg Beds of the Namurian stage form the subsoil. Frequently, the horizons of argillaceous slate have been obliterated.</p><br>
<p>To the north the Plackwald descends comparatively gently to the Breitenbruch Forest (334.32) and Warstein Hills. To the south it drops steeply and suddenly into the Ruhr valley, around 250 metres below. The upper edge of the scarp of the truncated upland follows the Plackweghöhe, which runs along the southern edge of the Upper Arnsberg Forest, to the Inner Sauerland Basins (335). As a result the climate in the Plackwald is harsher and, with around 1,000 mm of precipitation annually, wetter that in other areas of the North Sauerland Uplands. The average temperature in May/July is roughly 12 to 13 °C. The podsolic soils are poor in bases, sandy-loamy and of medium depth. In the spring hollows there is a tendency for stagnant water and bogs to form.</p><br>
<h2>Hills</h2><br>
<p>The hills, eminences, spurs and other prominent high spots of the Plackwald include the following, sorted by height in metres (m) above sea level (NHN) (unless otherwise stated ):</p><br>
<p>Plackweghöhe (581.5 m), north-northeast of Eversberg (on the Plackweg); with the Lörmecke Tower</p><br>
<p>Unnamed top (557.4 m), south-southeast of the Meschede Transmission Tower</p><br>
<p>Warsteiner Kopf (556.9 m), north-northeast of the Eversberg</p><br>
<p>Gemeinheitskopf (551.9 m), north-northwest of Föckinghausen</p><br>
<p>Unnamed top (550.6 m), northwest of the Meschede Transmission Tower (on the Plackweg)</p><br>
<p>Niekopf (550.4 m), north of Eversberg; source region of the Wideybach</p><br>
<p>Wiemert (544.2 m), north of Föckinghausen</p><br>
<p>Ensterknick (543.2 m), hamlet and fields north of Meschede-Galiläa (on the Plackweg)</p><br>
<p>Nuttlarer Höhe (542.2 m), north of Nuttlar</p><br>
<p>Stimmstamm (541.1 m), Passhöhe an B 55, north of Meschede</p><br>
<p>Liverhagen (522.6 m), north of Eversberg</p><br>
<p>Moosberg (522.0 m), north of Meschede</p><br>
<p>Hornscheid (519.7 m), north of Eversberg</p><br>
<p>Brandenberg (509.3 m), north of the Meschede Transmission Tower</p><br>
<p>Neuer Berg (504.2 m), southwest of Hirschberg</p><br>
<p>Wennemer Höhe (503.3 m), north of Wennemen</p><br>
<p>Kopf (500,8 m), northeast of Eversberg</p><br>
<p>Blumenkopf (Südkopf, 500.7 m), southwest of Warstein, near the B 55</p><br>
<p>Blumenkopf (Nordkopf, 498.9 m), southwest of Warstein, near the B 55</p><br>
<p>Großer Berg (476.0 m), northeast of Freienohl</p><br>
<p>Meidenberg (466.7 m), southeast of Hirschberg</p><br>
<p>The Plackweghöhe , whose main summit has hitherto had no official name, is the highest point in the borough of Warstein, the hill ridge of the Plackwald, the North Sauerland Uplands, and the Arnsberg Forest Nature Park in the German state of North Rhine-Westphalia. It is and lies within the counties of Soest and Hochsauerlandkreis. The Lörmecke Tower observation tower at the top is a popular destination.</p><br>
<h2>Geography</h2><br>
<h3>Location</h3><br>
<p>The Plackweghöhe lies in the northern Sauerland. In the area of its main summit it is around 5 km south of Warstein (in Soest) and about 3 km north-northeast of Meschede (in Hochsauerlandkreis). It is linked via the Plackweg forest track with the Stimmstamm Pass over the Plackwald hills about 2.85 km away to the west as the crow flies on the B 55 federal highway. The area is drained towards the south into the nearby River Ruhr and to the north to the Ruhr&#39;s tributary, the Möhne, several kilometres away.</p><br>
<p>The highest point is shown on commercial maps just as an unnamed trig point, even though it is the summit of a hill range in the Central Uplands and is more than 20 metres higher than other summits in the range.</p><br>
<h3>Natural regions</h3><br>
<p>The Plackweghöhe belongs to the major unit group of the Süder Uplands (Np. 33) and the major unit of the North Sauerland Uplands (334) as part of the Plackweghöhe (Plackwald) sub-unit (334.5).</p><br>
<h2>Name</h2><br>
<p>The name Plackweghöhe does not just cover the hill itself, but a ridge along the old trading route of the Plackweg. It is mentioned in 1969 on the Arnsberg Sheet, after the same author, in 1963, had not used it in the Arolsen Sheet. The term does not relate explicitly to the highest point, but to the entire, roughly 20-km-long ridgeline of the North Sauerland scarp on the Ruhr-Möhne watershed between the hills of Großer Berg in the west and the Großen Storchschnabel (ca. ) in the east, along which ridgeline the Plackweg runs. The ridge is asymmetrically oriented towards the south and drops steeply into the Ruhr.</p><br>
<p>Downtown Sylva Historic District is a national historic district located at Sylva, Jackson County, North Carolina. The district encompasses 41 contributing buildings and 3 contributing structures in the central business district of Sylva. They are dated between about 1900 and 1964, and include notable examples of Italianate, Classical Revival, Modern Movement, Queen Anne, and American Craftsman style architecture. Notable buildings include the C. J. Harris Building , New Jackson Hotel , Medford Furniture Company , Great Atlantic and Pacific Tea</p><br>
<p>Company (1925), the Sylvan Theatre (1927) designed by noted architect Douglas Ellington, Jackson County Bank’s Sylva branch (1926), Cogdill Motors (1934), Moody Funeral Home (1946), Saint John’s Episcopal Church (1956), and the United States Post Office (1964).</p><br>
<p>It was listed on the National Register of Historic Places in 2014.</p><br>
<p>The Seminary–O&#39;Neal Historic District is a historic district in Florence, Alabama. The district runs along parts of North Seminary Street and East Irvine Avenue near the University of North Alabama campus. The 12 contributing properties are Vernacular cottages, bungalows, and Sears Roebuck-sourced American Foursquares. These were the styles most common in middle-class homes between 1908 and 1943, when Florence underwent a period of large growth driven by manufacturing and, later, the Tennessee Valley Authority. The two Foursquares, built in 1908 and 1926, sit next to each other on Seminary Street. The remaining structures on Seminary are bungalows. The three cottages, two of brick and one of wood, and one bungalow line Irving Avenue. The district was listed on the National Register of Historic Places in 1995.</p><br>
<p>The Nicholas P. Clase House is a historic house on the south side of Station Road, west of its junction with Capitol Hill Road, in New Sweden, Maine. It is a log structure, built in 1874 by a Swedish immigrant to the area, and is one of a small number of surviving log structures in Maine built using Swedish techniques. It was listed on the National Register of Historic Places in 1989,</p><br>
<h2>Description and history</h2><br>
<p>The Clase House is a two-part 1-1/2 story structure whose oldest portion, the main block, is built out of logs. It is three bays wide, and rests on a rubble stone foundation. It is clad in weatherboard, and there are two narrow chimneys rising through the center of the roofline. The main facade, facing south has a porch supported by five log posts. A wood frame wing, built sometime before 1908, is offset from the main log block, and is also clad in weatherboard. It has a second entrance, sheltered by a hip-roof vestibule, on the south side, and a third (on the west side) originally led into a barn that is no longer standing. Satellite imagery suggests the frame wing is no longer standing.</p><br>
