<p>The Jefferson Clinton Hotel, formerly known as the Dome Hotel, in the Armory Square area of Syracuse, New York, United States, is a hotel dating from 1927.</p><br>
<p>It was designed by architect Gustavus A. Young, who also worked on the design for the Hotel Syracuse (1924).</p><br>
<p>It is a 10-story building designed in the commercial style, incorporating light-colored brick, carved stone, and terra cotta. It has "delicately carved stone lintels" above its second-floor windows. These are 25 single or double windows, around three sides of the building. It is a three-part commercial-style building.</p><br>
<p>It is a contributing building in the Armory Square Historic District, listed on the National Register of Historic Places in 1984. The hotel is identified as the "Dome Hotel" in the NRHP nomination.</p><br>
<p>Out of surviving historic hotel buildings in the district, including the Kirk Block, the Crown Hotel (c. 1876), and the Stag Hotel (1869), the 1927-built Jefferson Clinton is the only one which has not been converted to other uses. It continues "as one of the city&#39;s largest hotels, distinguished by its Commercial style design with carved stone lintels and smooth stone facing on the lower two stories."</p><br>
<h2>Name</h2><br>
<p>It is located at the intersection of West Jefferson Street and South Clinton Street in downtown Syracuse. It was identified as the Dome Hotel in the 1984 listing of the historic district. Per a tourism website, "During the Great Depression, the hotel was taken over by the City of Syracuse and was renamed the Dome Hotel. This hotel closed in 1986 and remained vacant until 2001 when it reopened as Hawthorn Suites."</p><br>
<p>Greystone Miami Beach, in Miami Beach, Florida, is an Art Deco-style hotel built in 1939. It has also been known as the Greystone Hotel or as The Greystone. It was "designed by renowned architect Henry Hohauser, who was given the title of “Great Floridian” by Florida&#39;s Department of State in 1993 for his major contribution to the distinct Art Deco architectural scene present throughout the region."</p><br>
<p>It is located in Miami Beach&#39;s Art Deco district, and was listed on the National Register of Historic Places in 1979 as a contributing building in the Miami Beach Architectural District.</p><br>
<p>In the 1979 nomination of that district, the Greystone was characterised as being Decorative Moderne in style. The nomination noted that "the Greystone Hotel is in beautiful condition. On the west side of Collins Avenue, it is most noticeable, located on the corner of 19th Street. The main entrance features a pair of round windows etched with tropical scenes. The almost square facade is divided into thirds, with the central section ornamented with vertical stripes and a stepped, three-stage parapet. The horizontal flanking portions of the facade are decorated with bands of tattersall check between the ribbon windows at the curved corners. It is the detail of this building, the round windows, the flagstaffs on the parapet, and the incised squares in the stucco, that make this building so charming."</p><br>
<p>It was a member of the Historic Hotels of America in 2020, but is no longer a member in 2022.</p><br>
<p>It was under renovation in 2019.</p><br>
<p>In 2022 Architectural Digest termed the hotel an "architectural gem", "one of architect Henry Hohauser&#39;s iconic hotels", and one of "eight iconic buildings throughout the city that have been renovated to showcase their historic value through a 21st-century lens."</p><br>
<p>In 2021, partners who owned the hotel were in litigation with each other; a lawsuit was dismissed in January 2022 however.</p><br>
<p>The Princeton North Main Street Historic District is a national historic district in Princeton, Illinois. The district is centered on North Main Street and encompasses one of Princetons two historic downtown areas, the other of which is along South Main Street. Development in the area began when Princetons railroad station opened there in 1854, and it continued through the mid-twentieth century. As the railroad mainly brought agricultural businesses and other functional stores to the area, North Main Street gained a reputation as being less fashionable than South Main Street. The district&#39;s buildings reflect popular architectural styles of the period; Italianate and Arts and Crafts architecture is especially common, but Queen Anne, Prairie School, and Mission Revival buildings are also present.</p><br>
<p>The district was added to the National Register of Historic Places on January 18, 2018.</p><br>
<p>The Princeton South Main Street-Courthouse Square Historic District is a national historic district in Princeton, Illinois. Centered on South Main Street and the Bureau County Courthouse, the district is the older of the two downtown areas in Princeton, with the other being on North Main Street. Development in the area began with the settlement of Princeton in the 1830s and continued through the mid-twentieth century. The courthouse square was established when the countys first courthouse opened in 1845; the current Art Moderne courthouse was built there in 1937. South Main Street was considered the more upscale of Princetons two downtowns, as it lacked the functional and agricultural businesses associated with the citys railroad station. The districts buildings reflect the popular architectural styles of the nineteenth and twentieth centuries; Italianate and Arts and Crafts designs are especially common, though Green Revival, Queen Anne, Neoclassical, Prairie School, and Moderne buildings are also present.</p><br>
<p>The district was added to the National Register of Historic Places on January 18, 2018.</p><br>
<p>The Jacksonville Downtown Historic District is a national historic district in downtown Jacksonville, Illinois. The district encompasses a commercial area surrounding Central Park, the citys public square. Development in the district began in 1825, when Jacksonville was platted and the public square was created; the first buildings on the square were built the same year. Most of the buildings in the district were built between the 1840s and 1940s, and a large number were built during a late nineteenth century building boom. Seven of the buildings were once cigar stores, a reflection of Jacksonvilles large cigar making industry. The district includes examples of many of the popular architectural styles of the nineteenth and twentieth centuries; Italianate and Victorian buildings are especially common.</p><br>
<p>The district was added to the National Register of Historic Places on September 14, 2018.</p><br>
<p>The First National Bank Building, known locally as the Bresee Tower, is a historic bank building at 2-4 N. Vermilion Street in Danville, Illinois. The building was constructed in 1918 for the First National Bank, which was established in 1857 and had operated in another building at the same site since 1867. Chicago architecture firm Mundie & Jensen designed the building in the Classical Revival style, a popular choice which was also used in several of Danville&#39;s other banks. Like many Classical Revival skyscrapers, the twelve-story building is divided into a two-story base, a shaft, and a one-story capital to resemble a Greek column. The entire exterior of the building is clad in terra cotta, and its decorative elements include pilasters, ornate metal entrance surrounds, and a bracketed entablature.</p><br>
<p>The building was added to the National Register of Historic Places on September 13, 2018.</p><br>
<p>Currently, the historic high-rise is in danger of being demolished and lost forever, the City of Danville has set aside funds for its demolition.</p><br>
<p>The Queensbury Hotel, in Glens Falls, New York, is a historic hotel built in 1926.</p><br>
<p>It featured Colonial Revival architecture in its exterior, mahogany in its interior styling and room doors, and had more than 200 rooms.</p><br>
<p>The hotel has long been part of the Glens Falls&#39; fabric, being located in its downtown, on Ridge Street (New York State Route 9L). It faces across City Park to the historic City Hall building. The Paramount Theatre, once one of three movie theaters in Glens Falls, formerly across Ridge Street from the hotel, was open from the 1930s to the 1970s, and was ultimately demolished in 1979.</p><br>
<h2>History</h2><br>
<p>By 1916, it became a goal of local boosters (businessmen, the Chamber of Commerce, and city officials) to have a hotel built. It would serve tourists going to and from the Adirondacks, and non-local businessmen, and it would serve as a community center. On March 6, 1924, at the Glens Falls Insurance Co., 100 businessmen met and unanimously voted to organize a Glens Falls Hotel Corporation and to build a $600,000 modern hotel. Both the Glens Falls Insurance company and Finch, Pruyn and Company subscribed to $50,000 worth of stock. Enthusiastic efforts led to $440,000, equivalent to about $6.6 million in 2019, being raised in only eight days. Construction began later that year.</p><br>
<p>Since then, a number of renovations have added guestrooms and meeting rooms and more.</p><br>
<p>During 2009 to 2014 the hotels business was boosted by activity of the Glens Falls Adirondack Phantoms, an American Hockey League team which played at Glens Falls Civic Center. In 2010 it hosted Jerry D&#39;Amigo and team-mates of the Toronto Maple Leafs, who were in town to play the Phantoms.</p><br>
<p>It was bought in March 2016 by self-styled "Adirondack Region entrepreneur" Ed Moore.</p><br>
<p>It became a member of the Historic Hotels of America program of the National Trust for Historic Preservation in 2017.</p><br>
<p>In 2018 it was listed on the National Register of Historic Places, with reference number 100002924.</p><br>
<h2>Other</h2><br>
<p>In 2020 it was election night headquarters for USA Representative Elise Stefanik, who gave a victory speech on November 3.</p><br>
<p>In 2021 it has been difficult for the Lake George region&#39;s tourism industry, including this hotel, to hire up post-Covid, for both seasonal and permanent employees. In April the manager of The Queensbury Hotel and of the Fairfield Inn & Suites reported there were 60 positions unfilled, between the two hotels.</p><br>
<p>The Hunziker Winery Site is the site of a former winery in Cedar Glen State Natural Area near Warsaw, Illinois. The winery was established in the 1860s by vintner and Swiss immigrant Gottlieb Hunziker and his business partner William Hoffman. At the time, Hancock County was becoming a major winemaking region, and the Warsaw area was second only to Nauvoo as a wine center within the county. Hunziker&#39;s wine was well-regarded among his contemporaries, as he won multiple awards at the 1870 Iowa State Fair, held across the Mississippi River in Keokuk. Hunziker continued to produce wine until his death in 1893. The remains of the winery include the walls of its wine house, in which grapes were processed and fermented, and an underground wine cellar.</p><br>
<p>The building was added to the National Register of Historic Places on November 18, 2019.</p><br>
<p>The Colby-Petersen Farm is a historic farm at 4112 McCullom Lake Road in McHenry, Illinois. The farm was established in the 1840s by the Colby family, who were early white settlers in McHenry County that relocated from New England. The family built a Greek Revival farmhouse on the property circa 1850; characteristic Greek Revival elements of the house include a porch supported by columns, dentillated brickwork, and a frieze band. The farm primarily produced dairy, and it was one of the many prosperous dairy farms in northern Illinois in the late nineteenth and early twentieth centuries. Danish immigrant Peter Petersen married into the Colby family in 1901, and when he inherited the farm in 1914, it became known as the Petersen Farm. In addition to the farmhouse, surviving buildings on the farm include a dairy barn, a horse barn, and a garage.</p><br>
<p>The farm was added to the National Register of Historic Places on March 13, 2020.</p><br>
