<p>The Lenoir Cotton Mill, later the Blue Bell Inc. Plant is a historic textile mill and factory in Lenoir, North Carolina.</p><br>
<p>Built in 1902 as a textile mill, the building doubled in size the next year, employing approximately 200 people until the 1920s. In 1927, Blue Bell, Inc. began manufacturing denim overalls there. The plant was expanded to employ up to 1,600 people, mostly women, who manufactured military apparel for the USA Army and Navy. In 1991, the property was sold and converted into offices for small businesses.</p><br>
<p>The building is listed on the National Register of Historic Places.</p><br>
<p>The Brinker Collegiate Institute is a historic school building in Denver, Colorado, United States, that is listed on the National Register of Historic Places .</p><br>
<h2>Description</h2><br>
<p>The building is located at 1725-1727 Tremont Place within the Downtown Denver Historic District in the Central Business District of Denver and was a private school established in 1877. The structure was built in 1880 to serve as the permanent home of the school, and did so until 1889. From 1889 to 1904 it was modified and opened as a hotel, the Richelieu Hotel at first and then as The Navarre. After 1914 it served as a restaurant and a private club.</p><br>
<p>It is a four-story building, about 50x100 ft in plan, Late Victorian in style.</p><br>
<p>The building&#39;s architect is unknown, although it was "planned" by Denver architect F.E. Edbrooke, who later designed the Brown Palace Hotel built in 1892, just across the street.</p><br>
<p>Its basement steam room was once connected by rail tunnel to the Brown Palace Hotel, which could deliver coal and allow hidden passage, although by 1976 the passageway had been sealed off.</p><br>
<p>The building was listed on the NRHP October 28, 1977 as "Brinker Collegiate Institute". It is also included in the Downtown Denver Historic District designated by the City of Denver in 2000.</p><br>
<p>The G. W. & W. M. Clayton Building, also known as the Granite Hotel, Granite Building and the Clayton Building, is an 1882 commercial building in Denver, Colorado and is a Denver Landmark. It is a four-story building which was built in 1882 on the site of the first building in Denver, a log cabin. It was built to host the M.J. McNamara Dry Goods Company. G. W. & W. M. Clayton is inscribed near the top of the building for businessman George W. Clayton and his brother William M. Clayton, who served as mayor of Denver. The Denver Public Library has a photograph of the G. W. & W. M. Clayton Building.</p><br>
<p>It is a substantial building which eventually became a boarding house by the 1910s, and then a flophouse, however. Ownership changed in 1965 and it was restored by 1970. It held offices, restaurants, and a comedy club in its basement.</p><br>
<p>In 1969-70 it was in the Skyline Urban Renewal Area, and it was photographed by William Edmund Barrett for the Historic American Buildings Survey program.</p><br>
<p>It was designated a Denver Landmark in 1983.</p><br>
<p>It is located in the Larimer Square Historic District, which is a Denver Landmark. It is described there as:(Clayton Building) - In 1882 this massive and elaborate cut granite building was constructed with a large cornice hosting a filigree railing on the two street sides. Handsome cast-iron structural columns are exposed when not covered by the granite facade. Directly fronting the corner of the block is a bay front, adding an unusual dimension to the building. An interior shaft and skylight is the vent for the bathrooms. Along with the original stainglass windows this is one of the most unusual buildings on the block.</p><br>
<p>Cleveland County Training School was a historic school for African-Americans in Shelby, North Carolina. It was included in National Register of Historic Places in 2016.</p><br>
<h2>History</h2><br>
<p>The school was built in 1895 and it was open until 1957, when it was replaced by newly constructed Hunter Elementary School (on Pinkney Street). However, till 1977, the school educated up to sixth grade. But, in 1985, Christ Temple Apostolic Faith Church purchased the property.</p><br>
<p>In 2016, Willie Green, a former professional basketball player and current coach of Phoenix Suns purchased the property to establish Carolina Athletic Sports Academy (CASA) - a training facility for the local and national athletes.</p><br>
<h2>Notable alumni</h2><br>
<p>Ella Mae Colbert</p><br>
<p>13 and 15 West 54th Street  are two commercial buildings in the Midtown Manhattan neighborhood of New York City. They are along 54th Street&#39;s northern sidewalk between Fifth Avenue and Sixth Avenue. The four-and-a-half-story houses were designed by Henry Janeway Hardenbergh in the Renaissance-inspired style and were constructed between 1896 and 1897 as private residences. They are the two westernmost of five consecutive townhouses erected along the same city block during the 1890s, the others being 5, 7, and 9–11 West 54th Street.</p><br>
<p>The buildings were designed as a nearly identical pair of houses. The facade is made of limestone with rusticated blocks on the first story and smooth blocks on the upper stories. The houses contain a rounded oriel facing 54th Street and a central pair of entrances above the raised basement. The houses are nearly identical except for their roofs; the eastern house at number 13 has a mansard roof while the western house at number 15 has a balustrade.</p><br>
<p>The houses were commissioned for businessman William Murray, who respectively sold 13 and 15 West 54th to Jessie Neilson and James B. Dickson. Number 13 was purchased by John D. Rockefeller Sr. in 1906 and served as the home of his son and daughter-in-law, John D. Rockefeller Jr. and Abby Aldrich Rockefeller, until 1913, after which it was leased by various families through the 1950s. Ownership of number 15 was much more stable, as the Dicksons occupied the site until 1953. Nelson Rockefeller used number 13 as an office from the 1940s until his death in 1979, and he bought number 15 and operated it as the Museum of Primitive Art from 1957 to 1979. The New York City Landmarks Preservation Commission designated the house as an official landmark in 1981, and it was added to the National Register of Historic Places in 1990 as part of the 5–15 West 54th Street Residences historic district.</p><br>
<h2>Site</h2><br>
<p>13 and 15 West 54th Street are in the Midtown Manhattan neighborhood of New York City. They are along the northern sidewalk of 54th Street between Fifth Avenue and Sixth Avenue. The land lots are both rectangular and each cover 2,513 ft2, with a frontage of 25 ft on 54th Street and a depth of 100.42 ft. The five townhouses are adjoined by the Rockefeller Apartments to the west, The Peninsula New York and the St. Regis New York hotels to the northeast, the University Club of New York and 689 Fifth Avenue to the east, the William H. Moore House and Saint Thomas Church to the southeast, and the Museum of Modern Art to the south.</p><br>
<p>Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. The surrounding area was once part of the common lands of the city of New York. The Commissioners Plan of 1811 established Manhattans street grid with lots measuring 100 ft deep and 25 ft wide. Upscale residences were constructed around Fifth Avenue following the American Civil War.</p><br>
<h2>Architecture</h2><br>
<p>The houses at 5–15 West 54th Street, all developed in the late 1890s for wealthy clients, were designed as a cohesive grouping, unlike other residences in the neighborhood. According to The New York Times, the houses form the sole remaining "real strip of mansions" in Midtown Manhattan. The houses at 5, 7, 9–11, and 13 and 15 West 54th Street all had different architects. The twin houses at 13 and 15 West 54th Street were designed by Henry Janeway Hardenbergh in the Renaissance-inspired style.</p><br>
<h3>Facade</h3><br>
<p>The buildings are both three bays wide on their street facade. The exteriors are nearly mirror images of each other, except that number 13 has an attic story and number 15 does not. The houses&#39; original exteriors are intact. In front of both houses, there is a depressed areaway, with steps descending to the basement level on the outer end of the shared facade (corresponding to the left side of number 15 and the right side of number 13). At the top of each depressed areaway are two brackets with carvings of grotesques, which support double-story oriels above them.</p><br>
<p>The center of the shared facade, corresponding to the right side of number 13 and left side of number 15, has a symmetrical pair of curved stoops. The stoops are doglegs that run east from the middle of number 15 and west from the middle of number 13. On the portion of the stoop wall facing the sidewalk are oval vents with iron grilles, above which are cartouches. At the top of each stoop is an archway with a wood-and-glass double door. Above either door is an ornate cartouche. The double-story oriels occupy the first and second stories on the left side of number 15 and the right side of number 13. Each oriel contains three windows per story. The windows on the second story of the oriel are flanked by vermiculated blocks.</p><br>
<p>The third story of each house has three windows that are centered to their respective facades. The third-story windows are flanked by vermiculated blocks and topped by lintels with elaborate scrolled keystones. Below the fourth floor is a stone string course that doubles as the sill for the fourth-story windows. There are also three windows on the fourth story of each house, as well as a carved plaque at the center of the facade between numbers 15 and 13. The windows and plaque are flanked by Ionic pilasters with pedestals at the bottom and volutes at the top.</p><br>
<h3>Interior</h3><br>
<p>The interiors of the houses contain ceilings that range from 10 to 17 ft high., the basement and first floor are used by Italian restaurant Il Gattopardo. The basement contains the restaurants party room while the first story contains the main dining area. The top two stories of the two townhouses are connected to 20 West 55th Street, a 13-story office building, at their rears. Construction of the office building, designed by Emery Roth & Sons, involved replacing the rear walls of numbers 13 and 15 with glass, overlooking the office buildings five-story atrium. Including the office addition, the structures occupy a total of 97,500 ft2.</p><br>
<h2>History</h2><br>
<h3>Residences</h3><br>
<p>In 1896, with the relocation of St. Lukes Hospital from Midtown to Morningside Heights, Manhattan, the hospitals former site on the northern side of 54th Street west of Fifth Avenue became available for development. The University Club, whose construction commenced the same year, was the first structure to be built on the former hospital plot. William Murray had bought two of the St. Luke&#39;s lots in July 1895 for $125,000. Henry J. Hardenbergh was commissioned to design a pair of houses on the two lots. The architect filed plans for the house with the New York City Department of Buildings around 1896.</p><br>
<p>The houses were completed circa 1898. The house was just across from the residence of Junior&#39;s father, John D. Rockefeller, at 4 West 54th Street. who finalized his purchase in January 1906.</p><br>
<p>Four of John and Abby Rockefellers children were born while the Rockefellers lived at number 13, The plans called for the addition of the fifth-story attic, a sun parlor at the rear, and a new window and elevator at a cost of $10,000. Nielson sold the house to Juniors father shortly afterward in May 1906. John Sr, in turn, gave the house to Junior in 1909. Two more Rockefeller children were born while the Rockefellers lived at number 13: Nelson in 1908, at their New England summer home, and Laurance in 1910, in New York City. By 1912, the Rockefellers desired a new house for their four young children. The family moved to 10 West 54th Street, across the street from number 13.</p><br>
<p>Junior leased his old residence to Mrs. William W. Borden of Chicago in 1913. Borden leased number 13 in 1918 to Howard W. Maxwell, an Atlas Portland Cement Company vice president and New York Trust Company director. Maxwell and his wife used number 13 as their city residence and kept a country residence on Long Island. The surrounding neighborhood rapidly became a commercial zone after World War I, and many neighboring townhouses were converted to commercial use, but the Rockefellers and Dicksons respectively retained ownership of their houses. The Rockefellers leased number 13 to Robert Abel-Smith in 1932, and the surgeon Charles W. Depping had an office there by 1936. After James B. Dickson&#39;s death at an unknown date, his widow Harriet continued to live at number 15 until her death in March 1953.</p><br>
<h3>Rockefeller museum and offices</h3><br>
<p>In October 1953, Nelson Rockefeller, who already owned number 13, acquired the twin townhouse at number 15. The next year, Nelson established the Museum of Primitive Art, a collection of ancient art that he intended to display in number 15. The art collection had been assembled over the previous decade but had never been shown together. Rockefeller wished to renovate a portion of the townhouse and anticipated expanding it with the growth of his collection. In 1955, Rockefeller acquired number 15. Over the next two years, the interior of the residence was extensively renovated, with space for the collections items on the lowest two floors, as well as library space on the upper two floors. The Museum of Primitive Art opened to the public in February 1957. The museums collection of over a thousand pieces was transferred to the Metropolitan Museum of Art (Met) in 1969. The Museum of Primitive Art closed in 1976 and its collections were transferred to the Met.</p><br>