<p>The main block of the house was built c. 1874 by Nicholas P. Clase, who was one of the first Swedish immigrants to settle New Sweden in 1870, under a program by the state government to encourage immigration to the area which gave each family 100 acre and a state-built log house. Clase&#39;s house is dimensionally different from the state-provided houses, and is built using Swedish construction techniques, implying that it was already a replacement when the property was described in 1874. The property has since passed through the hands of several of his descendants.</p><br>
<p>Clayton Graded School and Clayton Grammar School-Municipal Auditorium, also known as Clayton Elementary School, is a historic school complex located at Clayton, Johnston County, North Carolina. The Clayton Graded School was built in 1915, and is a two-story, rectangular brick building on a raised basement with a projecting one-story rear gymnasium. The Clayton Grammar School-Municipal Auditorium was designed by noted architect Charles C. Hook and built in 1926. It consists of a two-story, gable front auditorium on the front of the building, with a three-story classroom section at the rear. The classroom block contains 18 classrooms. The school closed in 1997.</p><br>
<p>It was listed on the National Register of Historic Places in 2001.</p><br>
<p>The Rollins Hospital is a historic former hospital building at 107 East Main Street in Gassville, Arkansas. It is a single-story building, built in 1923 out of concrete blocks fashioned locally to resemble native stone. The hospital was established by Dr. William James Rollins, and was the first in Baxter County. It originally occupied only about a third of the building&#39;s space, but gradually expanded to occupy all of it. It functioned until 1954, when its last doctor died. It was owned by the Baxter County Historical Society and was used as a museum devoted to Dr. Rollins and county history. The Baxter County Heritage Museum closed in 2008 due to damage from a tornado and the building has since been sold to a private individual.</p><br>
<p>The Society operates a new museum, the Baxter County Heritage Center, at 808 South Baker Street in Gassville.</p><br>
<p>The building was listed on the National Register of Historic Places in 2007.</p><br>
<p>The Victorian Apartments, now called the Victorian Row Apartments, is a historic apartment building located at 1234-1238 S. King Street, Seattle, Washington. It was listed on the National Register of Historic Places in 1990.</p><br>
<h2>History</h2><br>
<p>The building was constructed in 1891 at the corner of South 10th Avenue (then called 12th street) and Weller Street. It featured a Late Victorian style, and provided accommodation for families in the residential area around the Pioneer Square business district. Seattle was then in a period of rapid growth as its population increased from 10,000 in the mid 1880s to 42,000 by 1890.</p><br>
<p>A major regrading project was begun in 1907 in the Jackson Street area. The intent was to flatten the streets to improve access to the downtown district, in some cases reducing the street gradients from 15 percent to 5 percent. Most of the buildings in the area were demolished, but a few were relocated to just outside the regrade area, as was the Victorian Apartments building in 1908.</p><br>
<p>Originally unnamed, the building became known as the Victorian Apartments because of its uncommon design for the area, and in 1979 became a designated City of</p><br>
<p>Seattle Landmark under the name Victorian Row Apartments. It was added to the National Register of Historic places on December 18, 1990 as Seattle&#39;s only remaining unaltered pre-1900 structure of its type.</p><br>
<h2>Architecture</h2><br>
<p>The building is a modest rendering of the Late Victorian style, but was more distinguished than some other low and mid range accommodations in the area. The building is rectangular, approximately 60 feet by 113 feet, two stories high.</p><br>
<p>Only the west facade adds flair to the structure, where six square two-story windows and three porches project out from the wall, each topped by a gable roof with fish scale shinglework. The porches feature spindlework friezes and turned posts.</p><br>
<h2>Restoration</h2><br>
<p>The building had deteriorated by the 1980s. In 1990, Historic Seattle, a preservation and development agency, with the help of federal tax credits, rehabilitated the building to create 14 units of affordable housing. The property is now owned and operated by Historic Seattle.</p><br>
<p>The Jacob Wolf House is a historic house on Arkansas Highway 5 in Norfork, Arkansas. It is a log structure, built in 1825 by Jacob Wolf, the first documented white settler of the area. Architecturally its a "saddle bag", which is a two-story dog trot with the second floor built over the open breezeway. A two-story porch extends on one facade, with an outside stair giving access to the upper floor rooms. The buildings original chinking has been replaced by modern mortaring. It is maintained by the Baxter County Historical and Genealogical Society as a historic house museum.</p><br>
<p>The house was listed on the National Register of Historic Places in 1973.</p><br>
<p>Wolf EIGHT.jpgBack of Wolf House</p><br>
<p>Wolf SIX.jpgBlacksmith Shop</p><br>
<p>Wolf FIVE.jpgJohn Wolf Cabin built in 1828</p><br>
<p>Wolf FOUR.jpgPlaque at John Wolf Cabin</p><br>
<p>Wilston House is a heritage-listed villa at 47 Watson Street, Newmarket, City of Brisbane, Queensland, Australia. It was designed by architect James Cowlishaw and built from to. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This substantial, single-storeyed brick residence, designed by Brisbane architect James Cowlishaw, was constructed for William Wilson, a mercantile and insurance broker and later Brisbane representative for the Adelaide Milling Company, and a member of the Queensland Legislative Council from 1874 to 1878. The suburb of Wilston derives its name from this residence, which for many years was a prominent landmark in the Newmarket-Wilston district.</p><br>
<p>William Wilson, the son of Irish farmers James Wilson and Mary Richey, was born in Ireland and had emigrated to Queensland by August 1858, when he married widow Mary Coutts (née Mackay) in Brisbane. He was engaged in mercantile pursuits and from the early 1860s at least, the family resided in Mary Street, near his business. He was a Protestant and a freemason, and became well known in public life.</p><br>
<p>James Cowlishaw, a Sydney-trained architect and businessman who established his Brisbane architectural practiced in the second half of 1860, appears to have had a long association with William Wilson - one of his earliest Brisbane commissions, in 1861, was for an elegant brick cottage in Mary-street, for Mr Wilson (cost £800 - possibly Frogmore Cottage), where the William Wilsons resided prior to the construction of Wilston House.</p><br>
<p>Wilston House is situated on part of what was originally portion 269, 46 acres (18.6 hectares) alienated by farmer William Lovell in 1859, with title transferred to William Wilson in July 1868. Wilson amalgamated the land with his own neighbouring portion 265 (which he had acquired in 1859) to create a property of 87.5 acres (35.5 hectares). In May 1875, when both portions were surveyed as part of an application to bring them under the Real Property Act, the land was unoccupied, suggesting that Wilson was not farming here at this period.</p><br>