<p>The Kankakee Downtown Historic District is a national historic district in downtown Kankakee, Illinois. The district includes 73 buildings which form the commercial and governmental center of the city, most of which are grouped along Court Street and Schuyler Avenue. While development in the district began in the 1850s, the oldest surviving building in the district is from 1864; the newest contributing buildings are from the mid-twentieth century. Kankakees Courthouse Square and the 1908 Kankakee County Courthouse are part of the district; other government buildings in the district include Kankakees post office, police and fire station, and armory. Most of the district&#39;s other buildings are one- to three-story brick or stone commercial buildings. Many popular architectural styles of the nineteenth and twentieth centuries are represented in the district; the Italianate, Neoclassical, and Art Deco styles are among the most common.</p><br>
<p>The district was added to the National Register of Historic Places on June 11, 2018.</p><br>
<p>Christ Lutheran Church on Capitol Hill is a congregation of the Evangelical Lutheran Church in America  in the Thomas-Dale neighborhood of Saint Paul, Minnesota, United States.</p><br>
<p>The brick church, built from 1909 to 1915, is atypically designed in Beaux-Arts style by Buechner & Orth to harmonize with the nearby Minnesota State Capitol. It is listed on the National Register of Historic Places.</p><br>
<p>The oldest part of the building, the north side, was built in 1909. The main church building, facing University Avenue, was constructed in 1915 of yellow brick.</p><br>
<p>The building&#39;s principal facade is symmetrical and features a Classical pediment supported by Ionic columns and pilasters, flanked by bell towers. An office wing, which currently houses the Saint Paul Area Synod of the ELCA, was constructed in 1962–63.</p><br>
<p>The congregation was formally organized in 1868 as the Scandinavian Lutheran Church Society. Later that year, it was changed from "Society" to "Congregation". In 1869, it was renamed the Norwegian Evangelical Lutheran Church. Services were initially held in members&#39; homes, in the Ramsey County Courthouse, and in the Zion Evangelical Lutheran Church, a German congregation at East 9th and Rosabel Street.</p><br>
<p>In 1870, the congregation erected its own building at the southwest corner of L&#39;Orient and Mt. Airy Streets. The sandy soil at that site required regular maintenance to keep the building from sliding down the hill, and in 1875, the structure was moved to 13th and Canada Streets.</p><br>
<p>In 1904, Rev. S.T. Reque began a 37-year tenure as pastor, and in 1909, the current site at Park Street and University Avenue was purchased. The architect, Buechner & Orth, chose an architectural style compatible with the neighboring Minnesota State Capitol. The basement of the new structure was finished for use as a worship space on Christmas Eve 1911. The upper church was dedicated on December 5, 1915.</p><br>
<p>A few years later, the congregations name was changed to "Christ Lutheran Church". In 1962, the congregation added the words "on Capitol Hill" to the name to highlight its proximity to the states seat of civil government.</p><br>
<p>Baptized membership peaked in 1944 at 1198 persons. The Pastor from 1939–1952, Rev. Joseph Simonson, served as chaplain of the Minnesota Senate for 10 years before being appointed by President Eisenhower as Ambassador to Ethiopia. This led by a visit from Ethiopian Emperor Haile Selassie to Christ Lutheran Church in June 1954. The emperor presented the congregation with a processional cross identical to one presented to the National Cathedral.</p><br>
<p>In the 1980s, the church&#39;s neighborhood experienced an influx of immigrants and refugees from Southeast Asia and Africa. The congregation responded to these demographic changes by establishing a Southeast Asian Ministry to address the needs of this new population.</p><br>
<p>The Hotel Bethlehem is a 125-room hotel located in Bethlehem, Pennsylvania. The hotel, which was built in 1922, is a member of the Historic Hotels of America and was built in a Beaux Arts style. It is listed on the National Register of Historic Places as part of the Central Bethlehem Historic District, which includes 165 contributing buildings. It replaced a hotel that was converted from a general store in 1822.</p><br>
<h2>History</h2><br>
<h3>19th century</h3><br>
<p>Hotel Bethlehem replaced a hotel that opened in 1822 in a building formerly housing the 1794 general store, and was known as The Golden Eagle, later The Eagle, after a mural by Peter Grosh on the facade. This first hotel was remodeled in the 1870s but in 1920 was demolished for replacement with a more modern and more fireproof structure. The Bethlehem Hotel Corporation built the new Bethlehem Hotel starting in 1921 with funding from Charles M. Schwab and others at Bethlehem Steel, and it was opened in 1922. In 1936, military artist George Gray painted a set of murals, commissioned by General J. Leslie Kincaid, to serve as decor in the hotel taproom. Today these murals are displayed in the Mural Ball Room.</p><br>
<h3>20th century</h3><br>
<p>On January 29, 1989, there was a major fire on the fourth floor. A guest plugged her traveling iron in, causing a large flash from the outlet that quickly caught fire. She called the hotel lobby, and the front desk staff attempted to put it out with a hose, but the fire raged out of control, spreading to the fifth floor. The fire department ultimately extinguished the fire, but four people died and 14 were injured. At the time, the hotel was filled with 20 judges and police officers in Bethlehem for a convention and a college music competition that brought in guests and their families.</p><br>
<p>The former solarium, now a restaurant, has original Moravian tile.</p><br>
<p>After the closure of Bethlehem Steel in the 1990s, the hotel stood vacant and there were plans to convert it into a combination of facilities for the elderly and a women&#39;s dormitory for Moravian College. A group of local investors bought it and renovated it extensively in the late 1990s. In 2019, the Bethlehem Hotel came third in the USA Today 10 Best Historic Hotels poll.</p><br>
<h3>21st century</h3><br>
<p>Hotel Bethlehem went on to achieve the rank of #1 Historic Hotel in the Country in the USA Today 10 Best Historic Hotels poll in 2021, and has held that position each year since, with the most recent title having been won in 2024.</p><br>
<p>The Hotel has hosted some recognizable names in TV, movies, and music such as Jonathan Frakes, who was raised in Bethlehem, and his wife Genie Francis, James Franco, Harry Conick Jr., Slash, and Counting Crows.</p><br>
<p>The First Unitarian Church of Rochester is a non-creedal church designed by Louis Kahn and completed in 1962. Kahn completed a major extension to the building in 1969. Another small addition was completed in 1996. It is located at 220 Winton Road South in Rochester, New York, USA The congregation it houses is a member of the Unitarian Universalist Association.</p><br>
<p>The building was described in 1982 as one of "the most significant works of religious architecture of this century" by Paul Goldberger, a Pulitzer-Prize-winning architectural critic. Its exterior is characterized by deeply folded brick walls created by a series of thin, two-story light hoods that shield windows from direct sunlight. The sanctuary&#39;s complex ceiling has light towers in each corner to bring in indirect natural light.</p><br>
<p>The story of the design process that Kahn followed at First Unitarian has been described as "almost classic in architectural history and theory". Kahn began by creating what he called a Form drawing to represent the essence of what he intended to build. He drew a square to represent the sanctuary, and around the square he drew concentric circles to indicate an ambulatory, a corridor, and the church school. In the center he placed a question mark to represent his understanding that, in his words, "the form realization of Unitarian activity was bound around that which is Question. Question eternal of why anything."</p><br>
<h2>Background</h2><br>
<p>The congregation of First Unitarian Church of Rochester voted in January 1959 to sell its existing building in downtown in Rochester, New York with the understanding that they could continue to occupy it until July 1961. Construction activity by the developers who bought it, however, soon weakened the building, forcing the congregation to move in September, 1959. The church held Sunday services at the a temporary location until a new building could be constructed.</p><br>
<p>First Unitarian&#39;s previous building was architecturally significant, having been designed by Richard Upjohn, a prominent nineteenth-century architect and the first president of the American Institute of Architects. The church decided to replace it with a building designed "by a leading 20th century architect, giving the community a notable example of contemporary architecture."</p><br>
<h2>Choosing an architect</h2><br>
<p>The search committee, formed of church members who were knowledgeable about architecture, decided to focus on prominent architects who had established relatively small offices and did most of the creative work themselves. They contacted six architects. Frank Lloyd Wright expressed little interest and his fees were high. (Wright died shortly afterward at the age of 91.) Eero Saarinen was considered but was unable to take the job because of his time constraints. The committee also met with Paul Rudolph, Walter Gropius, and Carl Koch. They spent a day with Louis Kahn in May 1959 and were impressed by his philosophical approach, the atmosphere in his office, the assurance that he would personally be in charge of the design, his respect for the integrity of materials, and the perception that his architecture, while modern, had an emotional depth and a connection to the past.</p><br>
<p>Robin B. Williams, writing in Louis I. Kahn: In the Realm of Architecture, says Kahn appealed to them also because of "the high compatibility of his philosophy with Unitarian ideas". who was an important figure in Unitarian history. Committee members said they were convinced that Kahn was "a natural Unitarian."</p><br>
<p>Kahn&#39;s social and political outlook also was compatible with that of the Rochester congregation and its history of concern with social issues. During the Great Depression Kahn worked with labor unions and civic agencies to design inexpensive housing. He worked as assistant architect on the Jersey Homesteads, a project to resettle Jewish garment workers from New York City and Philadelphia to a kibbutz-like rural collective that combined farming and manufacturing. During the presidential election of 1948, Kahn worked with the third-party campaign of Henry A. Wallace, who ran on the Progressive Party ticket.</p><br>
<p>Kahn gave a philosophical presentation of his ideas to a congregational meeting in June 1959, after which the church commissioned him to design their new building. During that same visit Kahn helped choose the site to be purchased for the new building. The church hired Kahn just as his career was entering a new stage that would bring him increased attention. Later that year Kahn was chosen to design the Salk Institute, and in 1962 he was selected to design the National Assembly complex for what would become the capital of the new nation of Bangladesh.</p><br>
<h2>Design process</h2><br>
<p>The story of the design process at First Unitarian, including Kahn&#39;s creation of what he called a Form drawing, "is almost classic in architectural history and theory" according to Katrine Lotz, a professor at the School of Architecture of the Royal Danish Academy of Fine Arts.</p><br>
<p>Kahns approach was to design each building as if it were the first of its kind. August Komendant, a structural engineer who worked closely with Kahn, said that during the initial design stages Kahn wrestled with questions like "How would one design a Unitarian Church? What is the Unitarian religion?" and studied Unitarianism thoroughly. The result sometimes confounded expectations. When the completed First Unitarian Church was shown at an architectural exhibition in the Soviet Union, the mayor of Leningrad commented that it did not look like a church. (Kahn jokingly responded, "Thats why it was chosen for exhibition in the Soviet Union.")</p><br>
<p>The church&#39;s building committee provided Kahn with information from questionnaires filled out by church members to indicate what they desired from their new building. These questionnaires went beyond normal fact-gathering about functional requirements to include aspects of the Unitarian faith that the building should express. Among other things, they said, the new building should be supportive of the broader community and should express "the dignity rather than the depravity of man."</p><br>