<p>Nelson Rockefeller maintained a luncheon space and private office next door at number 13, which was connected by a passageway to his offices on 20–22 West 55th Street. During the 1960s, when Rockefeller served as the Governor of New York, the 55th Street buildings were described by The New York Times as the "unofficial Capitol of New York State", and 13 West 54th Street served as a rear entrance and exit to his 55th Street offices. Rockefeller retained the office throughout the rest of his life, even when he served as the Vice President of the United States from 1974 to 1977. A little more than two years after leaving the vice presidency, Rockefeller suffered from a heart attack and died at his 54th Street office in January 1979. The heart attack occurred in the presence of aide Megan Marshack, who called a friend to report Rockefeller&#39;s heart attack to emergency operators. In his will, "no specific disposition" of the houses at 13–15 West 54th Street was recorded.</p><br>
<h3>Later use</h3><br>
<p>By late 1979, the Mendik Realty Company had acquired 13–15 West 54th Street, along with the rear properties at 20–22 West 55th Street. Though the Museum of Modern Art was occupying the houses while its own structure was being rebuilt, there were rumors that the four properties would be demolished to make way for an office building.</p><br>
<p>Developer Feldman Brothers took over the four properties at 13–15 West 54th.and 20–22 West 55th Street.</p><br>
<p>The next occupant of the houses, Danish bank Unibank, would leave several stories unused for several months on end before it moved out by 2000. Early in 2001, the Emmes Group of Companies paid $30 million for 13–15 West 54th and 20–22 West 55th Street. The company hired Helpern Architects to redesign the lobby of the office unit. La Petite Maison then took the restaurant space in 2010. The Il Gattopardo restaurant opened in the townhouses restaurant space in 2013. Eagles View Capital Management leased the third floor of the houses in 2017.</p><br>
<p>11 West 54th Street  is a commercial building in the Midtown Manhattan neighborhood of New York City. It is along 54th Street&#39;s northern sidewalk between Fifth Avenue and Sixth Avenue. The four-and-a-half-story building was designed by McKim, Mead & White in the Georgian Revival style and was constructed between 1896 and 1898 as a private residence. It is one of five consecutive townhouses erected along the same city block during the 1890s, the others being 5, 7, 13 and 15 West 54th Street.</p><br>
<p>The building is designed as a double house, with a larger unit at 11 West 54th Street to the west, as well as a smaller unit at 9 West 54th Street to the east. The facade is made of rusticated blocks of limestone on the first story, as well as Flemish bond brick on the upper stories. Businessman James Junius Goodwin—a cousin and business partner of J. P. Morgan—and his wife Josephine lived at the main unit at number 11 with his family and rented number 9.</p><br>
<p>The house initially served as the second residence for James Goodwin, who lived primarily in Connecticut. James Goodwin died in 1915, and Josephine continued to live in the house until 1939, after which it was used briefly by the Inter-America House and the Museum of Modern Art The house was sold to Parsonage Point Realty Company in 1944 and leased to the Rhodes Preparatory School, which bought the building in 1949. The house was then sold in 1979 to the United States Trust Company, which renovated the structure. The New York City Landmarks Preservation Commission designated the house as an official landmark in 1981, and it was added to the National Register of Historic Places in 1990 as part of the 5–15 West 54th Street Residences historic district.</p><br>
<h2>Site</h2><br>
<p>11 West 54th Street is in the Midtown Manhattan neighborhood of New York City. It is along the northern sidewalk of 54th Street between Fifth Avenue and Sixth Avenue, with an alternate address of 9 West 54th Street. The land lot is rectangular and covers 5,000 ft2, with a frontage of 50 ft on 54th Street and a depth of 100.42 ft. The building is the center of five consecutive townhouses erected along the same city block, with 5 West 54th Street and 7 West 54th Street to its east, as well as 13 and 15 West 54th Street to its west. The five townhouses are adjoined by the Rockefeller Apartments to the west, The Peninsula New York and the St. Regis New York hotels to the northeast, the University Club of New York and 689 Fifth Avenue to the east, the William H. Moore House and Saint Thomas Church to the southeast, and the Museum of Modern Art to the south.</p><br>
<p>Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. The surrounding area was once part of the common lands of the city of New York. The Commissioners Plan of 1811 established Manhattans street grid with lots measuring 100 ft deep and 25 ft wide. Upscale residences were constructed around Fifth Avenue following the American Civil War.</p><br>
<h2>Architecture</h2><br>
<p>The houses at 5–15 West 54th Street, all developed in the late 1890s for wealthy clients, were designed as a cohesive grouping, unlike other residences in the neighborhood. According to The New York Times, the houses form the sole remaining "real strip of mansions" in Midtown Manhattan. The houses at 5, 7, 9–11, and 13 and 15 West 54th Street all had different architects. The ornamental steelwork was manufactured by the Prince & Kinkel Iron Works. Russell Sturgis, writing for Architectural Record in 1900, described the house as two structures with their "facades forced into one".</p><br>
<h3>Facade</h3><br>
<p>The building is four and a half stories tall and five bays wide. The basement and first floor are clad with rusticated blocks of limestone, while the three upper floors are clad with brick. The building was designed with number 11 as the main residence, taking up the westernmost three bays, and number 9 as a secondary residence, taking up the easternmost two bays. Nevertheless, the entire facade was designed to be largely symmetrical. Along the street facade, the house is set behind an iron railing and a depressed areaway.</p><br>
<p>From the ground level, a low stoop with four steps leads to the entrance to number 11, at the center of the facade. In front of the main entrance is a portico supported by two fluted columns designed in the Ionic style. The columns are topped by Scamozzi-style capitals, which support a carved panel with a cartouche at its center. A cornice with modillions runs above the portico. Under the portico is a pair of wood-and-glass doors inside a stone doorway frame topped by a keystone. The rightmost bay also has an entrance, which leads to number 9 and is simpler in design than the main entrance. The rightmost entrance lacks a portico and has fluted pilasters rather than a simple doorway frame, but it contains similar modillioned cornice and double wood-and-glass doors to the main entrance. The other three ground-story bays consist of recessed six-over-six windows with stone voussoirs and paneled keystones. Above the first floor is a band course with fret designs.</p><br>
<p>The second story has five windows with six-over-nine panes. Above each second-story window is a lintel and modillioned stone cornice supported by foliated brackets. In front of each second-story window is a balcony with an iron railing. The center window (corresponding to the portico) and the rightmost window (corresponding to the secondary entrance) have larger balconies than the three other bays. These balconies are designed as oblong rhombuses with rosettes in their centers. The mansard roof also has three brick chimneys.</p><br>
<h3>Interior</h3><br>
<p>The building contains about 22,500 ft2 spread across two units. The stairs had carved acorns, the entrance and stair landings had decorative pillars, and the ceiling had plaster moldings. When the house was built, number 9 was designed in what was then considered a Federal Revival or Classical Revival design. Number 9 had a variety of furniture, ranging from 19th century designs to contemporary Herter Brothers furniture, as well as an Oriental rug and potted plants.</p><br>
<p>Originally, the first floor of number 9 had the reception hall in the front and a dining room in the rear. The first floor of number 11 had a vestibule and a study in the front, a stair hall in the center, and a kitchen and servants&#39; dining room in the rear. The second floor of number 9 had a living room in the front and a library in the rear, while the second floor of number 11 had a living room in the front, a hall and reception room in the center, and an octagonal dining room in the rear. In both residential units, the third floor contained numerous bedrooms.</p><br>
<p>Both units were internally connected on the second floor in 1943. After an early 1980s renovation, the reception hall was clad in wood paneling while the second floor dining room was restored. The United States Trust Company, the occupant at the time of the 1980s renovation, reproduced many of the original decorations and added a rear annex. After the US Trust renovation, the houses interior had marble fireplace mantels, gilded bronze lights, and walls with red paper or green silk damask. At the rear of the house, a tellers station was installed in a former servants&#39; area. A 17 ft bank vault with a security booth and bulletproof windows was constructed.</p><br>
<h2>History</h2><br>
<h3>Residence</h3><br>
<p>In 1896, with the relocation of St. Lukes Hospital from Midtown to Morningside Heights, Manhattan, the hospitals former site on the northern side of 54th Street west of Fifth Avenue became available for development. The University Club, whose construction commenced the same year, was the first structure to be built on the former hospital plot. McKim, Mead & White was commissioned to design a house on the site. The architects filed plans for the house with the New York City Department of Buildings in July 1896, with the house projected to cost $90,000, although the building was classified in blueprints as being a pair of residences. The Goodwin house was the first of the five structures at 5–15 West 54th Street to be developed.</p><br>
<p>The house was completed in 1898. The Goodwins maintained a house in Hartford, Connecticut, where James spent most of his time. James was also a member of several clubs in New York, including the Union Club, Century Association, and Metropolitan Club. James died in 1915 and left all of his estate to Josephine and their three sons. After James&#39;s death, Josephine continued to live at 11 West 54th Street. The surrounding neighborhood rapidly became a commercial zone after World War I, and many neighboring townhouses were converted to commercial use, but the Goodwin family retained the house. Their son Walter lived at the house briefly from 1921 to 1922. The Goodwin residence was used for events as well. In 1924, the dean of Lincoln Cathedral in England hosted a lecture to raise money to repair the damaged church, and in 1932, the house hosted a lecture on the importance of Christian missionary work in Japan.</p><br>
<p>Number 9 was leased to a variety of residents. One of the families that occupied the house was Mr. and Mrs. Elijah P. Smith. By 1915, it was the home of William S. Bryant, who oversaw the execution of Charles Becker, a policeman found guilty of murdering gambler Herman Rosenthal. In 1921, Josephine Goodwin leased the house to Francis de Ruyter Wissman and his wife. Bulletins of New York City social life indicated that the Wissmans were active in social life and that they were still residents of 9 West 54th Street in 1930. Josephine Goodwin died in 1939 and left most of the estate to her three sons. The windows had been boarded up by 1940.</p><br>
<h3>Later use</h3><br>
<p>The house was acquired in 1941 by the Inter-America House, a Latin American cultural organization. The organization used the house for events such as a reception for the Mexican consul general, an event honoring Latin American Red Cross workers, and an event honoring Latin American women on a goodwill tour of the United States. In November 1943, MoMA opened a photography annex on the first floor of number 9 and the second floor of both units. A hole was cut in the second-floor wall to connect the units. At the time, Philip Goodwin was still recorded as the owner. The next year, the Parsonage Point Realty Company bought the house. The Rhodes Preparatory School leased both units for ten years in November 1944 and moved into the house. The school outright purchased the building in 1949. Many of the original decorative details were removed by the school.</p><br>
<p>The Rhodes School sold the house in 1979 to the United States Trust Company, a bank, for use as its own headquarters. The bank had considered moving its headquarters into several other structures, including buildings on wide avenues as well as new structures, before deciding upon the Goodwin mansion for its architecture. The bank hired Haines Lundberg Waehler to restore 9–11 West 54th Street largely to its original design. US Trust spent $5 million to ensure as much of the original detail as possible would be preserved or adapted to the banks use. Materials were refurbished or replaced largely to the original specifications, and the bank invited James Goodwins grandson Sage Goodwin to ask him about his childhood recollections of the house&#39;s design. Bank consultant David G. De Long said that original drawings were also used to restore the space. The architects even used scraps of original wallpaper to recreate the original wall designs and textures. A small annex in the rear was built for bank tellers.</p><br>
<p>The New York City Landmarks Preservation Commission designated the five houses at 5–15 West 54th Street as city landmarks, including the Goodwin residence, on February 3, 1981. The New York Landmarks Conservancy granted the US Trust Company its 1981 Chairman&#39;s Award for preserving the house in the renovation. On January 4, 1990, the building was added to the National Register of Historic Places as part of the Residences at 5–15 West 54th Street historic district. US Trust expanded its space into 13 and 15 West 54th Street, demolishing a wall separating the two pairs of residences, in the late 20th century.</p><br>