<p>In the 1860s and 1870s the district between Enoggera Creek and Kedron Brook was occupied principally by farmers, tanneries along Kedron Brook, and middle class commuter families residing in semi-rural hilltop retreats - such as Daniel Rowntree Somersets Rosemount (established in the late 1850s), and Justice Cockles Oakwal (erected 1864-65). These estates were virtually self-supporting, with vegetable gardens, orchards, domestic livestock and dairies. On some properties, crops were cultivated also. Wilston, established in the mid-1870s at the pinnacle of William Wilson&#39;s career (during his period as a member of the Queensland Legislative Council), belonged to this tradition.</p><br>
<p>In July 1876, James Cowlishaw called tenders for a villa residence at Enoggera for William Wilson, which is understood to refer to Wilston House. Early photographs (circa late 1870s) show a core in face brickwork, with verandahs on three sides (to the west, south and east), a rendered masonry portico to the southern front entrance, a timber section along the north (rear) side of the house with a bay window at the eastern end, and an attached timber kitchen wing at the rear of the main building. The timber section of the house is understood to have contained one large room at the eastern end, divided by two sets of cedar doors from two smaller rooms, possibly guest bedrooms, at the western end. The cedar doors could be opened out to create a ballroom. Whether this wing was part of the original design, or a slightly later addition, is not clear. The portico to the front entrance may be a later addition, as the roof slates continue behind the portico roof structure. Slightly later photographs, thought to have been taken during the Wilsons&#39; residence and therefore prior to 1885, reveal that the core had been rendered and bay windows to the two front rooms (at the southeast and southwest corners of the house) had been added. These matched in design the bay window of the earlier timber section on the north side of the house. By this period, three terraces on the southern (front) side of the house had been established, with concreted steps leading to each. It is understood that the lower terrace contained a croquet or tennis lawn, on which a portable dance floor and marquee could be erected when the Wilsons entertained.</p><br>
<p>By May 1884, Wilson had raised a £5,000 mortgage on portions 265 and 269 from Sir Arthur Hunter Palmer, KCMG, Premier of Queensland May 1870 to January 1874, acting Queensland Governor 1883 and 1888–89, a director of the Queensland National Bank in the 1880s and early 1890s, and resident at nearby Oakwal through the 1880s. Whether the mortgage was used to finance the additions to Wilston House, or for some other purpose, is not known. Wilson may have been experiencing financial difficulties at this period, because in October 1884, title to Wilston House was transferred to Brisbane businessman and politician John Stevenson, Member of the Queensland Legislative Assembly. One source suggests that Stevenson was part of a syndicate comprising himself, Maurice Hume Black (Member of the Queensland Legislative Assembly for Mackay and Minister for Lands), and William Graham (Member of the Queensland Legislative Council and a director of BD Morehead & Co.). At the same time as Stevenson acquired title to Wilston House, he (or the syndicate) used the property to help raise a mortgage of £22,500 from the Queensland Investment and Land Mortgage Co. Ltd - of which Sir Arthur Palmer was a director and principal shareholder.</p><br>
<p>The Wilsons left Wilston House and Stevenson subdivided the estate -85. In May 1885 Brisbane auctioneer John Cameron (later a director of the Queensland National Bank) auctioned the first section of the Wilston Estate, comprising over 300 residential allotments and Wilston House on about 8 acres of land. The residence was described at this time as comprising drawing and dining rooms elegantly finished, entrance hall, library, breakfast room, five bedrooms (all lofty, spacious, and well ventilated) - verandahs, kitchen, servants quarters, scullery and storeroom. The grounds contained stables, carriage-house, buggy-shed, harness-room, mans room and hay-house - (possibly housed in one or two structures) - underground tanks holding a domestic water supply, and a flower garden.</p><br>
<p>Wilston House did not sell at this time, and was advertised for rent in December 1885. Squatter James Tolson (of the pastoral firm of Tolson and Cameron) occupied the house for a few years, and on the Wilston Estate reputedly conducted experiments in freezing mutton for export to Britain. (His landlord, John Stevenson, was a director of the Queensland Meat Export and Agricultural Co.)</p><br>
<p>Wilston House remained a rental property in Stevensons name until 1898, when title to the house on about 27.2 acres (11 hectares) passed to his former business associate Boyd Dunlop Morehead, MLA and premier from 1888 to 1890, founder of BD Morehead and Co, and a former director of the Queensland National Bank. Morehead installed the Ladner family as caretakers but they left in 1899, the same year in which title passed to Moreheads mortgagor on the property, the Queensland National Bank.</p><br>
<p>In 1900, the Queensland National Bank sold Wilston House on 8 acres 3 roods to Major WG Cahill, for £1230. Cahill paid off the house in monthly instalments, which may account for why title was not transferred to him until 1915. Major William Geoffrey Cahill was under secretary of the Queensland Justice Department 1890-1905, Queensland Commissioner of Police 1905-1917, and honorary aide-de-camp to two Queensland governors in the period 1912-16. He was resident at Wilston House by 1906, and possibly earlier, but this is not clear from the Queensland Post Office Directories.</p><br>
<p>Local knowledge suggests that the Duke of Cornwall and York (later King George V) visited Wilston House with the Governor of Queensland, Lord Lamington, during the May 1901 Royal Tour to celebrate Federation.</p><br>
<p>In December 1925, by which time an extension of Watson Street had been surveyed close to Wilston House, the Wilston Hill Estate was again offered at public auction. The house on a little over one acre (.4 hectare), and several surrounding allotments, were purchased by Major Alex Wynyard-Joss, with title transferred in June 1927. Cahill remained resident at Wilston House as Wynyard-Joss&#39; tenant until. In the late 1920s the timber extension and service wing were demolished, and in its place a verandah was constructed along the northern side of the house. Major Wynyard-Joss also renovated the interior, installing electricity and a new bathroom and kitchen, and in 1930 took up residence at Wilston House with his bride. In the 1940s the house block was subdivided yet again, with the two lower southern terraces, and part of the grounds to the north and west of the house, were sold for residential purposes.</p><br>
<p>Major Wynyard-Joss died in 1954, and the property ultimately passed to his daughter. In 1982-83, a cottage studio was erected in the grounds, to the northwest of the main house.</p><br>
<h2>Description</h2><br>
<p>Wilston House occupies a dominant hilltop position above Wilston and Newmarket. It is a substantial, single-storeyed, low-set brick residence, principally Georgian in style with vernacular influences in the wide verandahs to all sides.</p><br>