<p>The congregations broad approach to the statement of requirements was similar to Kahns philosophical approach to architectural design. Kahn explained this approach in Form and Design, an article he wrote while working on this project. Using the First Unitarian Church of Rochester as an example, Kahn said, "A great building, in my opinion, must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable... But what is unmeasurable is the psychic spirit." Kahn associated the unmeasurable with what he called Form, saying that, "Form is not design, not a shape, not a dimension. It is not a material thing." "Form... characterizes a harmony of spaces good for a certain activity of man."</p><br>
<p>When Kahn addressed the congregational meeting that voted to hire him, he explained his approach by creating what he called a Form drawing, which, he said, was not to be understood as an architectural design. He drew a square that represented the sanctuary, and around the square he placed concentric circles representing an ambulatory, a corridor and the church school. In the center of the square he placed a question mark that, he explained on another occasion, represented his understanding that "the form realization of Unitarian activity was bound around that which is Question. Question eternal of why anything."</p><br>
<p>Kahn delivered his first design in December 1959, proposing a square building three stories high with four-story towers in each corner. The sanctuary was a square area in the middle of a large twelve-sided room at the center of the building. The remainder of the near-circular room was an ambulatory space that was to be screened from the sanctuary. Kahn said, "The ambulatory I felt necessary because the Unitarian Church is made up of people who have had previous beliefs... So I drew the ambulatory to respect the fact that what is being said or what is felt in a sanctuary was not necessarily something you have to participate in. And so you could walk and feel free to walk away from what is being said." Kahn had developed the idea for this type of ambulatory prior to his work on First Unitarian, referring to it during a talk in 1957 in the context of a university chapel.</p><br>
<p>The central room was to be capped by a complex dome and encircled by a corridor outside its walls that would provide connections to the three-story church school on the periphery of the building. Pupils in the school would be able to observe church services from open spaces above.</p><br>
<p>Prompted by complaints about the cost, which was several times the amount that had been budgeted, Kahn quickly dropped one story from the proposed building. The committee, however, was also unhappy with other aspects of the design, such as its inflexibility and shortage of useful classroom space, the irregularly shaped rooms on the periphery created by the placement of a large, near-circular room within a square building, and the potential for services to be disturbed by children listening above and by people drifting in and out of the sanctuary. In February 1960, Helen Williams, the chair of the building committee, wrote to Kahn saying "we are not in any measure happy with the present concept which you have given us," and a week later she wrote, "We remain steadfast in the conclusion that we must have an entirely new concept". Stating that "Kahn has failed us miserably", Williams resigned in frustration from the building committee shortly afterward.</p><br>
<p>Kahn agreed to create a new design, much to the relief of the building committee, who feared that he would demand payment for work performed and walk away from the commission.</p><br>
<p>The roof over the sanctuary was one of the last aspects of the design to be completed. Komendant kept Kahn&#39;s general layout of the roof but redesigned it as a folded-plate structure of pre-stressed concrete that would require support only at its edges, eliminating the need for the massive concrete beams that Kahn had been planning to use as supports for the roof structure.</p><br>
<p>During the design process, Kahn and the church developed a relationship of close collaboration. Kahn initially planned to bring natural light into the sanctuary through light slits in an array of concrete caps on the roof, but the building committee calculated that each cap would weigh 33 tons (30,000 kg), creating problems of support. The light towers in Kahn&#39;s final design are glazed only on their inner sides, a suggestion that originated with the committee. The committee notified Kahn that their calculations of acoustical resonance in the proposed light shafts indicated the possibility of problems in that area.</p><br>
<p>The new design was overwhelmingly approved by the congregation in August 1960. At the dedication of the new building in December 1962, Kahn talked about the relationship between architecture and religion. Komendant said, "He told me that in his speech he described the cathedrals, whose size and height was intended to show Gods greatness and might and mans lowness, so that men would be frightened and obey His laws. For this church he used atmosphere and beauty to create respect and understanding for God&#39;s aims, kindness, and forgiveness."</p><br>
<h2>Exterior</h2><br>
<p>The exterior of the building is characterized by deeply folded brick walls created by a series of thin, two-story light hoods that help shield windows from direct sunlight. Between the light hoods on the ground floor are projections of the building that enclose bench seats in the interior. Small windows on each side of the bench seats allow additional indirect light into the rooms. The light hoods create a series of shadows on the exterior wall that are reminiscent of a row of columns, their vertical lines adding to the impression of height. The main entrance to the building is not visible to people passing by on the street.</p><br>
<p>Light towers in each of the four corners of the sanctuary rise above the building&#39;s outer walls, making the shape of the sanctuary easy to visualize from outside. The impression that Kahn created of the sanctuary imbedded within the larger building is similar to the "box within a box" approach he used in several other buildings, notably the Phillips Exeter Academy Library.</p><br>
<p>The building echoes the design of the Scottish castles that fascinated Kahn, particularly Comlongon Castle, whose floor plan is reproduced in two different scholarly discussions of First Unitarian. In Kahn&#39;s words, "the school became the walls which surrounded the question."</p><br>
<p>The church hired Kahn in 1964 to design an addition, which was completed in 1969. Its exterior is relatively unarticulated, in contrast to the sculpted walls of the original building. Built on a slope, it has two main floors and a lower level at its easternmost end, with complex windows on the two main floors.</p><br>
<p>The building&#39;s footprint is 14,900 ft&sup2;. According to scale drawings, the irregularly-shaped building is approximately 230 x at its longest and widest points. Of that length, approximately the easternmost 75 ft is the 1969 addition.</p><br>
<h2>Interior</h2><br>
<p>Instead of a grand entrance at the front of the building leading straight into the sanctuary, entry into First Unitarian is by way of a doorway at the side of the building that requires a right turn past other spaces to reach the sanctuary. The sanctuary is entered beneath the low ceiling of the cantilevered choir loft, creating a sequence from shadow into light.</p><br>
<p>"Civilization is measured by the shape of your ceiling," said Kahn. The complex ceiling of the sanctuary rises above both floors of surrounding rooms and extends over the sanctuary wall to the outer walls of the corridor outside. Light towers in the four corners of the sanctuary bring in indirect natural light from areas that are not typically well lit. The ceilings layered outer edges and light-filled corners give the room "an expansive, boundless character", according to Kahn biographer Robert McCarter. Kahn said, "If you think about it, you realize that you dont say the same thing in a small room as you do in a large room."</p><br>
<p>Between the light towers is a cruciform concrete roof structure with a shape something like the underside of a ships hull. Its outer edges do not sit directly on the sanctuary walls but rise above them, relieving what could be a perception of oppressive weightiness, according to Carter Wiseman, one of Kahns biographers.</p><br>
<p>The massive ceiling structure is partly supported by twelve slender columns embedded in the sanctuary walls, three columns per wall. Square brackets on top of the central column in each wall support the lower folds of the slab. The brackets are split in the middle to allow the fold to be perceived as passing through to the outer corridor walls, which provide much of the ceiling support. Each central column is braced to the columns on either side by horizontal beams. The ceiling is lowest and darkest in the center, the opposite of classic church domes that are highest and brightest in the center. The cruciform shape that Kahn used for the ceiling is one that he had used in previous works, notably the Jewish Community Center of Trenton, New Jersey.</p><br>
<p>The tapestries on the sanctuary walls were designed by Kahn and, like the building itself, contain no literal symbolism. They were woven by Jack Lenor Larsen. At Kahn&#39;s request, the panels span the full color spectrum and yet were constructed entirely from one red, one blue, and one yellow yarn, with the remaining shades created with blends of those three yarns. The panels were designed not only for visual effect but also to correct a problem of sound reverberating from the concrete walls.</p><br>
<p>The primary building materials of the interior are concrete block, poured concrete and wood. Kahn left the natural surfaces of these materials exposed rather than applying an additional finish. This was Kahn&#39;s first extensive use of concrete and wood together, a combination he used in most of his later projects.</p><br>
<p>The sanctuary walls are 2 ft thick and are built of concrete blocks. Hollow spaces within the walls function as ventilation ducts. The roof support columns embedded in the sanctuary walls are made of poured concrete, as is the roof and the outer walls of the corridor around the sanctuary. Left visible are patterns made by the thin strips of wood that composed the forms into which the concrete was poured. Kahn procured unusually long strips of wood to construct the forms for the sanctuary ceiling. As he had done earlier with the main stairwell in the Yale University Art Gallery, Kahn also left visible the pattern of circular holes created by the devices that held the forms together while concrete was being poured for the walls, letting the marks of construction serve as the "basis for ornament".</p><br>
<p>Sherri Geldin, writing of Kahn in the prologue to Louis I. Kahn: In the Realm of Architecture, said: "He attached almost mythic significance to the meeting place, to any setting where communal interaction occurs... His religious buildings and projects... aspire to evoke a state of grace that is without dogma or sectarian distinctions, underscoring instead that which is universal and transcendent."</p><br>
<p>During the initial design discussions, Kahn asked Komendant, "What is most important in a church?" and then answered that question himself by saying "the essence of atmosphere for a church is silence and light. Light and Silence!" Silence and Light later became the name of an essay that Kahn wrote in 1968 in which he explained concepts crucial to his philosophy. Robert Twombly, an editor of Kahns writings, said that by silence, Kahn meant "the desire... of every person to create, which for Kahn was the same thing as being alive... To the silence of humanitys innate urge to create comes the sun&#39;s life-supporting power, giving to silence the ability to act." Architectural historian Vincent Scully said of the church, "You can really feel the silence he talked about, thrumming as with the presence of divinity, when the cinder block is washed silver by the light that floods down upon it, while the heavy, heavy slab is lifted overhead."</p><br>