<p>During the 2000s, US Trust became part of Charles Schwab and subsequently Bank of America. In 2009, Bank of America sold the building for $29.4 million. The buyers, DLJ Real Estate Capital Partners and J.D. Carlisle, left it vacant, as they wanted to assemble other land lots nearby. The owners placed the property for sale in 2015. 11 West 54th Street and an adjacent office building at 10 West 55th Street was sold for $75 million in 2019 to the Wilf family, whose offices were at the adjacent 13 and 15 West 54th Street. Family member Orin Wilf, who led Skyline Partners, said at the time that he was unsure what he planned to do with the building. The Wilf family obtained a $91 million mortgage on the houses soon afterward.</p><br>
<p>5 West 54th Street  is a commercial building in the Midtown Manhattan neighborhood of New York City. It is along 54th Street&#39;s northern sidewalk between Fifth Avenue and Sixth Avenue. The four-story building was designed by R. H. Robertson in the Italian Renaissance Revival style and was constructed between 1897 and 1899 as a private residence. It is the easternmost of five consecutive townhouses erected along the same city block during the 1890s, the others being 7, 11, 13 and 15 West 54th Street. The first floor is clad with rusticated blocks of limestone, while the other floors contain buff-colored brick trimmed with limestone.</p><br>
<p>The house was commissioned for neurologist Moses Allen Starr, who lived there until he died in 1932. His widow Alice continued to live there until she died in 1942. The next year, Robert Lehman bought the residence and lent it to Freedom House. The house was used as a veteran&#39;s retreat after World War II. It was used as the offices of Faberge Inc. from 1948 to 1970 and by John S. Lastis Inc. after 1974. The New York City Landmarks Preservation Commission designated the house as an official landmark in 1981, and it was added to the National Register of Historic Places in 1990 as part of the 5–15 West 54th Street Residences historic district., the house contains a boutique, The Curated NYC, operated by Christian Siriano.</p><br>
<h2>Site</h2><br>
<p>5 West 54th Street is in the Midtown Manhattan neighborhood of New York City. It is along the northern sidewalk of 54th Street between Fifth Avenue and Sixth Avenue. The land lot is rectangular and covers 2,510 ft2, with a frontage of 25 ft on 54th Street and a depth of 100.42 ft. The five townhouses are adjoined by the Rockefeller Apartments to the west, The Peninsula New York and the St. Regis New York hotels to the northeast, the University Club of New York and 689 Fifth Avenue to the east, the William H. Moore House and Saint Thomas Church to the southeast, and the Museum of Modern Art to the south.</p><br>
<p>Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. The surrounding area was once part of the common lands of the city of New York. The Commissioners Plan of 1811 established Manhattans street grid with lots measuring 100 ft deep and 25 ft wide. Upscale residences were constructed around Fifth Avenue following the American Civil War.</p><br>
<h2>Architecture</h2><br>
<p>The houses at 5–15 West 54th Street, all developed in the late 1890s for wealthy clients, were designed as a cohesive grouping, unlike other residences in the neighborhood. According to The New York Times, the houses form the sole remaining "real strip of mansions" in Midtown Manhattan. The houses at 5, 7, 9–11, and 13 and 15 West 54th Street all had different architects. Russell Sturgis, writing for Architectural Record in 1900, described the house as having a "too markedly simple front", considering the stone cartouche between the second-floor windows to be "meaningless" even as it served to center the facade.</p><br>
<h3>Facade</h3><br>
<p>The building is four and a half stories tall and three bays wide. Along the street facade, it is set behind an iron railing and a small concrete yard. The basement and first floor are clad with rusticated blocks of limestone. From the ground level, a low stoop leads to the first-floor entrance, on the left (west) side of the facade. The entryway consists of fluted pilasters designed in the Ionic style, topped by Scamozzi-style capitals. The doorway is composed of double glass doors and is topped by an entablature with modillions and a projecting cornice. At the center of the entablature and the architrave, there are guttae. Two windows are on the right side of the first-floor facade and contain a keystone flanked by rusticated voussoir blocks.</p><br>
<p>The other floors are clad with buff-colored brick trimmed in limestone. The second story is treated as a piano nobile, with two windows containing large entablatures and Ionic pilasters, as well as carved panels beneath each window. Unlike on the first story, the second-story pilasters are not fluted. There is also a decorative stone cartouche between the two second-story windows. The third floor has three windows with sills supported by brackets. Between the third and fourth stories. a molded string course runs horizontally across the facade. The fourth story also has three windows, but these have keystones and a continuous lintel above them. A cornice with modillions runs above the fourth story. The building is topped by a mansard roof with a stone balustrade. Three dormer windows project from the roof; each is topped by broken segmental-arched pediments containing urns in their centers. The house&#39;s original exterior is mostly intact except for a metal and glass barrier on the roof and air-conditioning vents on the third floor.</p><br>
<h3>Interior</h3><br>
<p>The house has a gross floor area of 9,485 ft2 according to the New York City Department of City Planning.</p><br>
<p>By the 1990s, when the house served as a Harrison James store, The Harrison James store contained a reception area inside the entrance and a bar and lounge on the second story. There was also a rooftop bar., it contains The Curated NYC, a boutique operated by fashion designer Christian Siriano, as well as his atelier and offices. Media at the time described the building as having eight stories, including the concourse, subcellar, and roof deck. The space also includes a coffee shop named Joye & Rose and a vegan restaurant named Rose Café.</p><br>
<h2>History</h2><br>
<h3>Residence</h3><br>
<p>In 1896, with the relocation of St. Lukes Hospital from Midtown to Morningside Heights, Manhattan, the hospitals former site on the northern side of 54th Street west of Fifth Avenue became available for development. The University Club, whose construction commenced the same year, was the first structure to be built on the former hospital plot. The same month, R. H. Robertson was commissioned to design a house on the site. Robertson filed plans for the house with the New York City Department of Buildings in July 1897, with the house projected to cost $60,000.</p><br>
<p>The house was completed in 1899. In 1918, Marc Eidlitz & Son was hired to make modifications to the house, although the alteration plans remained private. Among the events held at the house was a reception for debutantes in 1921, attended by the Starrs&#39; own daughter Katherine, as well as a committee in charge of a performance of Parsifal in 1929. Moses Allen Starr died in Germany in 1932. Alice Starr continued to live in the house for a decade after her husband died. Alice remained in philanthropic activities: for example, she was involved with management of the West Side Day Nursery from 1902 until her death. Alice died in December 1942 at her country estate at Mount Kisco, New York.</p><br>
<h3>Later use</h3><br>
<p>Alice Starrs estate sold the house in September 1943 to Robert Lehman, whose father Philip Lehman lived at the neighboring 7 West 54th Street. Lehman lent the house to the Freedom House organization, which moved into the building in January 1944. That August, Americans United for World Organization was also founded at the former Starr residence. Freedom House acquired another building at 20 West 40th Street the next year. It then served as a rest home used by World War II veterans. The house was also used for the Victory Clothing Collections headquarters in 1946. Fashion company Fabergé acquired the house from Robert Lehman in 1948. The next year, Katz Waisman Blumenkranz Stein & Weber was hired to turn the house into offices for $50,000.</p><br>
<p>Fabergé occupied the house until 1970, and it was sold to John S. Lastis Inc. in 1974.</p><br>
<p>At some point in the late 20th century, the building served as headquarters of a Greek shipping company, and it was known as Petrola House. In 1996, Alan Katzman leased the house for 20 years and converted the house into retail space for his company, mens clothing store Harrison James. The Harrison James store also featured a barbershop. The Research Board, a think tank, occupied the building in the early 21st century. Christian Sirianos The Curated NYC boutique opened in the building in April 2018. The house had been unoccupied for ten years before it was renovated for the boutique.</p><br>
<p>7 West 54th Street  is a commercial building in the Midtown Manhattan neighborhood of New York City. It is along 54th Street&#39;s northern sidewalk between Fifth Avenue and Sixth Avenue. The four-story building was designed by John H. Duncan in the French Beaux-Arts style and was constructed between 1899 and 1900 as a private residence. It is one of five consecutive townhouses erected along the same city block during the 1890s, the others being 5, 11, and 13 and 15 West 54th Street.</p><br>
<p>The facade is made entirely of limestone, with a smooth facade at the first floor and rusticated blocks on the upper stories. Above the centrally positioned main entrance is a balcony at the second story. The house is topped by a slate mansard roof. The house was built with twelve rooms and various hallways and alcoves. Much of the interior furnishings from the house&#39;s completion in 1900 have been removed or relocated.</p><br>
<p>The house was commissioned for banker Philip Lehman, who lived in the house until he died in 1947. The house was then occupied by his son Robert Lehman, who lived there until his own death in 1969. The house was then sold in 1974. The New York City Landmarks Preservation Commission designated the house as an official landmark in 1981, and it was added to the National Register of Historic Places in 1990 as part of the 5–15 West 54th Street Residences historic district. The building was purchased by a group of investors in 2005, and Belmont Freeman was hired to renovate the building the next year, largely to the house&#39;s original design.</p><br>
<h2>Site</h2><br>
<p>7 West 54th Street is in the Midtown Manhattan neighborhood of New York City. It is along the northern sidewalk of 54th Street between Fifth Avenue and Sixth Avenue. The land lot is rectangular and covers 2,510 ft2, with a frontage of 25 ft on 54th Street and a depth of 100.42 ft. The building is the second easternmost of five consecutive townhouses erected along the same city block, with 5 West 54th Street to its east, as well as 11, and 13 and 15 West 54th Street to its west. The five townhouses are adjoined by the Rockefeller Apartments to the west, The Peninsula New York and the St. Regis New York hotels to the northeast, the University Club of New York and 689 Fifth Avenue to the east, the William H. Moore House and Saint Thomas Church to the southeast, and the Museum of Modern Art to the south.</p><br>
<p>Fifth Avenue between 42nd Street and Central Park South (59th Street) was relatively undeveloped through the late 19th century. The surrounding area was once part of the common lands of the city of New York. The Commissioners Plan of 1811 established Manhattans street grid with lots measuring 100 ft deep and 25 ft wide. Upscale residences were constructed around Fifth Avenue following the American Civil War.</p><br>
<h2>Architecture</h2><br>
<p>The houses at 5–15 West 54th Street, all developed in the late 1890s for wealthy clients, were designed as a cohesive grouping, unlike other residences in the neighborhood. According to The New York Times, the houses form the sole remaining "real strip of mansions" in Midtown Manhattan. The houses at 5, 7, 9–11, and 13 and 15 West 54th Street all had different architects. Russell Sturgis, writing for Architectural Record in 1900, described the house as having a "simple and direct conception" with its symmetrical entrance and balcony.</p><br>
<h3>Facade</h3><br>
<p>The building is four and a half stories tall and two bays wide. It slightly projects outward from the townhouses on each side (number 5 on the east and number 11 on the west). The entire facade is clad with rusticated blocks of limestone. From the ground level, a low stoop with four steps leads to the first-floor entrance, at the center of the facade. The main entrance is composed of a set of double glass doors inside a segmental arch. There is an ornate cartouche above the doorway, with carvings of garlands. On either side of the main entrance is one rectangular window, each with an iron grille. Above either window are ornamented brackets, which contain garlands. The brackets, as well as the cartouche above the main doorway, support the second-floor balcony.</p><br>
<p>The balcony at the second story is slightly bowed outward and has a railing with oval openings. Behind the balcony are two French windows, above which are elaborate cartouches. The tops of these cartouches support window sills below either of the two windows at the third story. The third-story openings are double-hung windows with iron grilles in front of their lower panes, surrounded by a simple molding. There is a cornice above the third story, supported by five console brackets (three large and two small) that alternate with a band of foliate ornament. The house&#39;s original exterior is mostly intact except for the windows on the second and third stories, which are replacements.</p><br>
<h3>Interior</h3><br>