<p>The core, which consists of a central hallway and six rooms, is roofed with Welsh slate. Initially the hipped roof had a central well over the hallway, but this was covered with a low gabled iron roof by 1925.</p><br>
<p>A rendered masonry portico with pediment distinguishes the arched front entrance, and from each room French doors with arched lights, fanlights and shutters open onto the verandahs.</p><br>
<p>Convex iron verandah roofs are separated from the main roof by a small cornice and timber console brackets, and are supported by paired wooden posts with cross-braced capitals and timber brackets.</p><br>
<p>The 1880s brick renovations are rendered to resemble ashlar, and it is likely the face brickwork was first painted at this time. Wilston House presents a highly intact facade, with a recent kalsomine coating to the exterior brickwork and render and a Welsh slate roof.</p><br>
<p>Internally the house is substantially intact, although friezes and a dado decoration in the hallway have been painted over. Cedar has been used for the hallway flooring, and much of the joinery, including the fixed seating in the bay windows and some of the mantelpieces. The remainder of the internal flooring is of pine. There are pressed metal ceilings and some cast iron mantelpieces - part of the 1880s renovations. Plaster columns in the drawing room, also part of the 1880s redecoration, have been removed. A bathroom occupies what was previously the linen room, and the kitchen is located in a former bedroom.</p><br>
<p>The site has been reduced to a suburban allotment. A sympathetically designed detached brick studio has been erected in the north west corner of the property. The grounds are bordered to north and west by large trees, including a large, mature Moreton Bay Fig (Ficus macrophylla) in the northwest corner of the block, which dates possibly to the 1870s. On the eastern side of Watson Street, opposite the back gate to Wilston House, is a large, mature Weeping Fig (Ficus benjamina) and two other mature trees: a Jacaranda and a Tupelo hybrid (Nyssa spp), which once formed part of the grounds of Wilston House and are understood to be remnants of late 19th or early 20th century planting. These have been included within the heritage listing boundary.</p><br>
<h2>Heritage listing</h2><br>
<p>Wilston House was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Wilston House and its grounds (comprising the current grounds associated with 47 Watson Street and remnants of the grounds now located on the Watson Street road reserve) are significant historically as evidence of the early middle-class occupation of the hilltops between Enoggera Creek and Kedron Brook, to the immediate north of Brisbane, and remain important in illustrating 1870s middle-class lifestyle in Brisbane.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected, Wilston House is a highly intact, substantial residence, particularly significant for its brick, cedar and slate construction and its Georgian stylistic elements, and important in illustrating the principal characteristics of its type.</p><br>
<p>The present grounds, and part of what is now Watson Street road reserve, contain many early plantings associated with Wilston House in the late 19th and early 20th centuries, including a large Moreton Bay Fig (Ficus macrophylla), a Weeping Fig (Ficus benjamina), a Jacaranda and a Tupelo hybrid (Nyssa spp). These plantings are significant for what they reveal about species choice and garden design associated with houses of this era and are of aesthetic significance for their contribution to the grounds of Wilston House and also as part of the landmark qualities of Wilston Hill.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Wilston House is significant also for its landmark quality and aesthetic and historic contribution to the Wilston/Newmarket townscape.</p><br>
<p>The present grounds, and part of what is now Watson Street road reserve, contain many early plantings associated with Wilston House in the late 19th and early 20th centuries, including a large Moreton Bay Fig (Ficus macrophylla), a Weeping Fig (Ficus benjamina), a Jacaranda and a Tupelo hybrid (Nyssa spp). These plantings are significant for what they reveal about species choice and garden design associated with houses of this era and are of aesthetic significance for their contribution to the grounds of Wilston House and also as part of the landmark qualities of Wilston Hill.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It is significant as a good example of the domestic work of prolific Brisbane architect James Cowlishaw.</p><br>
<p>Southall Drugs is a historic commercial building in Florence, Alabama. It was built in 1900 to house the pharmacy of Charles Morton Southall. The pharmacy operated until 1979, and was renovated in 1982 to have loft apartments on the second floor and retail on the ground floor.</p><br>
<p>The Italianate building sits at the corner of Court and Mobile Streets in the Downtown Florence Historic District. The Rogers Department Store building sits across Mobile Street. The building has a distinctive rounded corner, with a raised parapet containing arched letters "SOUTHALL" mimicking a corner turret. The storefront has a heavy metal cornice supported by four round, fluted columns. Four large display windows and the recessed entry are covered by canvas awnings. The side of the building on the first floor has eight arched windows, the first five of which are shorter and higher to clear the display racks inside. The second floor features arched one-over-one sash windows, one in each bay over the storefront and in every other bay along the side. The bays are separated by brick pilasters, resting on limestone plinths and capped with stamped metal Corinthian capitals. The pilasters support a projecting course of brick, with corbels between the pilasters.</p><br>
<p>The building was listed on the National Register of Historic Places in 1980.</p><br>
<p>Everitt P. Stevens House is a historic plantation house located at Selma, Johnston County, North Carolina. It was built about 1850, and is a two-story, three bay, vernacular Greek Revival style frame farmhouse. It has a single exterior brick end chimney and a rear shed addition added about 1940 and extended across the entire rear elevation about 1970. Also on the property are the contributing large barn and square tobacco barn, both built about 1900. After the Confederate Army defeat at the Battle of Bentonville  the army re-assembled around the grounds of the house where the last Grand Review of the army was held on April 6, 1865. In attendance at the review were Generals William J. Hardee, Joseph E. Johnston, and Governor Zebulon Baird Vance.</p><br>
<p>It was listed on the National Register of Historic Places in 1982.</p><br>
<p>The Walnut Street Historic District is a historic district in Florence, Alabama. Development of the neighborhood began in earnest in the 1890s, although the oldest house in the district dates from 1870. Florence&#39;s first economic boom after the Civil War began in the 1880s, and the newly minted upper-middle class began building homes to the east of older residential sections, such as Wood Avenue and the Sannoner District. The economy cooled in the 1900s and 1910s, only to pick up again in the 1920s with the construction of Wilson Dam and several textile mills.</p><br>
<p>Houses in the district represent three major types: the earliest constructed are the largest, and have Victorian and Classical Revival details; many houses from the early 1900s are cottages with either Victorian or California bungalow influences; and later 1920s and 1930s homes are usually two-story brick structures with Georgian influences.</p><br>