<p>In the classrooms, bench seats with small side windows are placed in projections of the outer walls. These spaces create the impression of little rooms carved from the outer walls, and, according to Robert McCarter, they continue Kahn&#39;s architectural theme of the classrooms themselves appearing as rooms imbedded within thick, castle-like walls.</p><br>
<p>In the 1969 addition, the rectangular gallery on the first floor is designed so that it can be used either as an extension of the lobby or separated into smaller rooms by massive doors. Church offices are located on both sides of the gallery. The second floor has a loose arrangement of spaces that can be combined into a large room or used separately. The two main floors of the addition have fireplaces at the end nearest the sanctuary and large windows at the far end that reveal the natural world outside.</p><br>
<h2>Monumentality and authenticity</h2><br>
<p>Sarah Williams Goldhagen, author of Louis Kahns Situated Modernism, says that Kahn was troubled by the socially corrosive aspects of modern society. He believed, in her words, that "architecture must foster peoples ethical formation. People who are anchored in their community, morally obligated and psychologically connected to the people surrounding them, make for better citizens." Because his social agenda was compatible with Unitarian ideals, he was in a good position to manifest his vision of community in architectural form at the Rochester church. According to Goldhagen, Kahn used two architectural approaches to situate his buildings&#39; users both in society and in themselves. One is monumentality, which anchors people socially and promotes a feeling of community. The other is authenticity, which fosters self-awareness and promotes individual responsibility.</p><br>
<p>Kahn&#39;s first major essay as sole author, published in 1944, was called "Monumentality," a concept he defined as "a spiritual quality inherent in a structure which conveys the feeling of its eternity". Sonit Bafna says that in the early 1950s Kahn "had begun to develop a distinctive approach to architecture. An overriding concern for him from this period on was to instill a sense of permanence into his buildings, so that his work could match the dignity and poise of the ruins he had seen in Italy and southern Europe." Goldhagen says that Kahn used monumentality to strengthen the sense of community among those who used his buildings: the massiveness of a Kahn building instills the feeling that both the building and the institution it houses will last for a very long time. At First Unitarian, says Goldhagen, the column-like rhythms of light that Kahn sculpted across the facade are among the devices that increase the impression of massiveness and give the building an air of monumentality.</p><br>
<p>Secondly, according to Goldhagen, Kahn strove for "an architecture of authenticity." Authenticity is a concept popularized by the existentialist writer Jean-Paul Sartre, who, in Goldhagens words, believed that "To live authentically, one has to strive for a heightened awareness not only of oneself but also of ones place in a specific historical moment and place. This requires acute perception of ones social and physical environment, which is difficult because a person tends to apprehend the objects and buildings that surround her as instruments". Authenticity encourages people to focus "not on the instrumentality of the everyday world but rather on an objects shape, texture, and materiality." In contrast to other modern architects like Mies van der Rohe, Kahn shunned "the diaphanous and the transparent so that he could press the viewer up against materiality, substance and weight." Goldhagen notes that "It is all but impossible to enter one of Kahn&#39;s buildings and not to notice it, not to inspect it or look intently at it." Kahn strove for an aesthetic of authenticity at First Unitarian, says Goldhagen, by designing with a blunt honesty of materials and by laying bare the process of construction. Kahn said, "I believe in frank architecture. A building is a struggle, not a miracle, and the architect should acknowledge this."</p><br>
<p>Kahn had partially achieved these two aspirations in earlier works, according to Goldhagen. The Yale University Art Gallery, for example, with its emphasis on process over finish, promotes authenticity, situating people in themselves, while the Richards Medical Research Laboratories were designed to reinforce group cooperation. Goldhagen says that it was with First Unitarian that Kahn first succeeded in situating his building&#39;s users both in themselves and in society, an agenda that he was later able to develop more fully at the Salk Institute and National Assembly Complex in Dhaka, Bangladesh, which had much larger budgets.</p><br>
<h2>Importance to Kahn&#39;s career</h2><br>
<p>According to Goldhagen, the First Unitarian Church of Rochester was "the first building Kahn built that gave an indication of his mature style". Vincent Scully, in his Modern Architecture and Other Essays, similarly says "the experience of designing the church at Rochester seems to have brought Kahn to a confident maturity and confirmed him in his method of design."</p><br>
<p>Kahn worked primarily for institutions that advanced the public good, including schools, museums, research institutes, government bodies, and religious organizations. Goldhagen says that at First Unitarian Kahn developed a philosophy for creating architecture for such organizations: "Kahns philosophy of the architecture of institutions, developed while designing the First Unitarian Church in Rochester, stipulated that the architects first and highest duty was to develop an idealized vision of an institutions way of life&#39; and then to give that vision form—or, as he would have put it, Form."</p><br>
<p>Robin B. Williams, writing in Louis I. Kahn: In the Realm of Architecture, says the design approach that Kahn followed at First Unitarian, particularly the introduction of his Form drawing, was important to the development of his process for transforming an intangible architectural idea into an actual building:</p><br>
<p>Kahn made his enthusiasm for the First Unitarian Church evident even before it received final approval from the building committee. As early as October 1960, in a lecture in California, he had chosen it to illustrate a pair of terms—"form" and "design"—that were becoming key tenets of his philosophy. He used these words to describe his conception of architecture—and in particular his design procedure—as the translation of the intangible into the real. It was at this time that Kahn mythologized the way the design of the church had evolved, composing an account (accompanied by the now-famous diagram) that, since its publication in April 1961, has been seen as the clearest illustration of his design approach.</p><br>
<p>Kahn worked on this lecture for several months and published it as an essay called Form and Design. A colleague described it as the best embodiment of his ideas at that time and said that when people requested examples of Kahn&#39;s publications, he most often sent this essay.</p><br>
<h2>Recognition</h2><br>
<p>Paul Goldberger, Pulitzer-Prize-winning architectural critic for The New York Times, described the First Unitarian Church of Rochester in 1982 as one of "the greatest religious structures of this century" along with Notre Dame du Haut in Ronchamp, France, by Le Corbusier; Unity Temple in Oak Park, Illinois, by Frank Lloyd Wright; and the Christian Science Church in Berkeley, California, by Bernard Maybeck.</p><br>
<p>The First Unitarian Church of Rochester is used as a case study in Artists Work/Artists Voice: Louis I. Kahn, an educator&#39;s guide developed by the Museum of Modern Art to introduce students to architecture.</p><br>
<p>The First Unitarian Church of Rochester was officially listed on the National Register of Historic Places on September 2, 2014.</p><br>
<p>The Horlick Malted Milk Company Industrial Complex is a historic factory complex in Racine, Wisconsin, where Horlicks malted milk was produced. Four buildings within the complex are listed: the castle-like Gothic Revival-style factory blocks begun in 1882 and 1902, the 1910 engine room building, and the 1916 garage.</p><br>
<h2>Architecture</h2><br>
<p>The Horlicks complex consisted of fourteen buildings, four of which are included in the National Register listing. The first Horlicks factory building built on the site, designed by James Corse & Sons in 1882, is a three-to-four-story industrial building built in a Gothic Revival style. The building, with cream brick walls typical of southeastern Wisconsin, features a clock tower and turrets which have led the building to become known as "Clock Tower Place" since Horlicks moved out. An addition on the north side of the building dates from 1910. A second factory block was added to the complex in 1902, following the same Gothic Revival design, with a single-story addition designed by John Randal McDonald in 1951. In 1910, a two-to-three-story engine room building was added to the growing complex, with a prominent smokestack and an elevated walkway connecting it to the factory buildings, and a two-story garage was added in 1916.</p><br>
<h2>Later history</h2><br>
<p>Racine Hydraulics purchased the main Horlicks plant in 1951. Two other buildings at the complex were purchased by Western Publishing in 1955, and Western sold them to Racine Hydraulics in 1964. Horlicks, then owned by Beecham Group, continued to operate in the former engine room building until 1975.</p><br>
<p>J. Jeffers and Co., the owners of most of the Horlick complex, applied to add the complex to the National Register of Historic Places in October 2019. Jeffers had previously redeveloped the Gold Medal Camp Furniture Company building in Racine, which they had successfully had listed on the National Register. The four buildings were added to the Wisconsin State Register of Historic Places on November 22, 2019, and was subsequently listed on the National Register on February 24, 2020.</p><br>
<p>The LaSalle Downtown Commercial District is a national historic district in downtown LaSalle, Illinois. The district encompasses 93 contributing buildings which historically formed the commercial and governmental center of LaSalle. Development in downtown LaSalle began with the completion of the Illinois and Michigan Canal in 1837 and the construction of railroads through the city in the 1850s; it continued through the mid-twentieth century. The district&#39;s commercial buildings represent many architectural styles, with popular styles of the late nineteenth century such as Italianate, Queen Anne, and Romanesque Revival being the most common. Significant government buildings include the LaSalle City Building and two post office buildings.</p><br>
<p>The district was added to the National Register of Historic Places on December 28, 2017.</p><br>
<p>No. 4 Engine House is a historic fire station building in Racine, Wisconsin, built in 1888 in a High Victorian Italianate style. It is located in the north-central part of the city, at the corner of Lincoln Street and Barker Street. The cream brick building, designed by W.F. Goodhue, is primarily two stories tall but features a four-story hose-drying and observation tower.</p><br>
<h2>History</h2><br>
<p>A major fire in Racine in 1882 inspired the city to abolish its volunteer fire brigades and created several companies of professional firefighters. City Engineer W.F. Goodhue submitted plans in January 1888 for a new building for Engine Company No. 4, and construction was carried out that summer by Hannibal Lugg and Peter Beffel. The building was used by the Racine fire department until 1926, when it was replaced with a bungalow-style building at the corner of Marquette Street and Kewaunee Street. The building was purchased by the Hurley-Stuebe Printing Company, which donated the firehouse bell to the Saint Francis Monastery in Burlington, Wisconsin in 1933. Hurley-Stuebe continued to use the building as its printing office until 1950, and it later became the home of the Greene Glass company. By 1979, when the building was listed on the National Register of Historic Places, the building&#39;s original exterior was essentially unchanged, although the interior had been modified enough to not be included in the listing.</p><br>
<p>The Gold Medal building is a historic factory complex in Racine, Wisconsin. The three-story brick-walled mill-type was built between 1894 and 1924. The Wisconsin Historical Society describes the complex as "one of the best remaining examples of a mill-type factory building" in the state.</p><br>