<p>The house has 16,676 ft2 of interior space. Much of the interior furnishings from the house&#39;s completion in 1900 have been removed or relocated. The second floor has a high ceiling with a staircase that wraps around itself twice. In the early 21st century, one of the few original design elements that remained was a projecting bay of leaded-glass windows designed in the Gothic style, with spiral-fluted columns on each side.</p><br>
<p>Many of the details were modified in the 1960s when the house contained the art collection of financier Robert Lehman. After a renovation in 1962, the reception salon at the ground story was decorated with Italian art, green velvet walls, and a green-carpeted floor. A staircase with marble banister led up to a second-floor drawing room and a sitting room with red velvet walls. Some of the original decorative elements were reinstalled during a renovation in the 2000s.</p><br>
<h2>History</h2><br>
<h3>Residence</h3><br>
<p>In 1896, with the relocation of St. Lukes Hospital from Midtown to Morningside Heights, Manhattan, the hospitals former site on the northern side of 54th Street west of Fifth Avenue became available for development. The University Club, whose construction commenced the same year, was the first structure to be built on the former hospital plot. John H. Duncan was commissioned to design a house on the site. Duncan filed plans for the house with the New York City Department of Buildings in May 1899, with the house projected to cost $48,000.</p><br>
<p>The house was completed in 1900. The Lehmans began collecting major artworks for their house in approximately 1905. The art collection grew to include works by artists including Francisco Goya, El Greco, and Rembrandt. Philip lived as a widower at 7 West 54th Street for another decade until he died in 1947.</p><br>
<p>After his fathers death, Robert Lehman took over the house and used it to store his own art collection. The art collection was displayed publicly for the first time in November 1962, when a hundred people paid $50 apiece to view the collection as part of an art benefit. Throughout the 1960s, the art collection was made publicly accessible to raise money for benefits. This included fundraisers for New York University in 1963 and 1964; the Citizens Committee for Children in 1965; the Neurological Institute of Presbyterian Hospital in 1966; and the Wellesley College Friends of Art in 1967. A reporter for the Associated Press called the Lehman collection "one of the few great art collections remaining in private hands".</p><br>
<h3>Later use</h3><br>
<p>When Robert Lehman died in 1969, his art collection had 3,000 works. In his will, Robert requested that the Met preserve the house in exchange for the Met receiving his entire art collection,</p><br>
<p>The New York City Landmarks Preservation Commission designated the five houses at 5–15 West 54th Street as city landmarks, including the Lehman residence, on February 3, 1981. The 7 West 54th Street Realty Corporation gave ownership of the building to ZGNY Real Estate, LLC, in 2000.</p><br>
<p>The building was purchased by a group of investors in 2005 for $13 million. and the house was sold to Pleiades House LLC in 2013 for $40 million. Afterward, the house served as an office for talent management agency IMG Artists.</p><br>
<p>The Historic Ely Elevator, also known as the Woitishek-King-Krob Elevator and Feed Mill, is an "iron-clad" wood-cribbed grain elevator, located in Ely, Iowa. The Historic Ely Elevator was built in 1900 along the Burlington, Cedar Rapids and Northern Railway. It is a contributing property of the Dows Street Historic District, which is listed on the National Register of Historic Places.</p><br>
<h2>Early history</h2><br>
<p>In 1900, Ely entrepreneur Joseph Woitishek commissioned an unknown contractor to erect an elevator on land originally owned by the Burlington, Cedar Rapids & Northern Railway, and leased to Woitishek (and successor owners King and Krob). The railroad would become the Chicago, Rock Island & Pacific in circa 1902. Construction was commenced in November 1900, and completed on December 13 of that same year. The December 19, 1900 Cedar Rapids Weekly Gazette featured a sketch of the west elevation of the elevator along with a story describing the construction and features of the 26,000 bushel elevator.</p><br>
<p>Grain, primarily corn and oats, was purchased from local farmers and shipped out on the railroad. Horses would pull grain-filled wagons up a ramp into the enclosed driveway, where the grain would first be weighed. The scale in the driveway was designed to raise the front axle of the wagon, while lowering the rear axle, and the grain was offloaded by hand into a receiving pit. From there it was elevated into bins via a wood-constructed vertical bucket elevator, which was powered by a 12-horsepower water-cooled gasoline engine. Once in the bins, the grain could then be unloaded onto railroad boxcars by gravity flow and shipped to other markets.</p><br>
<p>Corn that was brought in on the ear needed to be shelled, which is the process of separating the kernel from the cob. A corn sheller situated beneath the driveway was powered by the same gasoline engine that ran the bucket elevator, and switching between the sheller and the elevator was accomplished by simply moving the large flat belt from one wooden flywheel to another. Corn cobs would be piled outside, and on large crop production years, the cob piles could reach 25 feet high and over 100 feet in diameter. The cobs were sold to customers for livestock bedding, and in later years, they were also shipped to Cedar Rapids to a processing plant that utilized the cobs in the production of furfural.</p><br>
<p>The Ely Elevator was sold to Clement "C.S." King in April 1903. C.S. King had ownership in other area elevators, including Solon, Iowa and Buchanan, Iowa. In July 1904, King built a coal shed near the elevator for the purpose of selling coal for home heating. In years with particularly bitter winters, it often became the responsibility of the elevator to ration coal supplies to the community. King owned and operated the Ely Elevator until early 1910.</p><br>
<p>The Ely Elevator changed hands again on March 1, 1910, with first-generation Bohemian-American Frank Joseph "F.J." Krob and his brother-in-law Wes Fiala purchasing the building from King. Frank Krob had worked in his father Joseph Krob’s grain elevator in the nearby town of Lisbon, Iowa, also co-owned in partnership with Fiala. Frank managed the elevator from the beginning, and would eventually buy out Fiala&#39;s interest in the enterprise, whereupon the Ely Elevator was operated as F.J. Krob & Co.</p><br>
<p>In 1918, F.J. Krob shipped in its first railcar load of commercial fertilizer. That same year there was an interruption in the Ely Elevator operations, when Frank Krob joined the United States Army to serve in the First World War. He was promoted to sergeant and taught gas warfare at Camp Gordon, Georgia. He served the war stateside, and returned back to Ely in 1919.</p><br>
<p>In the 1920s the Ely Elevator became equipped for the processing of grain. A Sprout Waldron & Co Monarch Corn Cracker and Grading Outfit was purchased early in the decade, and then in 1928, more grind-and-mix feed equipment was installed, including the area’s first hammermill, which was powered by an 80-horsepower four-cylinder gasoline engine, and a one-ton vertical mixer.</p><br>
<p>Depressed commodity prices following the stock market crash of 1929 caused Frank Krob to temporarily lose the elevator, but after a brief period he regained ownership. As the economy recovered from the Great Depression, a 1938 epidemic of Equine Encephalitis swept the area, killing much of the local horse population. This event led the farmer customers of the Ely Elevator to adapt to utilizing tractors and trucks to deliver their grain to the elevator.</p><br>
<p>In the early 1940s, spurred by the onset of the Second World War, the Ely Elevator began handling soybeans as area farmers began raising them in order to meet the demand for domestic sources of fats, oil, and meal. The war brought other changes to the elevator, when Frank’s sons Vic, Robert, and Norbert, and son-in-law John Phillips were all sent overseas to Europe to fight with both the Third Army and Ninth Army. The absence of Frank&#39;s three sons and son-in-law left Frank’s wife Libbie and daughter Martha to take on Rosie the Riveter-styled roles at the elevator. All four sons served in front line combat and survived the war, and then returned home to resume work at the elevator.</p><br>
<p>The shape of the Ely Elevator changed as grain storage capacity was expanded in the 1950s: Two 60-foot-tall slip-form concrete silos with a joint capacity of 38,100 bushels were erected next to the Ely Elevator. A 37,000 bushel Quonset hut was also added on an adjacent parcel, and initially used to store United States government-owned grain held for price support or in strategic reserve. Other modernizations occurred through the years, as the original wood-constructed bucket elevator was replaced by a higher-capacity steel grain leg, and the gas engines were replaced with electric motors. As farmers switched from using older-style corn pickers to harvest their corn on the ear to widely using more modern self-propelled combine harvesters, the corn sheller was eventually removed.</p><br>
<p>In 1952, Frank Krob retired, selling his interest in the elevator to his three sons, Vic, Robert, and Norbert, and son-in-law John Phillips.</p><br>
<h2>Architecture</h2><br>
<p>The Historic Ely Elevator is oriented north-to-south in a rectilinear footprint measuring 87 feet long by 24 feet wide with an attached 34by12 foot enclosed driveway to the west. The building rises some 57 feet tall, roughly the height of a five-story building. The elevator incorporates in plan four contiguous sections: A central grain bins section flanked by a feed mill section to the north, a seed cleaning/corn cracking room to the south, and to the west an enclosed ramped driveway. At the center of the bins section is a grain bagging room. A non-extant bagged feed warehouse was added to the south of the seed cleaning room circa 1930s, but was removed in 2018 due to compromised structural integrity and safety concerns.</p><br>
<p>Exterior walls are clad with corrugated lapped galvanized steel siding added after construction over the underlying red-painted wood barnboard and clapboard siding as fire protection from sparks created by train engines. This was a common practice for wood-sided elevators, and is the source of the colloquialism "iron-clad elevator."</p><br>
<p>While most of the buildings in the Ely Dows Street Historic District employ vernacular commercial forms and architectural detailing popular in Iowa during the late Victorian period, including boomtown fronts and cornices supported by brackets, the Historic Ely Elevator stands out in the Historic District as the only industrial property, the tallest building, and as the only contributing building clad in corrugated metal.</p><br>
<p>The Historic Ely Elevator encompasses about, including the enclosed driveway. Just as on the exterior, the interior is unadorned. The exposed structure primarily consists of wood: Wood plank floors are framed with wood joists that frame into timber beams supported by wood columns, which are supported by concrete blocks, large rocks, or concrete pit walls. Walls are wood framing with wood sheathing/siding in some areas, and cribbed timber in others. The building is crowned by a series of gable roofs and has minimal fenestration.</p><br>
<p>The central bins section is the tallest portion of the building, reaching 57 feet to the peak. The bins section contains the grain leg (or bucket elevator), and manlift, both extending vertically to the headhouse cupula at the top of the elevator; a steel ladder also provides a second means of human egress up to the headhouse. The -square central grain bins section is constructed of cribbed timber walls (perimeter and interior walls, with 2x4 lumber stacked flat and spiked). This section houses six 20to30 foot tall grain bins; three each at the north and south sides of the 8 foot-wide central bagging room, plus three more overhead bins. Wooden dispensing chutes provide access to the stored grain within the bins.</p><br>
<p>Described as being designed with a focus on function over form, the entire structure of a grain elevator is a complex and sometimes overlapping arrangement of wood and steel chutes, dump pits, bins, ladders, augers, auger pits, ropes, pulleys, and the central bucket elevator, all designed to move grain throughout the system.</p><br>
<h3>Architectural features</h3><br>
<h4>Manlift</h4><br>
<p>The term “manlift” refers to a manually-operated, hand-powered elevator which operates on a traditional system of weights and pulleys. The wooden elevator car is designed for one person, is equipped with a foot brake and an emergency cable-tension release brake, and slides up and down on two vertical wooden rails. A steel cable attached to the top of the car extends up over a pulley at the top of the elevator shaft, and is connected to a counterweight. To operate the lift, the operator steps on a round foot brake pedal and pulls on a stationary rope which runs from the bottom of the elevator shaft to the top. This allows the counter weight to drop as the car travels up, and vice versa.</p><br>
<p>In November 1968, the brake on the car failed and it traveled to the top of the shaft. An employee who was on a landing platform 40 feet off the ground did not realize that the car was no longer there, and stepped off the platform, falling down nearly the entire length of the elevator shaft. The employee survived, but injured both legs, and dragged himself to the nearest phone to call for help.</p><br>
<h4>Headhouse</h4><br>