<p>The district was listed on the National Register of Historic Places in 1976, and its boundaries were increased in 1993 and 1996.</p><br>
<p>The Wood Avenue Historic District is a historic district in Florence, Alabama. The residential neighborhood was primarily developed after Reconstruction, although five houses date from before the Civil War. By the time of Florence&#39;s economic boom of the 1880s, the most fashionable upper-class neighborhood in Florence, today known as the Sannoner Historic District, had already been filled in, leading development to move to Wood Avenue to the west. Most homes built during this time were large, Victorian structures, including many elaborate examples of Queen Anne architecture.</p><br>
<p>As the economy slowed in the 1910s, more modest homes were constructed, primarily bungalows. Although they now make up nearly half of the buildings in the district, the first bungalow in the area, the Wade-Ware House, met resistance from neighbors when it was built in 1916, arguing that its style was not up to the standards of the neighborhood. After the completion of Wilson Dam in 1926, Florence&#39;s economy quickened once more and larger homes began to be built in the district. Houses of this era tended to be Georgian Revival in style, although other revival styles, such as Spanish Colonial and Tudor are represented. As the neighborhood filled in, the focus of development shifted to the north and west, including in the Walnut Street Historic District.</p><br>
<p>The district was listed on the Alabama Register of Landmarks and Heritage and the National Register of Historic Places in 1978. Its boundaries were increased in 1996 and 1997.</p><br>
<p>Cairnsville is a heritage-listed detached house at 41 Balfour Street, New Farm, City of Brisbane, Queensland, Australia. It was designed by Richard Gailey and built by Charles Le Brocq. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Cairnsville is a single-storeyed timber house built in 1889. It was designed by Richard Gailey, the notable architect, for Charles le Brocq, a prominent builder, local landowner and floating baths proprietor who retained the house as a rental property for professional tenants.</p><br>
<p>Its first occupant was Albert Victor Drury, a brother of Edward Drury, the general manager of the Queensland National Bank. He was the clerk of the executive council from 1867 to 1904, and private secretary to Queensland Governor William Cairns from 1875 to 1877. Drury named the house in memory of this recently deceased governor.</p><br>
<p>In 1897 Drury left Cairnsville, which has had a number of owners and tenants in succeeding years, including a period as a boarding house.</p><br>
<p>However, through much of the 1900s, the Le Brocq family occupied the house.</p><br>
<h2>Description</h2><br>
<p>Cairnsville is a gable roofed, single-storeyed timber house of the colonial era, with a kitchen wing extending off the rear. It sits on timber stumps which are lowset at the front, but highset at the rear.</p><br>
<p>The corrugated iron roof features two dormer windows with semi-circular tank roofs, as well as a window in each gable. The verandah across the front and down the right side of the house has timber posts with cast-iron balusters, brackets and valances. The entrance is marked by a fretwork pediment, beyond which is the panelled front door with leadlight fan and sidelights.</p><br>
<p>French doors with shutters open out from the rooms onto the verandahs. A large drawing room and dining room, linked by folding doors, are located on the right side of the central hallway, and three bedrooms are on the left. A substantial staircase leads to two attic bedrooms. The kitchen and other service rooms are located in the highset wing at the rear. The subfloor of this wing has been enclosed in brick to create a poolside entertainment area.</p><br>
<h2>Heritage listing</h2><br>
<p>Cairnsville was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>A late example of the Colonial Gable style and includes unusual features such as a substantial staircase and the rounded roofs of the dormers.</p><br>
<p>One of a number of moderate sized timber houses built in New Farm in the late nineteenth century as rental accommodation for the professional classes.</p><br>
<p>Associated with Richard Gailey, Albert Victor Drury and Governor William Cairns.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>One of a number of moderate sized timber houses built in New Farm in the late nineteenth century as rental accommodation for the professional classes.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>A late example of the Colonial Gable style and includes unusual features such as a substantial staircase and the rounded roofs of the dormers.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>Associated with Richard Gailey, Albert Victor Drury and Governor William Cairns.</p><br>
<p>New Farm Cinemas is a cinema at 701 Brunswick Street, New Farm, City of Brisbane, Queensland, Australia. It was first built. It is also known as Astor Theatre, Merthyr Picture Palace, and Village Twin Cinema Complex. While not heritage-listed itself, the New Farm Cinemas redevelopment has retained elements of the heritage-listed Village Twin Cinema, which was added to the Queensland Heritage Register on 24 March 2000.</p><br>
<h2>History</h2><br>
<p>The Village Twin at New Farm opened in late 1970, was the first twin cinema complex in Queensland and one of the earliest multi-screen cinemas in Australia. It was a renovation of the popular Astor Theatre, established as the Merthyr Picture Palace, on the same site at the corner of Brunswick and Barker Streets.</p><br>
<p>The site - part of a larger parcel of land alienated in 1845 - had been subdivided by 1880 as a residential allotment of 44 perches, and a cottage, fronting Barker Street and Oxley Lane, appears to have been extant by 1883. There does not appear to have been any development of the northern end of this block prior to approval being granted by the Brisbane City Council in September 1921, for Mousley & Halliday of New Farm to erect a picture show with concrete and iron walls at the corner of Barker and Brunswick Streets. Known as the Merthyr Picture Palace, the theatre was functioning by 1923 at least, and probably opened in late 1921.</p><br>
<p>The Merthyr Picture Palace was the third picture theatre established in New Farm, which in the early 20th century was one of Brisbane&#39;s most closely settled suburbs, particularly north of Brunswick Street. The Earls Court Picture Theatre, one of the earliest picture shows in Brisbane, operated at the corner of Brunswick and Kent Streets from and was renovated as the Rivoli Picture Theatre. The Colosseum Picture Theatre was established at 528 Brunswick Street, but appears to have folded in the early 1920s. All three theatres were established along the principal street of New Farm, in close proximity to each other in the heart of the suburb. Competition amongst early suburban picture show exhibitors was strong, and despite the enormous popularity of moving pictures, only the Merthyr Picture Palace (remodelled as the Astor Theatre in 1924) survived the introduction of sound films in the late 1920s and the economic depression of the early 1930s.</p><br>