<h2>History</h2><br>
<p>The Racine Camp Furniture & Novelty Manufacturing Co. was founded in 1890, to manufacture furniture for camping such as tents, folding chairs, and sleeping bags. Supposedly, after the companys furniture won a gold medal at the 1893 Worlds Fair exhibition in Chicago, the name was changed to the Gold Medal Camp Furniture Company. However, no gold medals were actually awarded at the fair, and there is evidence of the company using the Gold Medal name earlier. The company made the standard cots for the United States military and National Guard, and also created the modern director&#39;s chair after its No. 35 folding chairs became popular in Hollywood.</p><br>
<p>In 1979, Gold Medal established a second manufacturing plant in Baxter, Tennessee. In 1986, the company decided to consolidate its operations in the face of increased competition from overseas, and closed the Racine plant. In 2019, the complex was listed on the National Register of Historic Places at the request of its owner, development firm J. Jeffers & Co., which is currently in the process of converting the historic buildings into an apartment building called Gold Medal Lofts.</p><br>
<p>Hotel Belleville is a historic hotel building at 16 S. Illinois Street in Belleville, Illinois. The hotel was built in 1930–31 to replace the citys previous hotel, the Belleville House; like its predecessor, the hotel marketed itself as the most luxurious and modern hotel in Belleville. Architects Manske & Bartling designed the building in the Art Deco style; their design included first-floor window bays with terra cotta blocks, brick pilasters above the entrance, ornamental brickwork on the upper floors, and a parapet. The hotels amenities included a restaurant and cocktail lounge, banquet and event space, office space for community organizations, and storefronts for local businesses. In the decades after it opened, the building served both as a center of Belleville&#39;s social life and a home for regional conventions. The hotel operated until 1961, when it was converted to an assisted living facility for the elderly.</p><br>
<p>The building was added to the National Register of Historic Places on June 20, 2018.</p><br>
<p>The Kaisers building is a historic building in downtown Racine, Wisconsin. The longtime home of Maurice and Helen Kaisers men&#39;s clothes store, the two-story building is listed on the National Register of Historic Places primarily for its Art Deco facade, which was redesigned by Frank J. Hoffman in 1928.</p><br>
<h2>History</h2><br>
<p>The building, located on a 20-foot-wide and 90-foot-deep lot facing Sixth Street, was in use as a hardware store as early as 1887. Previously home to the United Woolen Mills Co., Kaisers clothing store opened in the building in 1914 and went out of business in 1957. In 1928, Frank J. Hoffman designed a new Art Deco-style glazed terra cotta facade for the building, which was built in early 1929. By 1980, when the building was listed on the National Register of Historic Places, the facade was almost unchanged from Hoffmans design, except for the installation of a neon sign advertising the buildings new occupant, Traugers Jewelry. As of 2020, the building is occupied by Brandt Jewelers, and the large Trauger&#39;s sign has been removed in favor of a smaller sign for Brandt.</p><br>
<p>The Old Bloomington High School is a historic high school building at 510 E. Washington Street in Bloomington, Illinois. Opened in 1917, the building replaced another high school building from 1895, which was one of several buildings used for the local high school since its establishment in 1857; all of these older buildings have since been demolished. Bloomington architect Arthur L. Pillsbury designed the building in the Collegiate Gothic style, a variant on the popular Gothic Revival style which, as its name suggests, was mainly used for large educational buildings. The buildings design includes a large, detailed Gothic arched main entrance with towering piers at each side, large windows with limestone surrounds, and projecting piers at the front corners and side entrances. In 1936–37, an addition funded by the Works Progress Administration was added to the building; the addition was designed by Schaeffer & Hooten, a descendant of Pillsburys firm, and matched the style of the original building. The building served as Bloomington&#39;s main high school until a new building opened in 1959. It then became a junior high school and remained so until it closed in 1990.</p><br>
<p>The building was added to the National Register of Historic Places on April 19, 2018.</p><br>
<p>The Childrens Village of the Illinois Soldiers and Sailors Childrens School is a group of twelve cottages at the site of the Illinois Soldiers and Sailors Childrens School, a former childrens home at 1100 N. Beech St. in Normal, Illinois. The Illinois Soldiers and Sailors Childrens School opened in 1869 as a home for the orphaned children of soldiers who had died in war. The Childrens Village was built in 1930-31 as housing for children aged 3–8, as the school aimed to divide its housing by age. C. Herrick Hammond, the Illinois State Architect at the time, designed the houses in the Tudor Revival style. Eight of the twelve new cottages were used for housing, while the other four were smaller and used for play areas. Each of the residential cottages is one story tall with a steep cross-gabled roof and an arched entrance in one of the gable ends. The cottages were used by the school until it closed in 1979.</p><br>
<p>Children&#39;s Village was added to the National Register of Historic Places on May 21, 2018.</p><br>
<p>The Richard Berry Jr. House is a historic house in the Clintonville neighborhood of Columbus, Ohio, United States. The house was listed on the National Register of Historic Places in 2005 and the Columbus Register of Historic Properties in 2006. The house is also a part of the East North Broadway Historic District, listed on the National Register in 2010. It is a well-preserved example of early 20th century Colonial Revival houses. It was built in 1926 and designed by Columbus architect Ray Sims.</p><br>
<p>Jefferson College was a college located in Convent, Louisiana, operating under various names between 1830 and 1928. In 1922, the Jesuit retreat center called Manresa House of Retreats began on the former campus. The site was added to the National Register of Historic Places in 1985.</p><br>
<h2>History</h2><br>
<h3>College of Jefferson</h3><br>
<p>The institution was established as the College of Jefferson in 1830, and chartered in 1831. The first building was completed in 1833, and the inaugural class began studies in 1834. Operation of the institution was sporadic for a time. The building burned down in 1842, and a new building was erected on the same foundation later that year. American diplomat Alexander Hill Everett briefly served as its head thereafter. The institution then closed in 1848 due to low enrollment.</p><br>
<h3>Louisiana College</h3><br>
<p>A new institution operated in the location as Louisiana College from 1853 to 1856. From 1860 to 1862, the campus operated for the first time under the name Jefferson College, and a chapel was added. From 1862 to 1864, the buildings were occupied by Federal troops.</p><br>
<h3>St. Mary&#39;s College of Jefferson</h3><br>
<p>In July 1864, the institution again reopened as St. Mary&#39;s College of Jefferson.</p><br>
<p>Aime gave the entire college to the Marist Fathers. According to some accounts, his motivation in securing this transfer to a sectarian entity was to prevent the state from obligating the school to open its doors to freed blacks. Another source states, as an alternative explanation, that Aime was merely "anxious to see the college re-opened", and therefore "gave his shares to the that they might conduct the school".</p><br>
<p>The school thereafter operated continuously until it again closed in 1928 due to low enrollment.</p><br>
<p>Among its alumni was Etienne J. Caire, who owned the E. J. Caire Store in Edgard and was the Republican gubernatorial nominee in 1928 against Huey Long.</p><br>
<h3>Manresa House of Retreats</h3><br>
<p>Caire founded the Manresa retreat center in 1922, now run by the Jesuits.</p><br>
<h2>Notable alumni</h2><br>
<p>Etienne J. Caire, who owned the E. J. Caire Store in Edgard and was the Republican gubernatorial nominee in 1928 against Huey Long.</p><br>
<p>USA Senator from Louisiana Walter Guion.</p><br>
<p>Louisiana Supreme Court justices Samuel A. LeBlanc and William Gillespie Wyly.</p><br>
<p>The Krumm House is a historic building in the Brewery District neighborhood of Columbus, Ohio. It was listed on the National Register of Historic Places and Columbus Register of Historic Properties in 1982. The brick house was built c. 1885. The building was home to Alexander W. Krumm, the Columbus City Solicitor from 1878 to 1883. The property is also one of few remaining late 19th century houses on South High Street.</p><br>
<p>The Schlee-Kemmler Building is a historic building in Downtown Columbus, Ohio. The building was listed on the National Register of Historic Places in 1982 and the Columbus Register of Historic Properties in 1983. It was also included in the South High Commercial Historic District, added to those registers in 1983 and 1987, respectively.</p><br>
<p>The building was constructed in 1895 and was designed for a brewer’s office and insurance agency. In 1986, it was renovated by Lincoln Construction Co. into offices. By 2019, the building was vacant and in 2022, architecture firm BBCO and Day Companies purchased the building. Renovations were completed in 2024.</p><br>
<p>The building was nominated to the National Register for its significance as one of few 19th century commercial buildings with stone facades left in Columbus, and the most ornamental of those that remain.</p><br>
<p>The Orton Memorial Laboratory is a historic building in the Weinland Park neighborhood of Columbus, Ohio. It was listed on the National Register of Historic Places in 1983.</p><br>
<p>Built in 1929, Orton Memorial Laboratory was originally used as the headquarters for the Standard Pyrometric Cone Company. The company was established by the son of the founding president of the Ohio State University. The laboratory was designed by Howard Dwight Smith, the same architect who designed the Thompson Library and the Ohio Stadium. A recent rehabilitation project turned the laboratory into a modern industrial office space.</p><br>
<p>Additions to the building include the west wing, added in 1956, and the east wing, added in 1962.</p><br>
<p>The Columbia Larrimer Building is a historic building in Downtown Columbus, Ohio. It was listed on the National Register of Historic Places in 1983. The building is significant for its storefront design and craftsmanship, along with the front interior installed by the Bott Brothers when they moved their bar there in 1905. The building was home to the Clock Restaurant in the mid-to-late 1900s, and currently Elevator Brewery & Draught Haus.</p><br>
<p>The Ouilmette North Historic District is a residential historic district in northeastern Wilmette, Illinois. The district includes 911 contributing buildings; all are houses except for two churches, Trinity United Methodist Church and the Community Church of Wilmette. The southern half of the district was originally part of the Ouilmette Reservation, an Indian reservation which was sold to developers and became the original village of Wilmette in 1872. Development in the district began after the village&#39;s incorporation and continued through World War II, with most new construction happening in the early twentieth century. The district includes examples of Queen Anne architecture from the late nineteenth century, Prairie School architecture from the first two decades of the twentieth century, and revival style architecture from the 1920s. Its Prairie School architecture is especially notable as it contains works by William Eugene Drummond and John S. Van Bergen, two early Prairie School architects who practiced with Frank Lloyd Wright.</p><br>
<p>The district was added to the National Register of Historic Places on December 6, 2005.</p><br>