<p>The headhouse cupula, or upper-level housing for the distributor and bin spouts, is the top-most floor of the elevator. The manlift provides access directly to the headhouse, as does a steel ladder. The headhouse is approximately 8by16 feet, and has a vaulted ceiling approximately 15 feet high, to what is the highest peak of the building. The top of the grain leg extends up to the building peak, and the grain that is elevated up to the top is then funneled down by gravity to the distributor spout. In the floor of this room are open holes in semicircle configuration. The distributor spout swivels and is connected by a steel shaft and rotated by the distributor selector wheel (50 feet below in the bagging room). In this manner it can be positioned over any one of the holes in the floor, which are openings to more spouts which direct the grain to the various wood-cribbed bins below.</p><br>
<h4>Ladder to Nowhere</h4><br>
<p>“Ladder to Nowhere” was a moniker bestowed by employees to a ladder atop the concrete silos. The ladder was designed to provide access to the distributor on the outside grain leg, and is characterized by its aslant angles, minimal safety features, height above the ground (approximately 75 feet), and the fact that it does not reach or attach to any particular destination, hence the term “Ladder to Nowhere.” The ladder is no longer in use.</p><br>
<h4>Driveway</h4><br>
<p>The Driveway was the primary area for receiving grain. It is an enclosed space measuring 34 feet long by 12 feet wide with heavy plank flooring, and features two steel-bar grated grain dump pits, as well as a trap door grain dump pit, and double 12 feet tall side-hinged doors on both ends. Circa 1930, the Driveway roof was raised several feet to its present 20 feet height in order to accommodate the hoisting of wagons. The Driveway has through the years accommodated horse-drawn wagons, tractors with wagons, and semi trucks pulling hopper bottom trailers. The Driveway was taken out of use in 2014 due to the safety concerns of driving 80,000-pound semis through the aging structure.</p><br>
<h4>Clipper Room</h4><br>
<p>The Clipper Room is the name used to describe the section of the elevator which houses antique seed cleaning and corn cracking equipment. The term "Clipper" refers to the Clipper single fan seed cleaner, manufactured by AT Ferrell & Co and installed in 1950. The room also features a 1920s-era Sprout Waldron & Co Monarch Corn Cracker and Grading Outfit. Built on a hardwood frame, it consists of a rotary cutter, grader, separator, and suction fan, all operated by a 5 hp motor which drove a series of flat belt pulleys.</p><br>
<h2>Present</h2><br>
<p>As of 2021, the Ely Elevator is still in operation, under fourth-generation ownership as FJ Krob & Co. In January 2020, the Ely Elevator received individual designation on the National Register of Historic Places. The company is currently engaged in efforts toward historic preservation and adaptive reuse, with the goal of opening the building to the public as a historic landmark.</p><br>
<p>The Santa Fe Railway Water Tank, or Sedalia Water Tank, on the railway through Sedalia, Colorado in Douglas County, Colorado, is a historic object listed on the National Register of Historic Places.</p><br>
<p>It is a cylindrical water tank 24 ft in diameter, 43 ft tall, with capacity of 140,000 USgal, upon a slag foundation, built in 1906. Per its NRHP nomination, it was installed by the Denver and Santa Fe Railway Company, a subsidiary of the Atchison, Topeka and Santa Fe Railway (AT&SF), an early railroad which built track through the area in 1887. It provided water for coal-powered steam locomotives from 1906 until 1950 when its "stand pipe" was removed, after water was no longer needed (when diesel locomotives had replaced steam ones).</p><br>
<p>It was described in its NRHP nomination as follows:</p><br>
<p>It was deemed significant "for its association with the operation of the Atchison, Topeka and Santa Fe Railway (AT&SF), an early railroad that constructed its track through the area in 1887. The tank provided water for the coal-fired steam locomotives that ran the line. At the end of WW II, diesel engines began replacing steam locomotives, and the need for large water tanks at frequent intervals along the rails diminished. Most steam locomotives were retired by the 1950s. It was later deeded to the Sedalia Water and Sanitation District for the community’s water supply. The period of significance began with the construction of the tank in 1906 and ended in 1950 when the stand pipe was removed. The steel tank also meets the registration requirements under criterion C for it represents a distinctive design and construction method. In the 19th and early 20th centuries, water stations usually consisted of elevated wooden water tanks. Steel tanks began to replace wood on some railroads after the turn of the century. The steel tank at Sedalia is an early example of the evolving technology, and it is believed to be one of the last surviving steel water tanks in the state."</p><br>
<p>It is located within the railway right-of-way, about 200 yd west of the intersection of USA Route 85 with State Highway 67 USA Route 85. It is closer to USA 85 and directly visible from that highway. It is also visible from Colorado State Highway 67, at least from its crossing of the rail tracks.</p><br>
<p>McKinley Park is a historically significant city park located in Sacramento, California. The Sacramento Street Railway Company built the park in 1871 to attract passengers to its line and the park continues to serve as both a recreational area and a gathering spot for residents of the greater Sacramento area.</p><br>
<h2>Early history</h2><br>
<p>The Sacramento Street Railway Company purchased land near the Sacramento city limits in 1871. Hoping to attract customers, they turned the area into a park. This endeavor was a success, and suburban growth soon followed and made the area more developed. One of the earliest events held at the park was a social dance held on January 21, 1872. Picnics were extremely popular during this time, so predictably many of these were held in the park. Churches and other organizations would organize these events at the park, with the Sacramento Record-Union reporting that there were seventeen picnics to be held in a five-week period during April and May 1883. The park was purchased from the company by the city of Sacramento in 1902 and renamed from East Park to McKinley Park to honor President William McKinley following his assassination in 1901. The park was also annexed into the city of Sacramento at this time.</p><br>
<h2>Modern use</h2><br>
<p>As of 2021, the park is a staple in the Sacramento community. It is over 32 acres in size and includes basketball and tennis courts, baseball and soccer fields, and a rose garden. The rose garden, created in 1928, often holds weddings and other events. The park also is host to a $1.5 million playground, which was created after the prior playground (built in 1976) burned down in a 2012 accident. The park also contains a lake, named Lake Keisel after Frederick Keisel, the son of one of the Sacramento Street Railway Company owners. In the 1920s, the lake hosted an alligator exhibit. The lake was renovated in 1988, with an island being added for ducks and geese to nest in. An additional renovation in 2017 improved the lake&#39;s water quality. The park was officially listed on the National Register of Historic Places on October 18, 2018.</p><br>
<p>The Mount Hope Miners&#39; Church, also known as the Mount Hope Methodist Episcopal Church, is located on Mount Hope Road in the Mount Hope section of Rockaway Township in Morris County, New Jersey, United States. The historic wood frame church was built in 1868 and was added to the National Register of Historic Places on August 20, 2012, for its significance in architecture, social history, and religion.</p><br>
<p>Allendale Plantation, also known as the Allendale Plantation Historic District, is a historic site and complex of buildings that was once a former sugar plantation founded and worked by enslaved African Americans . It is located in Port Allen, West Baton Rouge Parish, Louisiana.</p><br>
<p>The site has been listed on the National Register of Historic Places since November 1, 1996, it is noted for its agricultural significance as an example of a reconstruction era sugar plantation system in southern Louisiana.</p><br>
<h2>History</h2><br>
<p>In February 1852, Henry Watkins Allen and William Nolan purchased the Westover Plantation. Three years later in 1855, the land was divided and split; with Nolan keeping the name Westover Plantation on his portion of land and Allen using the name Allendale for his portion of the property.</p><br>
<h3>Henry Watkins Allen (1855–1865)</h3><br>
<p>The Allendale Plantation under Henry Watkins Allen grew to 2,027 acre, with 627 acre farmed. Allen owned 125 enslaved African Americans. Allen built his own railroad, which had been headquartered in what is now the town of Port Allen.</p><br>
<p>During the American Civil War (1861–1865), parts of the Allendale Plantation had burned, including the Allendale Mill. Allen had moved to Mexico art the war in 1865, and a year later he died on April 22, 1866, in Mexico City, and as a result the Allendale Plantation held many owners after his death.</p><br>
<h3>Kahao family (starting in 1882)</h3><br>
<p>In 1882, the plantation was purchased by brothers John Kahao and Martin James Kahao, formerly from Kansas. The Kahao family bought up smaller neighboring plots of land, in order to grow the total land size. The Allendale Plantation records showed that after 1908, many of the laborers were still being paid in tokens and merchandise checks instead of cash, which went against Federal law changes. The Kahao family operated it as a sugar mill into the 1930s.</p><br>
<h2>Architecture</h2><br>
<p>The Allendale Plantation Historic District is the name used by the National Register of Historic Places (NRHP), and it includes 15 wood-framed structures that were once part of the Allendale Plantation. Some 13 of the 15 structures were former residences on the property, as well as a church and an office building. The plantation manor house and the sugar mill have long since been destroyed. In January 1887, the nearby Westover Plantation&#39;s main residence had a fire and burned down by accident, when they were trying to use fire to clear nearby weeds.</p><br>
<p>Multiple cabins built between 1870 and 1900 are found on the site, they were once used by sharecropping laborers. In 2016 and 2020, the West Baton Rouge Museum narrative tour featuring Allendale Plantation been criticized for being biased and narrow in scope.</p><br>
<p>The Allendale Church was built for laborers, and the office on the property held all of the related operations paperwork. Most of the plantation buildings were moved often, due to flooding of the area.</p><br>
<p>As of 1996, there were only six remaining examples of the sugar plantation complexes and systems in southern Louisiana.</p><br>
<p>The Stearns Hardware Building is a historic commercial building in Oakland, Oregon, United States. The building is one of the oldest structures in Oakland, Oregon and houses a hardware store that has been family owned and operated by the Stearns family since 1887. The brick masonry structure, built in 1891, was added to the National Register of Historic Places in 1979 as a contributing property of the Oakland Historic District. It is located at 204 Locust Street, Oakland Railroad Addition, Block 20, westerly 75.33 1 of Lots 5 and 6 in Oakland, Oregon.</p><br>
<h2>History</h2><br>
<p>This building houses the Stearns Hardware business that has been in continuous ownership by the Stearns family since 1887. George Stearns was the original owner of the building and had it built in 1891 by G.N. Fraser out of Eugene, Oregon.</p><br>
<p>An addition was completed in 1905 to the east side of the original building that replaced a large wagon shed. That addition was jointly built by R.E. Dimmick and George Stearns originally as an ice house, butcher shop and sausage factory, with an upper level that was used as a doctors office. It housed R.E. Dimmicks business operations and part of the Stearns Hardware Store. This addition is no longer part of the Stearns Hardware Store. At one time, that addition was used as a gallery, plant shop, and upstairs residence.</p><br>
<h2>Architecture and layout</h2><br>
<p>The building itself is two stories in a square 75x75 ft layout. It&#39;s built with brick masonry. The entirety of the structure is the combination of two structures that were built 14 years apart. The original part is on the west end. It was originally 25x75 ft with a single story. This original structure had three bays on the north (front) elevation. The center bay has recessed and angled display windows combined with double doors. Adjacent on either side of that bay are tall segmented windows. Each of these bays are separated by a decorative cast iron pier with the inscriptions "G.N. FRASER, 1891, EUGENE." The building has a single pitch roof with a parapet that is highest on the front elevation. Older photos suggest that the parapet was 4 ft lower in 1979 when it was listed than when it was originally built.</p><br>
<p>The additional building on the east end continues the wood frame in front. The south (rear) wall and two adjoining common walls are made of brick. There are five bays in this additional portion including two single door entrances with adjacent tall segmented windows. The second story on the front (north) has three bays. The front siding of this portion is embossed with simulated brick sheet metal. Additionally there is a box cornice with dentils and modillions which also extend east to the building next-door. This addition also has a single pitch roof.</p><br>