<p>Richard Francis Stephens and Charles Eric Munro, who established one of Brisbane&#39;s most successful suburban interwar picture theatre chains, had acquired an interest in the Merthyr Picture Palace by at least 1924, when they commissioned Brisbane architect Claude E Humphreys to design additions and alterations to the theatre. Humphreys undertook a number of picture theatre commissions around this time, including theatres at Toowong and Kelvin Grove, and the front facades he designed were ornate fantasies in vaguely "Mediterranean" style. Brisbane City Council approval for the renovations to the Merthyr Picture Palace was gained in September 1924, and it is likely the alterations had been completed by the end of the year. The 1924 facade to the Astor Theatre changed little until the 1970 reconstruction, despite an impressive £7,000 renovation of the theatre undertaken in 1937 to the design of architect George Rae, which provided a seating capacity of 1,145.</p><br>
<p>Stephens & Munro, exhibiting at the Astor as Merthyr Theatres Ltd for over 45 years, developed the Astor as one of the most successful suburban picture theatres in Brisbane. From the 1920s to the 1950s, moving-going was a popular recreational pastime. Suburban picture theatres, many of which had elaborate street facades, were local landmarks and provided a focus for local social activity. Theatre proprietors were local identities, and knew their patrons by name. Their audiences, most of whom lived within walking distance, dressed for the occasion and made regular bookings to ensure good seats.</p><br>
<p>Following the introduction of television to Brisbane in the late 1950s, cinema attendance declined steadily. The introduction of wide screens, technicolour and superior sound systems failed to halt this worldwide trend, and many of Brisbane&#39;s suburban theatres closed in the 1960s and 1970s. From the 1950s, the larger exhibition chains countered the loss of "hardtop" audiences with the construction of drive-in movie theatres. Another approach, pioneered in Australia in Melbourne in the 1960s, was to create multi-screen cinemas within the shells of existing single auditorium theatres. The first of these multi-screen adaptations appears to have been the State Theatre in Melbourne, which was remodelled into two separate theatres, the Forum and the Rapallo, in the early 1960s. Later in the decade, Village Theatres commissioned Melbourne architects Ron G Monsborough and Associates to convert the former Rivoli Cinema at Camberwell into the Rivoli Twin Cinemas.</p><br>
<p>In mid-1969, Verdun Richard Stephens and Douglas Francis Stephens, took out a 10-year lease on the Astor Theatre from Merthyr Theatres Pty Ltd, but it appears that the following year the cinema was sold to Village Theatres (Brisbane) Proprietary Limited, a Melbourne-based exhibition company, with both the lease of the theatre and title to the site transferred to the new owners in 1971.</p><br>
<p>In 1970, Village Theatres commissioned Ron G Monsborough and Associates to design a twin cinema complex within the existing space of the Astor Theatre. Administration of the contract was handled by the Brisbane architectural firm of Briggs, Petersen & Burdett. The Astor Theatre remodelling was Village Theatres&#39; first Queensland venture and second twin cinema complex, and possibly the third multi-screen cinema to be constructed in Australia. In the conversion, Monsborough economically adapted the existing volume of the early cinema to create two smaller yet spacious theatres under the one roof. The cinemas are located back-to-back with a shared projection box between them. Drawings from the 1970 conversion indicate that the new ceilings were fixed to the existing curved, timber truss. These trusses were distinctive to Queensland theatre design and it is understood that few remain in Brisbane.</p><br>
<p>The Telegraph described Ron Monsborough as "acknowledged as a leading Australian cinema design architect" and that the Village Twin "is the best example of his outstanding ability in this field." In the late 1960s, Monsborough had travelled to the USA, Canada, Europe and the Far East to study cinema design. He was the architect for the Village Theatres Group and still practices as a consultant in cinema design. Monsborough also designed the conversion of the former Metro Theatre in Albert Street in 1973 into the three screen Albert Cinemas.</p><br>
<p>Promoted as "a new concept in cinema entertainment", the Village Twin opened on 26 December 1970. Cinema One (The Blue Room) had a seating capacity of 555, and Cinema Two (The Purple Room) could seat 352. The complex included a coffee lounge and mini art gallery, and the whole was considered ultra-modern in both design and decoration. Of particular note was Cinema One, described by one movie reviewer of the day as "a beautiful sea-blue auditorium, with a roof which makes one think of white coral". It was the first cinema to have wall-to-wall carpeting and the luxurious qualities of the complex were strongly emphasised in the press at the time. Special features in the foyer included a fountain and wall-mounted, beaten copper Gemini figures which symbolised the twin aspects of the complex.</p><br>
<p>The re-modelling of the cinema also reflected current concepts in cinema programming and marketing. The intention at the time of opening was that the larger Cinema One would feature popular, box office successes with wide audience appeal whilst the smaller Cinema Two would screen contemporary films with a more limited public appeal. The then general manager Bruce Simpson said that the "complex is directed at the sophisticated young people of the city... but would not alienate those of a more conservative outlook". The Village Twin maintained a reputation for screening quality and art-house films. In the early 1980s Cinema Two was leased by the Valhalla group, which operated cinemas in Melbourne and Sydney and screened principally revivals and non-mainstream film.</p><br>
<p>From at least 1984, Edenfile Pty Ltd held a half interest with Village Theatres in the Village Twin Cinemas. In August 1999, Melbourne-based Palace Cinemas bought Edenfile&#39;s 50% shareholding, thus completing a Palace cinema network in all Australian capitals.</p><br>
<p>The cinemas were closed in 2003, Palace having opened another Brisbane cinema in Fortitude Valley in 2000, and the building sat abandoned for several years. The cinemas deteriorated to a poor condition, and were the subject of demolition fears, especially when the 1970 Blue Room auditorium at the rear of the building was demolished in 2011 for safety reasons. It was acquired by Peter and Stephen Sourris, owners of the Yatala Drive-In Theatre, in February 2013. The new owners restored the surviving portions of the theatre, and extended it from a two-screen to a six-screen theatre. The first stage, with the restored Purple Room and new Bronze Room, opened on 1 August 2014 as the New Farm Cinemas, with the remaining four cinemas opening in December 2014.</p><br>
<h2>Description of Village Twin Cinemas (1970-2003)</h2><br>
<p>The Village Twin was located on the corner of Brunswick and Barker Streets, New Farm and bordered by Oxley Lane at the rear.</p><br>
<h3>Exterior</h3><br>
<p>The exterior form was largely that of the former Astor Theatre and comprised rendered masonry walls with a large gabled roof sheeted in corrugated iron. Entry to the cinema was from Brunswick Street, with fire exits to the lane and Barker Street.</p><br>