<p>The Ohio Moline Plow Building is a historic building in the Arena District in Downtown Columbus, Ohio. It was listed on the National Register of Historic Places in 1999. The building was built in 1913 as an office, warehouse, and sales space for the Ohio Moline Plow Company, part of the Moline Plow Company based in Illinois. It is located in a former warehouse district, which once held numerous buildings of similar size, scale, and materials. In the late 20th century, most of the buildings were demolished. The building is also significant for its design integrity and materials, with original patterned brickwork and stone trim, and glass and wood office partitioning.</p><br>
<p>The Franklinton Post Office is a historic building in the Franklinton neighborhood of Columbus, Ohio. It was listed on the National Register of Historic Places in 1973. Also known as the David Deardurff House, it was built of hand-hewed logs by Deardurff in 1807. The two-story house sits on a limestone foundation. It is the oldest building in Columbus still on its original foundation. The building is on Gift Street, an area owned by Franklinton founder Lucas Sullivant, given to early settlers. The first post office in Franklinton was established here.</p><br>
<p>The Old Port Columbus Terminal, also known as the Old Port Columbus Airport Control Tower, is a historic building in Columbus, Ohio. It was built in 1929 as one of the first airport facilities in the United States. It was replaced by the current facilities in 1958. It was listed on the National Register of Historic Places in 1979. It is located on the southeast corner of John Glenn Columbus International Airport, formerly known as Port Columbus International Airport.</p><br>
<h2>Attributes</h2><br>
<p>The terminal was designed in the Art Deco style popular at the time. The building has 12,000 ft&sup2;.</p><br>
<h2>History</h2><br>
<p>The terminal was constructed in 1929 and opened on July 8 of that year. At its opening, it was the easternmost airport in the Transcontinental Air Transport airline&#39;s coast-to-coast route, requiring visitors from New York to take a train to Columbus, fly to Oklahoma, take a train to New Mexico, and board a second flight to Los Angeles.</p><br>
<p>The building was listed on Columbus Landmarks Most Endangered Sites in 2015. In that year, Heartland Bank shuttered its plans to lease and renovate the building and withdrew its historic tax credit application, stating that it was not economically feasible to restore the structure. In 2016, the buildings roof was replaced and mold was removed.</p><br>
<p>In 2020, the nonprofit Ohio Air & Space Hall of Fame and Museum (OAS) announced it signed a long-term lease to the building. The organization is planning for a $2 million renovation of the building, which was to be followed by the opening of its museum and hall of fame in late 2021. The organization also plans for a historical archive, a STEAM education center, and an event and meeting space in the terminal building. By 2022, the organization had raised $1.2 million, and estimated the total project at $4 million. The organization&#39;s director plans to start the first construction phase in 2023, with a goal of raising $700,000 to accommodate the work.</p><br>
<p>Marshlands Conservancy is a 147-acre nature preserve in the city of Rye, New York, fully owned and operated by Westchester County Parks. It has numerous wildlife habitats, ranging from ponds to creeks to a large meadow area, succession forest, freshwater wetlands, and the only extensive salt marsh in Westchester. It borders Long Island Sound and can be entered via an easement on the historic Boston Post Road. It is one of 5 properties that together constitute the Boston Post Road Historic District, the only National Historic Landmark District in Westchester County. It has high archaeological sensitivity. The conservancy has also been designated an Important Bird Area.</p><br>
<h2>Early history</h2><br>
<p>Archaeological evidence supports the presence of a vibrant Indigenous peoples population at the location for thousands of years. Findings include the identification of pre-contact deposits from the Archaic and Woodland periods. Elements of the land, such as the field, were regularly cleared in the 1600s by colonial residents. Prior to that, it is believed that Indigenous stewards cleared brush to prevent reforestation and facilitate hunting and agriculture.</p><br>
<p>Immediately prior to its 20th century partitioning, the Conservancy land was part of two neighboring estates: the Jay Estate, owned by Founding Father John Jay and his descendants between 1745 and 1905; this parcel was 400 acres in size. Another portion of the conservancy was originally part of neighboring Lounsbury owned by the Parsons family as far back as the early 1800s.</p><br>
<h2>Modern history (1966–present)</h2><br>
<p>The nature preserve, initially named the Devereux Reservation or Conservancy, came into being through two separate real estate donations in 1966 and again in 1977.</p><br>
<p>The initial gift consisted of 120 acres from Zilph Palmer Devereux to Westchester County, made on November 9, 1966, and formally accepted by the Westchester County Board of Supervisors on November 21, 1966. The land was intended to be kept as a completely natural park.</p><br>
<p>A small shelter was built in 1972, and the property reopened as Marshlands Park on June 7, 1972, during the dedication of the preserve. A special volunteer Advisory Board was created to ensure continued oversight of the County&#39;s management of the land.</p><br>
<p>Another donation of 17 acres was contributed by Fanny Wickes Parsons in 1977 with the caveat "that no garages or maintenance buildings be erected and that no marinas be built on or near the shorefront of the</p><br>
<p>tract."</p><br>
<p>The ensuing property of 147 acres (which includes tidal lands) was rededicated in 1997 as passive parkland by the Board of Legislators of Westchester County "The natural area and wildlife sanctuary will be protected, preserved and regulated as a nature and wildlife preserve to be used only for passive recreation." That same year, a Friends group was organized to help staff the shelter and provide tours as well as raise additional funds to supplement the maintenance and mowing of the meadow.</p><br>
<h2>Features</h2><br>
<h3>Archaeological sensitivities</h3><br>
<p>A 1985 report confirmed the importance of Rye Marshlands as one of two sites in Rye with high archaeological significance, the other being an area in the Blind Brook watershed. The discovery of 88 stone fishtail points and fragments, 31 of which were collected between 1981 and 1987 by Stuart Fiedel, further suggests encampments of what is known as an Orient phase or culture at the site. Additional artifacts were found by Wilbur Clark.</p><br>
<h3>Salt marsh and tidal flats</h3><br>
<p>The preserve&#39;s salt marsh was recognized in 1987 as a rare ecosystem and tidal flats community by the N.Y.S. Department of State Division of Coastal Resources & Waterfront Revitalization.</p><br>
<h3>Woodland trails and ruins</h3><br>
<p>There are two trail loops. One is 2.8 miles long. Passive recreation only is permitted at Marshlands Conservancy including walking, hiking and birdwatching. Dogs and bikes are strictly forbidden according to regulations adopted on December 31, 1975.</p><br>
<p>Ruins of a summer home built on the property by 20th century owners can be found on the trail alongside the water. All that remains is a chimney and stone foundation.</p><br>
<h3>Watercourses</h3><br>
<p>The East Stream and West Creek are two fresh watercourses that run through the Marshlands Conservancy. They are habitat for American mink, snapping turtles and box turtles.</p><br>
<h2>Fauna</h2><br>
<p>Marshlands Conservancy is home to many creatures from horseshoe crabs to coyotes. Visitors can see foxes, herons, egrets and more. Nature study is especially focused on salt water life.</p><br>
<h3>Birds</h3><br>
<p>The Conservancy land was donated with the goal of creating a wildlife sanctuary especially for waterfowl and migratory birds. Over 230 species of birds have been spotted from Black rail to American Avocet.</p><br>
<h3>Fish and shellfish</h3><br>
<p>Marine life at Marshlands include pipefish, small crabs (often hidden in rocky structures off of the water), and killifish.</p><br>
<h3>Mammals</h3><br>
<p>Deer, fox, coyotes, rabbits and groundhogs are among the mammals that have habitats at the conservancy.</p><br>
<h2>Flora</h2><br>
<p>A trail guide published in the 1980s under the auspices of then Westchester County Executive Alfred DelBello and Parks Commissioner Joseph M. Claverly noted the location of both native and invasive species along pathways, in the woods, next to bridges and by the beach and marsh.</p><br>
<h3>Native plants and trees</h3><br>
<p>The biodiversity of the Marshlands Conservancy has changed since its creation as a preserve. Native plants found at the Conservancy once included:</p><br>
<p>Black birch</p><br>
<p>Bladderwrack</p><br>
<p>Butterfly weed</p><br>
<p>Christmas fern</p><br>
<p>Dogtooth violet</p><br>
<p>False Solomon&#39;s seal</p><br>
<p>Giant sunflower</p><br>
<p>Glasswort</p><br>
<p>Groundsel tree</p><br>
<p>Heath aster</p><br>
<p>Jewelweed</p><br>
<p>Lopseed</p><br>
<p>Marsh elder</p><br>
<p>Marsh mallow</p><br>
<p>New York aster</p><br>
<p>Poison ivy</p><br>
<p>Post oak</p><br>
<p>Sassafras</p><br>
<p>Seaside goldenrod</p><br>
<p>Skunk cabbage</p><br>
<p>Spartina</p><br>
<p>Spicebush</p><br>
<p>Sweet gum</p><br>
<p>Trillium</p><br>
<p>Tulip tree</p><br>
<p>White ash</p><br>
<p>White oak</p><br>
<p>Wild geranium</p><br>
<p>Wild strawberry</p><br>
<h3>Invasive species</h3><br>
<p>Like many other sanctuaries that are impacted by climate change, the ecology of Marshlands is changing due to the aggressive pressure of invasive species. Disturbed waste areas at the conservancy include a refuse dump next to the long meadow where Tree of Heaven can be found. According to the Audubon, invasive plants like Tatarian honeysuckle and Norway maples cause harm to native plants and the local ecosystem. Other invasive species identified include:</p><br>
<p>Common burdock</p><br>
<p>Crabapple</p><br>
<p>Creeping bellflower</p><br>
<p>Curly dock</p><br>
<p>Deptford pink</p><br>
<p>Everlasting pea</p><br>
<p>Garlic mustard</p><br>
<p>Japanese barberry</p><br>
<p>Japanese knotweed</p><br>
<p>Japanese stiltgrass</p><br>
<p>Jetbead</p><br>
<p>Mugwort</p><br>
<p>Multiflora rose</p><br>
<p>Norway maples</p><br>
<p>Oriental bittersweet</p><br>
<p>Phragmites</p><br>
<p>Porcelainberry</p><br>
<p>Privet</p><br>
<p>Tatarian honeysuckle</p><br>
<p>Tree of heaven</p><br>
<p>Wineberry</p><br>
<p>Wrinkled rose</p><br>
<p>Asian shore crabs have been implicated in the decline of the common periwinkle at Marshlands.</p><br>
<p>The Benjamin Smith House is a historic building in Downtown Columbus, Ohio. It was listed on the National Register of Historic Places in 1973. The house was built c. 1860 for Benjamin E. Smith, a wealthy financier. Smith lived in the house until 1883, when he moved to New York City. Rented by Ohio as a governor&#39;s mansion, it housed Ohio governors George Hoadly and Joseph Foraker. In 1886, the Columbus Club, a private club in the city, purchased the house and grounds, and are still housed there today.</p><br>
<p>The house was designed by Nathan B. Kelley, also one of the principal architects of the Ohio Statehouse.</p><br>
<p>The Downtown YMCA is a historic former YMCA building in Downtown Columbus, Ohio. It was the largest YMCA resident facility in the United States.</p><br>
<h2>Design</h2><br>
<p>The Downtown YMCA was designed by Shattuck & Layer, Chicago architects who designed many YMCA buildings across the United States and abroad. The firm designed the Columbus building in the Jacobethan Revival style, with complex brickwork, cut-stone details, three-part rectangular windows, and roofline battlements. It also makes use of several Late Gothic Revival elements including pointed arches and buttressing. The exterior makes use of dark red brick and light-colored cut limestone, adding contrast and depth to the facade.</p><br>
<p>The massive seven-story building has a steel frame and a concrete foundation. Its exterior is faced with Flemish-bond brick and limestone ornamentation.</p><br>
<h2>History</h2><br>
<p>The YMCA was first established in Columbus in 1855, reorganized in 1875, and moved locations numerous times. Its first headquarters opened at 34 S. 3rd St. (on Capitol Square) in 1893, in a Yost & Packard building. The site now holds the Columbus Dispatch Building. Several branches to the Columbus YMCA opened over the next decades; during this time the organization realized it needed more space to accommodate its growing membership.</p><br>