<p>The Iowa City Downtown Historic District is a nationally recognized historic district located in Iowa City, Iowa, United States. It was listed on the National Register of Historic Places in 2021. At the time of its nomination it consisted of 102 resources, which included 73 contributing buildings, one contributing site, one contributing object, 21 non-contributing buildings, and seven non-contributing objects. Eight buildings that were previously listed on the National Register are also included in the district. Iowa Citys central business district developed adjacent to the Iowa Old Capitol Building and the main campus of the University of Iowa. This juxtaposition gives the area its energy with the overlap of university staff and students and the local community. The district was significantly altered in the 1970s by the citys urban renewal effort that brought about the Ped Mall , which transformed two blocks of College Street from Clinton Street to Linn Street and Dubuque Street from Burlington Street to Washington Street. It is the contributing site and the large planters/retaining walls that are original to the project are counted together as the contributing object. There are also several freestanding, limestone planters, five contemporary sculptures, and a playground area are the non-contributing objects.</p><br>
<p>The district mainly contains commercial buildings that were built in the Early Classical Revival, the revival styles of the Late Victorian era, the Chicago Commercial Style, Art Deco, and the Art Moderne styles. Modern architecture was introduced in the urban renewal years when new buildings were constructed and storefronts renovated. Architects of regional and local importance with buildings in the district include Chauncey Lovelace, Iowa City; Proudfoot & Bird and their successor firm of Proudfoot, Bird & Rawson, Des Moines; Dieman & Fiske, Cedar Rapids, Iowa; Liebbe, Nourse & Rasmussen, Des Moines; Vorse, Kraetsch & Kraetsch, Des Moines; H.L. Stevens & Company, Chicago; Kruse and Klein of Davenport, Iowa; and J. Bradley Rust, Iowa City. The Franklin Printing House (1856), Trinity Episcopal Church (1871), College Block Building (1883), Boerner-Fry Company/Davis Hotel (1899), Old Post Office (1904, 1931), Paul–Helen Building (1910), Englert Theatre (1912), and Johnson County Savings Bank (1912) are individually listed on the National Register of Historic Places.</p><br>
<p>The Henry Levy House at 155 S. G Street is a historic American Craftsman home located in Oxnard, California. The house has 18 rooms with five bedrooms and five bathrooms, a detached two-car garage, and a detached workshop in the rear. It is approximately 5,200 ft&sup2; and sits on three parcels of land totaling nearly 21,000 ft&sup2;.</p><br>
<h2>History and historic designation</h2><br>
<p>Achille Levy settled in Ventura County California from Mommenheim, Bas-Rhin, France in the early 1870s. His wife&#39;s brother, Henry Levy, came from Paris, France, and joined him in business, establishing a brokerage business before the turn of the century and became one of the outstanding grain and bean dealers in Southern California. They became major leaders in the growth of the City of Oxnard and its surrounding territories. The Bank of A. Levy was co-founded by Achille and Henry.</p><br>
<p>The house, built by Henry Levy, is part of the Henry T. Oxnard Historic District in downtown Oxnard, California, a 70-acre area that was listed on the National Register of Historic Places in 1999. Eight employees (cashiers, tellers, bookkeepers) of the Bank of A. Levy or of a Henry Levy company also owned houses in the district.</p><br>
<p>The house is a hybrid of the Craftsman and Tudor styles of architecture. It was designed by Los Angeles architect Homer W. Glidden, who was also known for designing Upland, California&#39;s oldest civic building, the Old Carnegie Library in 1913, and the firehouse adjacent to it.</p><br>
<p>The two fireplaces in the house are adorned with handcrafted tiles by Pasadena tile craftsman, Ernest Batchelder.</p><br>
<p>In the 1940s, a large master suite was added onto the second floor. In the early 2000s, the kitchen was remodeled and modernized, and a fence installed around the property. In 2020, a large koi pond was installed in the backyard.</p><br>
<h2>Film location</h2><br>
<p>In 1996, the television show Melrose Place filmed 3 episodes at the house for its 5th season. The house was used as the Bel Air home of Dr. Dan Hathaway played by actor Greg Evigan.</p><br>
<p>In 1997 the house was used in the made-for-TV movie What We Did That Night, also known as Murder at Devil&#39;s Glen, starring Ricky Schroder.</p><br>
<p>The show was the 23rd season finale episode of "Ghost Adventures" on Thanksgiving night, 2022. Homeowners Eric Andrist and Jeff Rizzo detailed how locked doors were caught flying open on their security cameras and provided a clip to the show of a creepy voice while host Zak Bagans was filming on the second floor. The episode also featured a neighboring house with a family who knew the Levy sisters, depicting them as racist.</p><br>
<h2>Other</h2><br>
<p>In 2017, the house was described in American Bungalow magazine and listed for sale at $1.45 million.</p><br>
<p>The John Inskeep Homestead is a historic house located at 70 North Locust Road within the Marlton section of Evesham Township in Burlington County, New Jersey. It was added to the National Register of Historic Places on August 26, 1993, for its significance in architecture, commerce and community development from 1771 to 1810. The house is part of the Historic Resources of Evesham Township, New Jersey Multiple Property Submission .</p><br>
<p>The James W. and Lucy S. Elwell House is a historic Italianate-style home located in Clinton Hill, Brooklyn, New York City. It is currently located at 70 Leffferts Place in Brooklyn. It was built in the mid-1850s by merchant James W. Elwell and his wife, Lucy.</p><br>
<h2>History</h2><br>
<p>In 1854, the Elwells bought a large parcel of land for $20,000 in the Lefferts Place area of South Clinton Hill. The original property extended south from that street to Atlantic Avenue, and the family also built a garden and a flower conservatory. Elwell tended the conservatory and was said to spend 30 minutes every day choosing a flower to put in his lapel. The house remained in family hands until 1939. By then the parcel of land had been reduced to its present size. An article authored by John A. Boyle featured in "American Gardening" discussed the view of Elwell&#39;s garden located just beyond the dining room windows. This garden was adorned with beds of foliage plants, including Echeveria secunda and Alternanthera foliage."</p><br>
<p>The Father Divine (Reverend Major Jealous Divine) Church, led by the African-American spiritual leader, bought the property and held it well into the 1970s. In 1986, it was placed in the National Register of Historic Places as part of the Clinton Hill South Historic District. In 2006, it was designated as an individual landmark by the Landmarks Preservation Commission which highlighted its "special character and a special historical and aesthetic interest and value as part of the development, heritage, and cultural characteristics of New York City".</p><br>
<p>The designation came as a result of the property owner&#39;s seeking a demolition permit for the house.</p><br>
<h2>Design and architecture</h2><br>
<p>In the 1850s, when the Elwells bought and built the house, the Italianate style was the preferred one for New York merchants who wanted to live in the suburbs of the city. The house still maintains many of the style&#39;s signature features, such as a front bay, flat roof and square cupola. The original porch was wrapped around in 1939.</p><br>
<p>The Maude Stanfield Harter Borland House, at 610 N. Jefferson Ave. in Loveland, Colorado, was built in 1920. It was listed on the National Register of Historic Places in 2004.</p><br>
<p>The house and its garage were built in 1920, designed by Robert K. Fuller. They have been deemed to be "among northern Colorado&#39;s best examples of the Craftsman style of architecture" and to display "superb integrity".</p><br>
<p>It has also been known as the Pollyann Castle Baird House. In 1992 the house was inherited from her Aunt Maude by Pollyann Castle (Kitchen) Baird. In 2004, at age eighty, she was still the home&#39;s owner and resident, and had "gained renown as a championship-caliber United States Ballroom Dance Champion. Mrs. Baird presently participates in three or four competitions per year, and has captured bronze, silver and gold medals in the American Smooth, International Standard, International Latin, and American Rhythm styles of ballroom dancing. She attained the title of United States Ballroom Champion, Senior Division, in the International Standard style in 1992. She also achieved national titles in three styles of dance for eight years up to 1997," and was still actively participating in competitions.</p><br>
<p>The Buckeye School, in Larimer County, Colorado near Wellington, Colorado, now known as the Buckeye Community Center, was a rural two-room schoolhouse built in 1925. It was used as a school until 1960. It was listed on the National Register of Historic Places in 2008.</p><br>
<p>It was considered to be a large school, as it was 25x60 ft in plan with 10 ft high ceilings, a basement, and an attic. The main floor&#39;s open space could be used as a single classroom if a moveable, wooden, folding partition was opened. The partition, which has a door at each end, was used to separate older, upper grade students from younger, lower grade ones, when enrollment justified.</p><br>
<p>A basement level held a kitchen, two storage areas, and a teachers living quarters. The storage areas, about 6x11 ft in dimension, were used to store wood and to store coal, for use in heating the building, and were loaded from pickup trucks by access chutes. Around 1944, when wood stoves had been replaced by butane stoves and when plumbing was installed, the storage areas were converted into girls and boys&#39; restrooms.</p><br>
<p>The school demonstrates features of post-1920s school design, including clustered windows on the south side of the building providing light coming in behind schoolchildren facing north.</p><br>
<p>It was named "Buckeye School" for the buckeye trees which grew in its area, although they are rare in Colorado.</p><br>
<p>A contributing site in the listing is a playground area holding surviving merry-go-round, swing set, teeter totter, slide and flagpole, on the south side of the building.</p><br>
<p>It was built by contract-winner O.A. Decker at final cost of $4,983.17. An original small stable and two original privvies are no longer present.</p><br>
<p>It is located off West County Road 80 about 15 mi northwest of Wellington, and about 12 mi from the Wyoming state border.</p><br>
<p>The Arrowhead Lodge, at 34500 Poudre Canyon Hwy., Roosevelt National Forest, in Larimer County, Colorado, served by the post office in unincorporated Bellvue, Colorado, was a resort camp which was built in 1931. It was listed on the National Register of Historic Places in 1992.</p><br>
<p>The listed area includes 27 buildings, 22 of them being contributing buildings, a contributing object (a sign), and various noncontributing structures and objects, on 3 acre.</p><br>
<p>Its main lodge is currently a United States Forest Service visitor center. Other buildings include 13 historic, Rustic-style cabins.</p><br>
<p>It is at elevation 7,410 ft, about 32 mi up Cache la Poudre Canyon. It is reached by Colorado State Highway 14, which runs west off USA Highway 287, about 8 mi northwest of Fort Collins, Colorado.</p><br>
<p>It is located in Roosevelt National Forest "in the rugged lower montane climax region typical of Colorado&#39;s Rocky Mountain eastern slope," on the north bank of the Cache la Poudre River.</p><br>
<p>The Botanical and Horticultural Laboratory on the Colorado State University campus on Fort Collins, Colorado was built in 1890. It was listed on the National Register of Historic Places in 1978. The building is now named Routt Hall.</p><br>
<p>It is a legacy of the old Colorado Agricultural College campus, in fact one of the oldest surviving of the 1878-founded college&#39;s structures. It was designed by Pueblo, Colorado architect Otto Bulow, who also designed an 1889 addition to the Old Main building. It was deemed a "fine example of the earliest architecture on the campus. The rich detailing of brick and stone exemplified in Old Main (burned: 1972) survives only in this building and Spruce Hall. In fact, the gabled section of the Bonical and Horticultural building essentially duplicated the corresponding parts of the Old Main addition."</p><br>
<p>It was refurbished in 1894 to hold the first Domestic Economy Department in Colorado, after a "Ladies Course" proved to be in high demand and a separate department became justified. The building was secured for this department by efforts of Eliza F. Routt, wife of the last territorial governor of Colorado, who was the first female member of the State Board of Agriculture and promoted higher education for women.</p><br>
<p>The Avery House, at 328 W. Mountain Ave. in Fort Collins, Colorado, United States, was built in 1879. It was listed on the National Register of Historic Places in 1972.</p><br>
<p>The house and its stable house are two contributing buildings on the property. The two-story house is asserted by the Fort Collins Landmark Commission to be "one of the city&#39;s best remaining examples of the colorful construction done during its early days and of High Victorian Gothic architecture."</p><br>
<p>It was hoped that National Register listing would improve likelihood the house would be preserved, in face of high real estate prices and development pressure in Fort Collins.</p><br>
<p>In 1974, the Poudre Landmarks Foundation bought the house for $79,000. It is open for public tours on weekends year round. The home is available for wedding and private event rentals.</p><br>
<p>The Downtown Loveland Historic District in Loveland, Colorado is an 18 acre historic district which was listed on the National Register of Historic Places in 2015.</p><br>
<p>The district includes portions of 4th Street, Loveland&#39;s main commercial avenue, from Railroad Avenue to Jefferson Avenue.</p><br>
<p>It includes 45 contributing buildings and a contributing object, as well as 13 non-contributing buildings and nine non-contributing objects. It includes:</p><br>