<p>The upper part of the front facade was painted black and screened with white aluminium strips fixed horizontally to a supporting framework which is attached to the original facade. Large orange lettering designed in the style of the Village corporate logo from the 1970s was affixed to the upper right hand corner. The top of the gable was visible behind this facade.</p><br>
<p>The lower portion of the front wall was tiled with deep-green enamel finish ceramic tiles, which also wrapped around the Barker Street corner. The profile of the tiled section was such that the engaged piers of the original facade were distinguishable. Five double glass doors led into a wide set of stairs up to the foyer. The opening, which was the same proportions as that of the Astor, was surmounted by a timber panelled bulkhead with downlighting. On each side of the entry doors, three glass display cabinets were set into the tiled walls with posters of current and forthcoming attractions. A cantilevered awning lined alternately with aluminium strips and fluorescent lighting projected over the street. This lighting effect was intended to assist the transition from the dark interior of the foyer to the brightness of the street.</p><br>
<p>The Barker Street facade was blank and painted in two tone olive green paint, in line with the upward slope of the street. There was evidence of an early concrete wall, the silhouette of panelled areas being discernible in the upper section of the wall and the configuration of the downpipes appeared to be the same as for the Astor.</p><br>
<h3>Foyers</h3><br>
<p>As a whole, the interior was remarkably demonstrative of the early 1970s, the period in which the cinema was refurbished as a twin complex. The foyer is stepped, not unlike the grand picture palaces of the interwar period where entry into the cinema was staged to heighten the experience of arrival. The foyer had upper and lower areas with a consistent decorative scheme throughout. The cinemas were located above the foyers and are arranged back-to-back with a shared projection room between them.</p><br>
<p>The lower foyer was extensive, with interior finishes of dark brown brick and horizontal timber panelling stained dark brown; the ceiling was also lined with the same dark timber. This theme is continued through to rubbish bins, ashtrays and display units which are made of the same timber with strong horizontal design elements and aluminium details. Boxed, timber pelmet lighting ran along the walls throughout both the upper and lower foyers and the stairs. The foyer space was arranged symmetrically with staircases of identical detailing on either side of the centrally located ticket office. The ticket office was located in the space beneath the stairs to Cinema Two (which was previously occupied by a fountain and decorative light fitting). Bold geometric carpet with a pattern of purple, green and blue circles and ellipses in a black background covered the floor throughout the entire foyer area, including the stairs.</p><br>
<p>A large alcove that formerly housed a coffee shop and art gallery ran along the right hand side of the lower foyer. A servery area with kitchen remained but was no longer used. A long banquette upholstered in bright blue vinyl and wool ran along the Barker Street wall and a number of chairs and tables were positioned here. On the opposite side of the foyer there was a door which led to the manager&#39;s office and store room. Adjacent to this is the space where the ticket office was formerly located but was panelled with horizontal timber, consistent with the rest of the interior. Signage throughout the foyer was composed of bronze, metallic lettering mounted directly onto timber elements such as doors.</p><br>
<p>The stairs to the upper foyer were solid, with rectangular wall mounted timber handrails cut at an angle at each end. The central handrail had minimal balusters, again emphasising the horizontality of the timber detailing throughout the interior. Entrances to the cinemas were located opposite each other in the upper foyer. Each entrance had a pair of heavy timber double doors recessed into vestibule spaces for the stairs leading up into the auditoria. Bronze, metallic lettering announcing Cinema One The Blue Room and Cinema Two The Purple Room were situated above the doors, mirroring each other. The upper foyer was dominated by a large but delicate, crystalline hanging light fitting located in the centre of the ceiling. Two purple vinyl benches and two small cafe tables with chairs were located in the upper foyer.</p><br>
<p>The candy bar was located on the Barker Street side of the foyer. An office, which was previously part of the coffee shop, was next to the candy bar at a level between the upper and lower foyers with small sets of steps between the two. Doors to both male and female toilets were opposite the candy bar. The doors were timber panelled consistent with the rest of the interior and had the same style signage. The female toilets retained a separate powder room area with a small vinyl covered bench and large mirrors on the far wall. Toilet cubicles and benchtops were terrazzo of a neutral colour. The male toilets hada large vestibule with a wall mounted copper sculpture hung against a bright yellow wall. The toilet partitions were also terrazzo.</p><br>
<p>Steep stairs led to the cinema auditoria. The contrast between the sleek, dark style of the foyers and the vivid profusion of light and colour in the cinemas intensified the sense of escapism and fantasy common to much cinema design.</p><br>
<h3>Blue Room</h3><br>
<p>The Blue Room was the larger and more ornate of the two cinemas. The most obvious feature was the vaulted ceiling, a plaster moonscape with craters of varying depths which conceal red, blue and green lights. Larger, shallower craters are interspersed with the light craters creating a rich and complex surface. There are 294 light globes on three circuits. A variety of lighting effects could be achieved using these different circuits and the coloured globes. A pelmet which concealed recessed lighting covered the intersection between ceiling and wall and turquoise woollen drapes fell to meet the carpet which came about one metre up the wall. The original carpet with an op-art, circular dot pattern of blue and brown was used throughout the cinema. The curve of the vault frames the screen which has several layers of turquoise wool drapes forming the curtain and surrounds. Architectural drawings from the 1970s refurbishment reveal that the plaster ceilings are attached to the bottom chord of the earlier curved timber truss.</p><br>
<p>The auditorium had two distinct levels of seating, the floor of the front section gently sloped towards the screen whilst the floor of the back section was steeply raked. The seating throughout the cinema was upholstered in blue vinyl and seating in the back section had circular drink holders integrated into the armrests. Timber screens of horizontal panelling divided areas of seating and a solid balustrade of similar detailing ran along the edge of the void at the top of the entry stairs. A small niche containing a seat for the usher was located within this, a reminder of that period when cinemas employed ushers to show people to their seats and keep an eye on them throughout the show. An intercom in this niche is still used to enable communication between staff members.</p><br>
<h3>Purple Room</h3><br>