<p>The organization purchased the lot for the current YMCA in December 1916, with delayed construction due to World War I. Ground was broken for the building on November 11, 1921, and its cornerstone was laid on January 5, 1923. The building was dedicated on January 13, 1924. It cost $850,000 to build, and at the time it was claimed to be the largest YMCA in the world. The building hosted the first evening high school which evolved to include post-secondary and professional programs to become Franklin University.</p><br>
<p>The building was listed on the National Register of Historic Places in 1993. In 1995, the building&#39;s title was temporarily transferred to the Columbus City Council to help a $19 million restoration of the building qualify for a 30-year exemption on real estate taxes. The project, designed by architects Lusk & Harkins of Columbus, included renovating the existing 350 apartments, adding 50 additional units, installing air conditioning, expanding fitness facilities, and restoring the original lobbies. The renovations began in 1997. According to the architects, the project involved a complete historic restoration, and began a 30-year effort to restore YMCA buildings throughout Central Ohio.</p><br>
<p>In 2019, after years of studying potential renovations, the 403-unit building was announced to close in three to seven years, as the YMCA moved its residents to newer facilities. The 235,118 ft&sup2; building has a market value of $5.6 million, and would require $50–60 million in renovation, not affordable as it is close to the Columbus YMCA&#39;s entire annual budget. The organization planned to lease out a facility and redistribute residents to existing facilities, and to build a new full-service downtown facility for its 3,400 YMCA members in the next five to ten years. The YMCA was confident the building can be repurposed, having talked to 8-10 developers, with none who have toured having proposed demolishing it.</p><br>
<p>In August 2022, YMCA of Central Ohio and the Columbus Downtown Development Corporation (CDDC) began working on a deal for the CDDC to take over ownership of the building by January 2023. Several dozen current residents of the building would be moved to new housing for low-income seniors operated by the Columbus Metropolitan Housing Authority in Franklinton. On March 16, 2023, the building was sold to the CDDC for $1 million. The Columbus Landmarks Foundation listed the Downtown YMCA as an endangered site in June 2023, in the 2023 edition of its Most Endangered List.</p><br>
<p>The Cayetano Juárez Adobe, often called locally the Old Adobe, is the oldest building in Napa, California. Built in 1845 by early Californio settler Cayetano Juárez, the structure was originally a family house and was later converted to a restaurant and bar. After an ownership change in 2014, it underwent an extensive restoration which was completed in 2019. The building was added to the National Register of Historic Places in 2015. It is currently the home of a Mexican restaurant.</p><br>
<h2>Builder</h2><br>
<p>Cayetano Juarez (1809-1883) was a Californio soldier in the Mexican Army, and later a Mexican government official. He received a land grant, Rancho Tulucay in the Napa Valley in 1840, where he kept herds of cattle and horses. He built his original adobe home at his rancho in 1840, which is no longer standing. In 1845, he built this larger adobe house, which still stands. Juraez employed about 400 Native American workers raising cattle and field crops on his surrounding land, and his children were raised speaking the local Native American Patwin language. His descendants were active in Napa Valley civic affairs for five generations.</p><br>
<h2>Construction</h2><br>
<p>The building is located less than half a mile east of the Napa River in what is now the city of Napa, California. It is at the beginning of the Silverado Trail, the first permanent road established in 1852 between Napa and Calistoga, California, which is near various mercury mines on the slopes of Mount Saint Helena.</p><br>
<p>Constructed in 1845 in a rectangular form primarily out of adobe brick, the building has walls that are three feet thick at the foundation, tapering to two feet thick above the attic. The structure of the building also incorporates wooden beams and exposed wooden rafters. The overhanging porch is supported by four heavy wooden posts. These posts, which are chamfered, measure 8" X 8", and three are original old growth redwood.</p><br>
<p>Shortly after the house was built, an adobe brick shed was added to the northeast corner of the building.</p><br>
<h2>History</h2><br>
<p>The building was the home of the family of Cayetano Juarez, his wife Maria de Jesus Higuerra and their descendants. The couple raised 11 children in the home. Considered community leaders, Juarez and his wife were well known for hosting rodeos and fiestas.</p><br>
<p>After both died, their daughter Domilita Juarez Metcalf lived in the house and operated portions of the rancho as a farm until the 1920s.</p><br>
<p>In the 1920s, the building was converted into a restaurant, and a series of modifications and minor additions began. About 1935, a stone and brick fireplace was added to the south side of the building. Around 1950, various additions made of shiplap planks allowed for expanded kitchen facilities. A restaurant and bar called the Old Adobe Hut operated in the building from 1951 until the late 1970s. During the 1970s, a fire caused moderate damage to the southern part of the building. During repairs, some ceiling joists were replaced and some timbers supporting the roof were reinforced.</p><br>
<p>In 2002, the building was purchased by Tito Fuentes Jr., the son of former San Francisco Giants baseball player Tito Fuentes. The Fuentes family operated a Caribbean/Mexican restaurant in the building for some time. An Indian/Nepali restaurant called Taste of the Himalayas occupied the site until and somewhat after it was sold in 2014.</p><br>
<p>The South Napa Earthquake of August, 2014 caused some cracking of plastered interior walls and the chimney that had been added in the 1950s. The adobe shed which had been built shortly after the building&#39;s construction also separated slightly from the main structure.</p><br>
<h2>Major renovation</h2><br>
<p>In 2014, Napa real estate investor George Altamura purchased the house, pledging to restore it to its 1848 appearance.</p><br>
<p>Altamura had also bought and renovated the historic Uptown Theater in Napa. His grandson Justin Altamura gained ownership of the house and completed that renovation in early March, 2019. Justin Altamura made a considerable effort to study the preservation and restoration of historic adobe buildings, and decided to use traditional materials, techniques and accessories wherever possible. Over 300 large adobe bricks were used in the renovation "made by hand with clay, horse manure, and hay". He hired a team of expert Mexican masons to repair and replace the traditional mud mortar used between the original adobe bricks.</p><br>
<p>Paint was stripped from original wood beams, door headers, floors and window frames. Interior walls were finished with plaster made out of sand, mud and pine needles. The exterior was whitewashed with a traditional product blended from lime, salt and water.</p><br>
<p>Juliana Inman, a member of the Napa County Landmarks Board and an architect, praised the renovation, stating that the project gave the building "some cachet and some importance", observing that over decades "it’s been abused and converted to other uses and terrible additions made to it", concluding that "it’s just remarkable that it’s still here after all of that." Describing Justin Altamura, Inman stated that "He’s listened very carefully. He’s so appreciative of the history of the building and the site. It’s like a gift to the community for him to be working on it."</p><br>
<h2>Current use</h2><br>
<p>La Cheve, a Mexican restaurant, bakery and brewery, opened in the building in 2020. The opening was delayed for two months due to the COVID-19 pandemic in the United States.</p><br>
<p>The Mowry-Addison Mansion is a historic house in the Upper Lawrenceville neighborhood of Pittsburgh, Pennsylvania, and a contributing property in the Lawrenceville Historic District. It was built in 1830–32 by Peter Mowry, a physician, and was originally part of a large estate that was subdivided into residential lots in 1872. The house is notable as a rare example of relatively well preserved Greek Revival architecture in Pittsburgh, and exemplifies the typical pattern of development in Lawrenceville in the mid to late 19th century. In 2020, the building was nominated as a Pittsburgh historic landmark by Preservation Pittsburgh, which stated that the mansion "is one of the last remaining and most significantly preserved regional ribbon farm dwellings from its period of construction."</p><br>
<h2>History</h2><br>
<p>The house was built in 1830–32 by Dr. Peter Mowry (1770–1833), one of Pittsburghs most prominent physicians during the first third of the 19th century. Like other nearby properties, Mowrys estate was a "ribbon farm", a long, narrow strip with a short section of riverfront allowing each farm access to the Allegheny. Mowry died shortly after the house was completed, but his widow Eliza Addison Mowry lived there until her own death in 1871. She sold the riverfront section of the estate for industrial development by the Lucy Furnace Company and Keystone Bridge Company. After her death, the property was sold to a partnership called Carnegie & Co., which divided it into about 244 residential lots and offered them for sale starting in 1872. The neighboring ribbon farms between 52nd and 55th Streets were similarly subdivided around the same time.</p><br>
<p>The Carnegie & Co. lots were gradually filled in with rowhouses between the 1870s and early 1900s. Most of the other old houses in the area were demolished during this period as they did not fit conveniently into the new plats, but the Mowry-Addison mansion remained standing on a five-lot parcel. From 1921 to 1973, the mansion housed the Slovenian Eagle Society, a mutual aid organization for Slovene Americans. The Slovenian Eagle Society&#39;s ownership of the mansion comprised the longest period of ownership, exceeding the Mowry ownership by ten years. After this, it housed the Pittsburgh Electric Club until 2004, when it was purchased by Carnegie Commons LLC for use as architectural offices.</p><br>
<h2>Architecture</h2><br>
<p>The Mowry-Addison Mansion is a 2 1/2 story vernacular Greek Revival style house with a side-gabled roof. It is constructed from American bond brick set on a raised stone foundation. The front elevation is symmetrical and five bays wide, with a three-bay porch. Most of the windows are 6-over-6 wooden sash windows with stone sills and lintels. The lintels are ornamented with rosettes; other decoration includes dentil cornices and a porch frieze. The lower portion of the porch is a different type of brick and was a later addition. The rear elevation is also five bays wide with a partially enclosed porch. Although other structures in the Greek Revival style can be found throughout Pittsburgh (such as the Burke Building Downtown and various residential structures on the North Side), these structures are far more modest in scale compared to the Mowry-Addison Mansion.</p><br>
<p>The Ewalt House was a historic house in the Lawrenceville neighborhood of Pittsburgh, Pennsylvania, and a contributing property in the Lawrenceville Historic District. It was built as a country estate sometime between 1787 and 1840 by Samuel Ewalt, and remained standing after most of the land was subdivided for residential lots in the 1870s. The house was notable as a rare example of an antebellum style Greek Revival house in Pittsburgh, and exemplified the typical pattern of development in Lawrenceville in the mid to late 19th century. In 2019, the building was nominated as a Pittsburgh historic landmark.</p><br>
<h2>History</h2><br>
<p>The house was built sometime before 1840 by Samuel Ewalt (1750–1847), a merchant and landowner who was a prominent citizen during Pittsburghs early history. He was also the first sheriff of Allegheny County and a member of the Pennsylvania House of Representatives. In 1787, he bought a tract of land in present-day Lawrenceville for a country estate. The land in this area was divided into narrow strips perpendicular to the Allegheny River, providing riverfront access to each landowner. Ewalts parcel spanned from present-day 43rd Street to 47th Street and inland as far as the Bloomfield vicinity, covering just over 263 acre in total.</p><br>