<p>Loveland Street Clock (1910), the one contributing object, manufactured by the Brown Street Clock Company of Monessen, Pennsylvania, located in front of Brannan Brothers Jewelry Store (1886), 239 East 4th Street, now "Garment Gal&#39;s", at 40.39553&deg; latitude, -105.07357&deg; longitude</p><br>
<p>Rialto Theater, 228 East 4th Street, separately NRHP-listed in 1988</p><br>
<p>Lovelander Hotel / BPOE Elks Lodge 1051 (1912–13), 103-117 East 4th Street, three stories</p><br>
<p>Union Block / Lincoln Hotel, 236-248 East 4th Street, three stories</p><br>
<p>Majestic Theatre / I. O. O. F. Hall, 315-319 East 4th Street, three stories</p><br>
<p>Colorado and Southern Railway Depot, 409-427 N. Railroad Avenue, separately NRHP-listed in 1988</p><br>
<p>State Mercantile Building/Masonic Temple (1910), at 202, 204, 206, 210 East 4th Street. Two-story building constructed of pressed white brick, with a newer red brick veneer. Parapeted.</p><br>
<p>The Administration Building for the City of Grand Forks at the Grand Forks Airport was listed on the National Register of Historic Places in 2020. It is a Streamline Moderne- and WPA Moderne-style building, constructed in 1941–43 and expanded in 1949.</p><br>
<p>The building was the terminal for the airport, and identified the location for arriving passengers. It had "Grand Forks N.D." emblazened across the top of its second floor, with "Municipal Air Port" in smaller letters below.</p><br>
<p>It has also been known as the Grand Forks Municipal Airport Administration Building and Terminal, and, in 2020, is Brekke Tours and Travel.</p><br>
<p>It was used for some period as a police station, and had holding cells in its basement. It was bought from the City of Grand Forks by travel company owner Arne Brekke in 1977, after which it was known as the Brekke Building. It remains, in 2020, office space for Brekke Tours and Travel and other leased-out space.</p><br>
<p>Its listing on the National Register was a project of the Grand Forks Historic Preservation Commission, which commissioned the NRHP nomination. Includes maps, historic photos, and 10 photos from 2020.</p><br>
<p>It is consistent with MPS study Federal Relief Construction in North Dakota, 1931-1943.</p><br>
<p>It is located approximately 2.5 mi to the northwest of Grand Fork&#39;s, close to Interstate 29, which was put in approximately over one of the runways, the north–south runway upon which the terminal donne sur, of the former airport.</p><br>
<p>Its current address is 802 N 43rd Street, but it was previously accessed from 42nd Street.</p><br>
<p>It was deemed significant:the Administration Building functioned as the airport’s terminal. It is an illustrative example of WPA (Work Projects Administration) Modern and Streamline Moderne architecture. This WPA-built airport terminal facilitated air travel that modernized and connected the community regionally and beyond. The Grand Forks airport’s role in military aviation training contributed to national defense and war efforts. Although airport services were eventually transferred to a new location, and the Administration Building repurposed, the building stands as a reminder of Grand Forks’ early aviation history at the site of the city’s original airport. The terminal, with its modest design indicative of New Deal architecture, is a symbolic reminder of President Franklin D. Roosevelt’s economic relief and jobs-building programs, which, in part, helped to transform American air transportation as the United States strived to dig itself out of the Great Depression and defeat fascism abroad during World War II."</p><br>
<p>The Rialto Theater in Loveland, Colorado, at 228-230 E. Fourth Ave., was built in 1919. It was listed on the National Register of Historic Places in 1988.</p><br>
<p>It has a three-bay Classical Revival front covered with glazed terra cotta blocks, of a 50x140 ft footprint. The two-story commercial block building has a flat roof and brick party and rear walls.</p><br>
<p>It was deemed significant as "one of the city&#39;s most architecturally refined buildings": although "it is not an especially exuberant or palatial example of early 20th century movie theater architecture, the Rialto is well proportioned and well articulated. It well represents Loveland building trends as well as national motion picture theater trends for the period. The Rialto is one of the last main street theatres in northern Colorado with any remaining architectural integrity. The marquee replacement and the most recent alterations have compromised the Rialto visually, but the building still retains a high degree of integrity of location, setting and association...."</p><br>
<p>Modifications to the theater have tended to contribute to, rather than detract from, its architectural character.</p><br>
<p>It is also a contributing building in the Downtown Loveland Historic District, which was added to the National Register in 2015.</p><br>
<p>The Colorado and Southern Railway Depot in Loveland, Colorado was built in 1902 as replacement to a former depot built in 1878. It was listed on the National Register of Historic Places in 1982.</p><br>
<p>It is located at 405 Railroad Ave. in Loveland, and has also been known as the Loveland Depot.</p><br>
<p>It was designed by Charles B. Martin, a Colorado and Southern architect. It was built at cost of $19,949.</p><br>
<p>The depot is 175x37 ft in plan, was built of buff-colored brick, and has three sections: "a passenger depot at the southern end, a narrower freight depot at the northern end, and a large formerly open porch in the center." Brick from the old depot being replaced was used to pave walkways and the platform of the new depot.</p><br>
<p>It is described as "Romanesque Revival in its detailing with the arch used within and without as a decorative motif. The main entrance to the passenger depot is on the South end of the building through an open vestibule with arched openings on three sides."</p><br>
<p>It was also included as a contributing building in the Downtown Loveland Historic District, NRHP-listed in 2015.</p><br>
<p>The Downtown Boulder Historic District, in Boulder, Colorado, is a 48 acre historic district which was listed on the National Register of Historic Places in 1980. Additional significance for the district was recognized in 2018 for association of the Boulder County Courthouse with events of 1975, when Boulder County clerk Clela Rorex issued marriage licenses to six same-sex couples.</p><br>
<p>It includes a surviving historic commercial area of Boulder, including Pearl Street between 9th and 16th Streets (part or all of what is now the Pearl Street Mall) and parts of Walnut, Spruce, and Pine Streets. It also includes the Boulder County Courthouse and the historic Boulderado Hotel.</p><br>
<p>The township of Boulder was created as a supply center for miners in the Pike&#39;s Peak Gold Rush in 1858–59. About 70 cabins were built along Pearl Street in 1859, all of which were eventually replaced by more substantial commercial and other structures.</p><br>
<p>In 1980 the district was deemed "significant because of its association with the evolution and development of business and commerce in the city which has long served as the economic center of the Boulder Valley and surrounding communities. The district is also significant for its architectural features which manifest the salient characteristics of late nineteenth/early twentieth century commercial design."</p><br>
<p>Then, the 168 properties in the district included "125 buildings that contribute to the historic and architectural integrity of the district, 21 more modern structures compatible with the older fabric," and several intrusions, parking structures, and empty lots. The National Register designation provided limited protection, however, and about 15 percent of the historic buildings were lost. In 1999 the district was designated a Boulder Historic District, providing further protection.</p><br>
<p>Selected contributing buildings include:</p><br>
<p>Boulder County Courthouse</p><br>
<p>IOOF Building</p><br>
<p>Boulder Post Office, separately listed on the National Register</p><br>
<p>Boulderado Hotel, separately listed on the National Register</p><br>
<p>In 2018, the historic district&#39;s official documentation was updated "to recognize an additional area of significance of Social History for the Boulder County Courthouse, as well as the district generally, for association with the first same-sex marriage licenses issued in Colorado and the civil rights struggles of Lesbian, Gay, Bisexual, Transgender and Queer (LGBTQ) people."</p><br>
<p>Guided walking tours of historic downtown Boulder are available in summer months.</p><br>
<p>The Officer Eric H. Talley Post Office Building, also known as the Boulder Post Office or Boulder Main Post Office, at 1905 Fifteenth St. in Boulder, Colorado, was built in 1910. It was listed on the National Register of Historic Places as US Post Office—Boulder Main in 1986. On August 4, 2022, following the 2021 Boulder shooting, the building was dedicated in honor of police officer Eric Talley, who was killed while responding to the shooting. Local Congressman Joe Neguse introduced the legislation to rename the post office in the months following the shooting, which was signed into law in March of 2022.</p><br>
<p>It is a rectangular building taking up nearly all of the site&#39;s 220x150 ft footprint. It has Renaissance Revival and Classical Revival details and was designed by the supervising architect of the USA Treasury James Knox Taylor. It has a metal hipped roof.</p><br>
<p>It was deemed significant as "a well preserved and rare example of the type of post office building constructed during James Knox Taylors tenure as Supervising Architect. The building is a notable interpretation of Classical and Renaissance Revival styling and has considerable urban design significance in relation to the towns civic center."</p><br>
<p>It is also a contributing building in the Downtown Boulder Historic District, which was NRHP-listed in 1980.</p><br>
<p>The Ward School, at 66 Columbia St. in Ward, Colorado, is a historic school building later used as the town hall, public library, and post office of Ward Township, and also has been known as Ward Townhall and Post Office. It was built in 1898 and was listed on the National Register of Historic Places as "Ward School" in 1989.</p><br>
<p>It had "one of the most unusual civic uses" of schools in Colorado", having been draped with wet blankets and serving as a fire break line protecting houses above it during Ward&#39;s fire of 1900 which consumed the lower part of the town.</p><br>
<p>The first school in Ward was built in 1863.</p><br>
<p>This school is a "substantial" one-story building, and was one of the larger schoolhouses in western Boulder County in its era.</p><br>
<p>It was built after mining had declined, in the same year as the arrival of the railroad in Ward. "The Ward School has been an important symbol of the community throughout its history. Its original construction was an expression of hope for the prosperity of the community in the coming years of the 20th century and it represented the aspirations that the residents had for Ward&#39;s future."</p><br>
<p>It is one of Ward&#39;s oldest buildings, having survived the fire in 1900 which destroyed 53 buildings in Ward and otherwise having outlived the other survivors.</p><br>
<p>It was listed on the National Register as a resource identified in a study, the "Metal Mining and Tourist Era Resources of Boulder County MPS".</p><br>
<p>It was deemed consistent with the standards set up by that study for what it termed "Vernacular Community Institutional Buildings":The design, materials and workmanship of the Ward School are typical of the distinguishing features of the Vernacular Community Institutional Building property types that were constructed in Boulder County&#39;s metal mining communities during the late 1800s. Its intact appearance and setting make it an excellent</p><br>
<p>example of this historic building tradition of Colorado. The Ward School is one of the property types that meets the registration requirements of the Metal Mining and Tourist Era Resources of Boulder County Multiple Property nomination.</p><br>
<p>It was also named as consistent with the standards for historic listing set by the study "Rural School Buildings in Colorado MPS", but had already been listed.</p><br>
<p>The Ward School meets criteria A and C for its historic and architectural significance. Its historic importance is derived from school&#39;s function as an institution in the town of Ward, the center of one of the most productive mining districts in Boulder County. Architecturally, the building is important as a Vernacular Community Institutional Building, a property type that was typical of Boulder County metal mining communities of the late 19th and early 20th centuries.</p><br>
<p>The Ward post office, then 148 years old (though having moved buildings) was proposed to be closed in 2011.</p><br>
<p>It is one of 53 schoolhouses identified and photographed by History Colorado as historic rural schools around Colorado worthy of preservation.</p><br>
<p>The Dickinson Branch Library, at 1545 Hooker St. in the West Colfax neighborhood of Denver, Colorado, is a Carnegie library which was built in 1914. It was listed on the National Register of Historic Places in 2002.</p><br>
<p>It was designed by architect Maurice Biscoe in Italian Renaissance Revival style. Above a raised concrete basement, it is built of brick covered by white concrete stucco. It was originally light ivory in color with a sage green base. It has a hipped roof of red Spanish tile with broad overhanging eaves supported by wooden brackets, and a broad cornice "ornamented with ceramic tiles of heraldic designs, originally in brilliant colors. The tiles, now painted over, were blue-green squares attached to circular tiles set into the stucco finish. The tiles are of an alternating square and diamond pattern."</p><br>
<p>The library included mural work by Allen Tupper True, "Colorado&#39;s most prolific mural painter", and relief sculpture by Denver artist and sculptor Dudley Carpenter. The murals and relief sculptures were removed from the building after the library was closed, and, as of 2001, their locations were unknown.</p><br>