<p>The Purple Room had a more gentle ambience; however, the ceiling was also a significant feature. The ceiling was vaulted with floating, sprayed vermiculite, square panels over concealed purple lighting, translucent purple resin light boxes and square air conditioning vents arranged in an irregular pattern. Carpet of the same design as the Blue Room but in shades of purple and mauve was used in the front half of the auditorium; however later the foyer carpet was used in the stairs and passageways. A purple version of the foyer carpet was in the back section. The Purple Room had the same seating configuration as the Blue Room but with a smaller number of seats. Seats were upholstered in purple vinyl and the walls are covered with purple wool drapes. Timber detailing was the same as Cinema One and also included an usher&#39;s seat. Wall lighting was concealed under pelmets at the top of the walls. A fire escape stair was located to the right of the screen.</p><br>
<p>The shared projection room was located at the back of each auditoria and was accessible from both cinemas.</p><br>
<h2>Description of New Farm Cinemas (2014–)</h2><br>
<p>The refurbished Purple Room of the Village Twin Cinema is the flagship cinema of the New Farm Cinema complex but with contemporary seating which only accommodates 224 people compared to the Village Twins capacity of 352. The Purple Room reopened on 1 August 2014. The new Bronze Room was created on the site of the Village Twins candybar, accommodating 79 people. The Bronze Room opened on 1 August 2014.</p><br>
<p>An entirely new Blue Room for 96 people was opened in December 2014, along with three other cinemas: the Red Room (124 people) and two Gold Class cinemas (45 and 40 people).</p><br>
<h2>Heritage listing</h2><br>
<p>The Village Twin Cinemas were listed on the Queensland Heritage Register on 24 March 2000 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The complex is significant for its continuous use as a cinema and its association with moving picture exhibition in New Farm since the early 1920s. The cinema is significant as the first twin cinema complex in Queensland (1970), and one of the earliest multi-screen cinemas in Australia.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>It is a rare surviving and remarkably intact example of its type.</p><br>
<p>The place has potential to yield information that will contribute to an understanding of Queensland&#39;s history.</p><br>
<p>Being a renovation of an existing picture theatre, the place also has the potential to reveal important information about the earlier structure on the site and thus contribute to our knowledge of 1920s and 1930s picture theatre design in Queensland. In particular the remaining curved timber truss which is unique to Queensland cinema design and the 1920s facade and exterior form of the former Astor, are important.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The complex is important in demonstrating the principal characteristics of cinema decor, in particular, the distinctiveness of late 1960s/early 1970s design.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The interior in particular has strong aesthetic value. The highly decorative moulded ceilings of the cinema auditoria, the timber panelling, brick facing, carpeting and fittings in the foyers and the original and surviving internal colour schemes all contribute to the aesthetic and architectural significance of the building. The design exemplifies the sense of escapism and fantasy which is central to the tradition of cinema and theatre design.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>Located on a slight rise on busy Brunswick Street, the place is a well-known New Farm landmark and a theatre on this site has been the focus of social activity and popular culture in the suburb since the 1920s. It has a special association for Brisbane cinema audiences as an early alternative or art house cinema. As such, the Village Twin is important in demonstrating the evolution and specialisation of cinema audiences.</p><br>
<p>Bertholme is a heritage-listed detached house at 71-73 Moray Street, New Farm, City of Brisbane, Queensland, Australia. It was designed by Andrea Giovanni Stombuco and built from 1882 to 1883. It is also known as the Moreton Club. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The land on which Bertholme stands was acquired in 1882 by Andrea Stombuco, the noted architect in Brisbane from 1875 to 1890-90, who also built Palma Rosa and designed Her Majesty&#39;s Opera House, Brisbane (1888). The house appears to have been erected sometime in the following three years, for it was standing when Stombuco sold the property in 1885 to Giovanni Pulle, an Italian merchant.</p><br>
<p>Five months later, the property was bought by BD Cohen. He sold it in the 1890s to his brother Henry Cohen, manager of the pharmaceutical firm of Elliot Brothers, who named it Bertholme in honour of his wife, Bertha. After the Cohens left Bertholme at the turn of the century, the land was subdivided, while the house became the residence of a succession of professional men. Miss Jane Ingram bought the property in 1939, and converted it into a nursing home. In 1958, the Moreton Club acquired Bertholme and much of the subdivided land from the original estate. They have built extensive additions on the rear of the house and refurbished it to suit their requirements.</p><br>
<h2>Description</h2><br>
<p>Bertholme is a substantial single-storey residence built of sandstone. Its hipped roof, originally slate, is now of corrugated iron. Square in shape, but with a bay projecting slightly at the front, the house is surrounded by a convex roofed verandah.</p><br>
<p>Built on the sloping riverbank, the house is lowset at the front and highset at the rear, creating a subfloor underneath. The back and side verandahs have been enclosed with weatherboards and only the front verandah retains its original decorative cast-iron balusters, posts and valance. The subfloor has been similarly enclosed, and a highset kitchen house projecting over the driveway at the rear is walled in the same material. A long modern double storey wing at the rear is joined to the house by a shorter wing at the northern end, creating a paved courtyard.</p><br>
<h2>Heritage listing</h2><br>
<p>Bertholme was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>As a rare surviving example of the type of riverside residences built in New Farm in the late nineteenth century.</p><br>
<p>For its unpainted stone walls and decorative front fence which give the house a distinctive texture and an impression of strength.</p><br>
<p>As the home of the Moreton Club, Brisbane&#39;s premier private club for women.</p><br>
<p>For its association with Andrea Stombuco, the first owner and one of Brisbane&#39;s most flamboyant architects of the 1880s boom period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>As a rare surviving example of the type of riverside residences built in New Farm in the late nineteenth century.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>For its unpainted stone walls and decorative front fence which give the house a distinctive texture and an impression of strength.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>As the home of the Moreton Club, Brisbane&#39;s premier private club for women.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>As the home of the Moreton Club, Brisbane&#39;s premier private club for women.</p><br>
<p>For its association with Andrea Stombuco, the first owner and one of Brisbane&#39;s most flamboyant architects of the 1880s boom period.</p><br>