<p>The houses date of construction is unknown, but it was mentioned in Ewalts will, dated 1841. A newspaper article from 1889 described the house as one of "the principal landmarks in that section of the three-quarters of a century ago." Later, the property was owned by Anna H. Irwin. After she died around 1871, most of the land was subdivided into residential lots like the other country estates in the area, and began to be densely developed. Unlike many of the other country houses, the Ewalt house remained standing, though a rear wing was demolished around 1890. From 1887 to 1890, it was the home of Charles Bickel, a notable architect, and from 1945 to 1977 it was used as a social hall by a Polish-American organization.</p><br>
<p>In August 2019, the house was hit by a windburst which damaged the roof supports and put pressure on the foundation which already was bowed and faltering. A structural engineer deemed the house uninhabitable and dangerous. However, the City Council later voted on August 26 to withdraw the nomination, and on September 24, they approved the owner&#39;s demolition permit. On October 7, the Ewalt House was torn down.</p><br>
<h2>Architecture</h2><br>
<p>The Ewalt House was a two-story vernacular Greek Revival style building with a hipped roof. It was constructed from American bond brick, with corner pilasters and an entablature with a brick dentil course and wooden cornice. The house had a symmetrical five-bay facade with wood-framed window openings which had been retrofitted with smaller modern windows. An entrance porch and rear garage were later additions.</p><br>
<p>The Lola Maverick Lloyd House is a historic house at 455 Birch Street in Winnetka, Illinois. The house was built in 1920 for pacifist and feminist activist Lola Maverick Lloyd and her four children. At the time, Lloyd had recently undergone a public divorce from William Bross Lloyd; while she expressed a desire to move back to Texas, where she had grown up, her custody agreement required her to stay in Illinois. Architect Charles Haag designed the house with the assistance of Lloyd herself; their design is in the Arts and Crafts style and includes influences from both Texas and Haag&#39;s native Sweden.</p><br>
<p>The house has a distinctive red, cream, turquoise and teal color scheme and features carved wooden decorations inspired by animals and nature, gable ends with board-and-batten siding, and shed-roofed dormers projecting from the roof. While she often rented it while traveling to Europe to advance her activist work, Lloyd considered the house her home until her death in 1944, and it remained in her family for the rest of the twentieth century.</p><br>
<p>The house was added to the National Register of Historic Places on February 1, 2006.</p><br>
<p>Lindley-Johnson-Vanderhoof House is a three-story Queen Anne style brick house designed and built by William G. Fraser in 1892. The house is located in downtown Colorado Springs, Colorado and was used as a private residence from 1892 until 2000, when the Colorado College purchased the property. The house was listed on the National Register of Historic Places in 2013.</p><br>
<p>The property was listed due to the house being a unique and fine example of the Queen Anne style in Colorado Springs.</p><br>
<p>The William McJunkin House is a historic house at 151 Sheridan Road in Winnetka, Illinois. The house was built in 1928-29 for William McJunkin, founder and president of the McJunkin Advertising Company. The houses lot was in a desirable location along the shore of Lake Michigan; both the lakeshore and Sheridan Road, which ran alongside it, played an important role in Winnetkas early development and planning. Architect Charles Whitley Stevens designed the building in the Jacobethan style, a less common variation of the popular Tudor Revival style. The house has a limestone exterior and features a large Flemish gable atop a projecting entrance block, a pediment above the doorway, arches surrounding the main entrance and living room windows, and a clay tile roof. Coat of arms over entryway is inscribed “Ne Obliviscaris” meaning “Never Forget”, as are other crests deriving from Scotland&#39;s Campbell Clan. The Jacobethan design continues inside the house with intricate plaster reliefs and decorative wallpaper.</p><br>
<p>The house was added to the National Register of Historic Places on March 2, 2006.</p><br>
<p>The McGregor Hall is a historic building designed by Walter F. Douglas and Thomas Duncan Hetherington and built in 1903. The building is located on the grounds of the Colorado College in Colorado Springs, Colorado. The building was the third dormitory for women on the Colorado College campus.</p><br>
<p>The building is notable for its Colorado Springs red sandstone, and is built in the Colonial Revival style. The property was listed on the National Register of Historic Places in 2000.</p><br>
<p>Dodge-Hamlin House in Colorado Springs, Colorado, was designed by Nicolaas van den Arend an</p><br>
<p>Dodge-Hamlin House was designed by Nicolaas van der Arend and built by Clarence Phelps Dodge in 1916, and is located in downtown Colorado Springs, Colorado. It was listed on the National Register of Historic Places in 2014.</p><br>
<p>The house was used as a private residence from 1916 until 1943, when it was incorporated into the Colorado College campus. It is an example of the Mission Revival architectural style, and is listed due to its historic use in the Colorado College campus, and its use by two significant newspaper publishers and editors in the city: Clarence Phelps Dodge, and Clarence Clark Hamlin.</p><br>
<p>The Ticknor Hall is a dormitory for the Colorado College designed by Walter F. Douglas and finished in 1898. The dormitory was the second dormitory in the Colorado College built specifically for women. The building is located in downtown Colorado Springs, Colorado and is noted for its use of the Queen Anne architectural style.</p><br>
<p>The building was listed on the National Register of Historic Places in 2000.</p><br>
<p>The Shove Memorial Chapel is a church located in downtown Colorado Springs, Colorado, United States, that was designed by John Grey and built from 1930 to 1931. The church has been on the National Register of Historic Places since May 22, 2005, and is of Norman Romanesque style.</p><br>
<p>John Grey, the architect, made a very comprehensive plan of the church, and hired various craftsmen from around the country to apply the detail he wanted. The church is made from Bedford limestone mined and cut in Indiana, and Robert Garrison designed gargoyles and exterior sculptures around the building. Robert E. Wade painted the ornate roof inside the chapel, and Joseph Reynolds Jr. designed the stained glass windows.</p><br>
<p>Despite being built in the middle of the Great Depression, it is widely considered to be one of the finest examples of Norman Romanesque architecture in the state of Colorado. The chapel is now located on the grounds of Colorado College.</p><br>
<p>On the master bell of the chapel, Westminster quarter chimes cast in Croydon, England, there is an engraving of a statement by poet Kahlil Gibran: "Yesterday is but todays memory, an tomorrow is todays dream."</p><br>
<p>The Municipal Light Plant is a historic building in the Arena District of Downtown Columbus, Ohio. It was listed on the National Register of Historic Places in 2015. The structure includes an early 20th century Romanesque Revival building and a mid-20th century Art Deco addition.</p><br>
<p>In 2022, the Municipal Light Plant won the Columbus Landmarks&#39; James B. Recchie Design Award.</p><br>
<p>The Brannan Sand and Gravel Pit No. 8-Lake Sangraco Boathouse Complex was a gravel and sand pit located in Adams County, Colorado that was converted to a private boating and recreational venue. Once the gravel pit dried up, Lloyd S. Brannan converted the pit to a lake, named Lake Sangraco, along with surrounding buildings being renovated for entertainment.</p><br>
<p>According to the listing, “ Lake Sangraco is significant in the area of Conservation and Reclamation as an outstanding model of the ability to convert and reclaim natural resources depleted by mining operations, exemplifying the ongoing functionality of mined resources. Additionally, the main buildings are good examples of the Mid-Century Modern style as adapted to recreational buildings“. The property was listed on the National Register of Historic Places in 2011.</p><br>
<h2>Architecture</h2><br>
<p>The contributing buildings of the property are good examples of the Mid-Century Modern style and are characteristized by low-pitched gabled roofs, tripartite windows with casement sashes, picture windows, cedar tongue-and-groove siding, and wide overhanging boxed eaves.</p><br>
<p>The Harris Park School is a school building in Westminster, Colorado that was built from 1892–1899. The building was originally Romanesque Revival in architecture style, but was remodeled in the 1920s to incorporate the Craftsman style.</p><br>
<p>The building continues to serve schoolchildren today, now under the name of Pleasant DeSpain, Sr. School. The property was listed on the National Register of Historic Places in 1990.</p><br>
<p>The Eastlake Farmers Co-Operative Elevator Company is a grain elevator in Thornton, Colorado. The building was built in 1920, and is currently vacant. The elevator is an excellent example of a timber-frame, rural grain elevator that stands in stark contrast to the encroaching suburbs around the area.</p><br>
<p>The building is locally significant as an embodiment of High Plains architecture and reflects the transition between rail and truck transportation, as well as the shifts from single-grain to multiple-grain storage in rural Adams County, Colorado. It is also a fine example of the studded elevator construction technique, a response to the introduction of standardized lumber in the 20th century.</p><br>
<p>The property was listed on the National Register of Historic Places in 2010.</p><br>
<p>The Union High School in Westminster, Colorado is an Art Deco style high school built in 1929 that was the first high school serving the Westminster area of Adams County, Colorado. The original building was intended to be built at a cost of 21,500 dollars. The school saw its last graduating class in 1949, when the school was converted to a junior high school.</p><br>
<p>The school was listed on the National Register of Historic Places in 2000.</p><br>
<h2>Architecture</h2><br>
<p>The building is a two-story Art Deco style building, approximately 210 ft. by 115 ft. in dimensions. An addition of a gymnasium and classroom wing was made in 1939 to the west of the original building. The original building is a steel frame structure with a blonde brick veneer of wire cut brick with a distinctive embossed surface swirl made by wire placed on the face of the brick molds. The building is mostly made of blonde brick, with dark red brick used as accents. the 1939 addition more than doubled the size of the building. In the late 1960s, a metal shop building was built behind the school and is considered to be a non-contributing building. In 1998, the original windows were replaced with new tinted vinyl ones.</p><br>
<p>Despite extensive research in all the known archives, no information could be found establishing the identity of the school&#39;s architect or builder.</p><br>
<p>The Searles School and Chapel is located in Windham, New Hampshire, in the United States. Edward Francis Searles commissioned its design and construction, which began in 1907 and was completed in 1909. It was listed on the National Register of Historic Places on January 11, 1982.</p><br>
<h2>History and construction</h2><br>
<p>Searles, a millionaire born nearby in Methuen, Massachusetts, acquired 1,300 acre of land in Windham after 1900 and hired architect Henry Vaughan to design a home, "Stanton Harcourt", now known as Searles Castle. Searles also sought to acquire a piece of land owned by the town of Windham, on which sat a rural district schoolhouse. Searles offered to exchange a nearby piece of land and to build a new school and chapel on it for the town. The cost of construction is not known but was rumored to be over $40,000.</p><br>