<p>It has also been known as the Charles E. Dickinson Branch Library, as the Carnegie Dickinson Library, and as the West Denver Branch Library.</p><br>
<p>It was one of four Carnegie libraries funded by an $80,000 grant in 1912, which were all opened in 1913 "to much fanfare", three years after the main Denver Public Library was opened in 1910. The other three were the Roger W. Woodbury Branch Library, the Sarah Platt Decker Branch Library, and the Henry White Warren Branch Library.</p><br>
<p>It was deemed significant "for its association with the nationwide public library movement sponsored and funded by grants from Andrew Carnegies philanthropic foundation...for its association with the City of Denvers efforts to create a system of branch public libraries,... as an important example of the work of Denver architect Maurice Biscoe."</p><br>
<p>It is located in west Denver at the southwest corner of Hooker Street and Conejos Place, near major boulevards West Colfax Avenue and Federal Boulevard.</p><br>
<p>The Amos H. Root Building, or simply the Root Building, at 1501-1529 Platte St. in Denver, Colorado, was built in 1884 for businessman Amos H. Root. It was listed on the National Register of Historic Places in 1980.</p><br>
<p>The building "displays many elements characteristic of commercial structures of the period."</p><br>
<p>It was one of the last cast iron structures built in Denver. Its first floor facade is made of cast iron column and beam construction, which supports two stories above of brickwork. Early on, the building served as a drugstore, furniture store, warehouse, and rooming house. Later it became a manufacturing plant for George Washington Olinger&#39;s Highland Casket Company, a company which still existed in 1979.</p><br>
<p>It was deemed "significant for its association with Amos H. Root, an important businessman in Colorado, for its architectural features, and for its role in the commercial development of the downtown Denver."</p><br>
<h2>Amos H. Root</h2><br>
<p>Root was born in 1842 in Schoharie County, New York. After his parents moved him to Ripon, Wisconsin, he began attending Brockway College towards obtaining a law degree. However he enlisted in the 4th Wisconsin Infantry Regiment and served three years in the American Civil War. He was captured in June 1863 by the Confederate Army, but eight days later escaped by way of swimming across the Mississippi River at night. After the war he moved to Greeley, Colorado and began in the hotel business. Later, in Denver, he "became a wholesale dealer in cigars and tobacco, served as a member of the Board of Aldermen, and later entered the banking industry as one of the founders and directors of the North Denver Bank."</p><br>
<p>The Highland Park in Denver, Colorado, is a 7 acre park area bounded by Highland Park Place, Federal Blvd., and Fairview Place. It was developed as a park in 1907, and since 2013 it has included the Woodbury Branch Library. The park, with the library considered a contributing building, was listed on the National Register of Historic Places in 1986, as part of a Multiple Property Submission of historic resources of Denver&#39;s parks and parkways system.</p><br>
<p>It is a 7 acre park which was deemed to have local significance as "a good example of a small multi-use park laid out in the English landscape tradition. The plantings include a sophisticated mix of plant material, including a few Plains Cottonwoods planted as street trees at the turn of the century." It was developed during 1907-10 by an unknown designer.</p><br>
<p>The listing included a contributing building (the library) and two contributing structures.</p><br>
<h2>Woodbury Branch Library</h2><br>
<p>The Woodbury Branch Library (or Roger W. Woodbury Branch Library) is a Carnegie library facing Federal Boulevard, at 3265 Federal Blvd. This branch of the Denver Public Library was built in 1913 and "is a significant reminder of the early desire to have the park and parkway system serve as both a setting for other public facilities and a link with surrounding neighborhoods."</p><br>
<p>The library is named for Roger Williams Woodbury, "a businessman, journalist and banker who served as Denver’s first president of the Chamber of Commerce."</p><br>
<p>It was funded by the Carnegie Foundation and was designed by architect J.B. Benedict. Its architectural style is termed Renaissance Revival by the Denver Architecture Foundation,</p><br>
<p>although it was described at the time of its construction as Florentine in style.</p><br>
<p>In 1986, the building, "with a not unsympathetic addition to the west," continued to serve as a branch library.</p><br>
<p>The library has been renovated a number of times. It was renovated again in 2009, by Humphries Poli Architects, of Denver, with funding through the Better Denver Bond of 2007. The renovation focus was "mainly on improving the function, technology, energy-efficiency, building security, comfort and aesthetics of the library." The project cost funded by the bond program was $651,687.</p><br>
<p>The Denver Architecture Foundation summarizes that the library "features a simple but formal appearance. The Renaissance Revival style of the building is reminiscent of a classical Italian villa with its red clay tile roof, dramatic arched windows and substantial stone pediments."</p><br>
<p>And it notes that "erhaps the most striking interior features still in use today are the elegantly detailed, exposed wood roof trusses extending the length of the 1913 construction."</p><br>
<p>The 2009 renovation "was programmed using Denver Public Library&#39;s Learning and Language Service style and serves a highly diverse neighborhood population, with a high proportion of teenagers from the nearby North High School. The library includes learning centers in the basement, and exploration, transact and orient focused services on the first and second floors.</p><br>
<p>In 2022, it further continues as a branch library.</p><br>
<h2>Other</h2><br>
<p>Per the Thematic Resources documentation,This seven-acre park, which is shaped like a thumb, is flanked by residential streets to the south, west, and north and by Federal Boulevard to the east. The terrain gradually slopes downhill from the west to Federal Boulevard. The site was "reserved" for park use prior to 1893 and was part of the original plan for the Highland Park residential development, but it was not acquired by Denver until 1899.The park lawns were installed in 1907 and by 1910 the park was fully improved with serpentine walkways, flowerbeds along the walkways, and a ring of trees around the perimeter. One of the finest elements of this park is the meticulous use of tree edges to create a clear setting for the park, to integrate the park into the adjoining neighborhood, and to match the design of the then tree lined Federal Boulevard. The experience is both of enclosure within the park and of extension to the outside, and a blend of country and city in a single design. The tree edge is still strong today even with substantial losses in perimeter trees. A number of the stately plains cottonwoods originally planted on the perimeter remain as a reminder of how well adapted that tree is to the High Plains climate. The selection of plant material for this park did not stop with the plains cottonwool. A wide, and, for the time, sophisticated, range of plant material was selected for the site, including sycamore, catalpa, hackberry, honey locust, Kentucky coffeetree, horse chestnut, white and bur oak, Rocky Mountain juniper, cornelian cherry, and larch. The planting of shrubs was, and remains, quite limited. One footpath still extends through the park from southeast to northwest (on an axis parallel to the meadow). The entry of this footpath is flanked by flowering crabapple, but there are none of the footpath flower beds which marked the original design of the park. The grading and layout of this park was as carefully handled as the selection of plant material. The topography falls gently from northwest to southeast as one is led through the course of a meadow, interrupted only by tennis courts first installed in 1911 (as well as a playground and basketball court). The tree planted verges of the meadow are undulating, first confining and then expanding the meadow in the manner so successfully employed by Olmsted and his English predecessors. The result is an illusion of space well beyond the actual acreage of the park."</p><br>
<p>It was listed as part of a 1986 study of the historic resources of the Denver Park and Parkway System.</p><br>
<p>The Highland Park Historic District in Denver, Colorado is a 23.8 acre historic district which was listed on the National Register of Historic Places in 1985. It has also been known as Scottish Village.</p><br>
<p>It includes "the only segment of the original Highland Park subdivision to remain intact", with 133 contributing buildings on 23.8 acre.</p><br>
<p>The district is bounded by Zuni St., Dunkeld Pl., Clay St., and 32nd Ave.</p><br>
<p>The East Otis Schoolhouse is a historic school building at 2 Old Blandford Road in Otis, Massachusetts. Built before 1856, the one-room schoolhouse served the town until 1949, after which time it has sat largely vacant and unused. The building, a modest example of a Greek Revival district school, was listed on the National Register of Historic Places in 2021.</p><br>
<h2>Description and history</h2><br>
<p>The East Otis Schoolhouse stands in the small rural village of East Otis, on a rise overlooking the junction of Old Blandford Road, Pike Street, and Massachusetts Route 23. It is a single-story wood frame structure, with a gabled metal roof and clapboarded exterior. The boxed eaves with plain frieze below are suggestive of the Greek Revival style. The main facade has a pair of sash windows flanking the main entrance, which is sheltered by a gabled hood.</p><br>
<p>The exact construction date of the building is not known; it is first documented to be standing on a map published in 1858. The land on which it stands was donated by local farmer Alden Soule, who also gave land for a church that stood next door. The school served the town as a district school house, generally with a multi-grade population of 15 or fewer students. It underwent a number of modest alterations as increasing standards for schools demanded, before it was finally closed in 1949 with the opening of the Otis Center School. Alterations include the addition of an enclosed privy area, and the removal of the building&#39;s chimney. It has stood vacant and largely unused since then.</p><br>
<p>The Joseph Brown House is a historic Georgian house located at 50 South Main Street Providence, Rhode Island. The building, designed by astronomer and amateur architect Joseph Brown, is the oldest extant house built by an American architect for his own use.</p><br>
<h2>Architecture</h2><br>
<p>The street-facing portion of the structure measures roughly 45 ft in both height and width. Its facade, defined by five bays, rises two stories above an elevated, street level basement. The residence&#39;s entrance was originally raised above ground and accessed via symmetrical flights of stairs; in the late 18th century, the entrance was moved to street level.</p><br>
<p>The structure is noted for its ogee curved gable roof, which is decorated with a white trellised parapet and balustrade. According to Antoinette Downing, "such a baroque scheme for the exterior was rare even in English building, and harks back to Sir Christopher Wren and the first years of the eighteenth century; Colen Campbell, in his Vitruvius Britannicus of 1717, published an engraved plate of a house similar to Brown&#39;s, with the gable end treated as a broken scroll."</p><br>
<p>In the 1920s, a rear wing was added to the house.</p><br>
<h2>History</h2><br>
<p>The structure was constructed in 1774 by architect Joseph Brown of the prominent mercantile Brown family as his personal residence. During the American Revolution, the house was one of a number of structures used to quarter French troops.</p><br>
<p>In 1801, the structure was acquired by the Providence Bank—an enterprise founded by Brown&#39;s brothers John and Moses—and used as an office. The bank occupied the structure until 1929. The building was subsequently owned by the Counting House Corporation.</p><br>
<p>In 1970, the structure was designated a contributing property in the College Hill Historic District.</p><br>
<p>The Bliss House in the West Colfax neighborhood of Denver, Colorado, is a Queen Anne-style house built in 1890. It was listed on the National Register of Historic Places in 1982 as Building at 1389 Stuart Street.</p><br>
<p>It is a two-and-a-half-story house designed by architects Lang & Pugh with exterior mostly covered by fishscale shingles. It has been described as "basically Queen Anne in style but with great originality of detail.... The design is complex with a combination of bays, unusual windows and a dramatic multi-planed roofline."</p><br>
<p>It was home of Dr. Gerald Bliss and his second wife "for all of their married life, both dying in 1945. Dr. Bliss was a Civil War veteran and had been a member of the honor guard over Lincoln&#39;s casket. He had gone to South Dakota where he practiced medicine for many years before retiring and moving to Colorado. He lived nearly fifty years after his retirement and was 99 years old when he died."</p><br>
<p>The house is a Denver Landmark. It is one of a cluster of six houses designed by Lang, five of which are surviving, that illustrate his architectural creativity.</p><br>
<p>The Black River Bridge near Carrizo, Arizona was funded in 1911 and built in 1912. It was listed on the National Register of Historic Places in 1988. It spans the Black River, bringing an army road, now Indian Route 9, over the river from Fort Apache to the railroad at the former town of Rice, Arizona .</p><br>
<p>Indian Route 9 is one of many Indian routes within Native American reservations in the USA The bridge, designated ADOT #3128, is owned by the USA Bureau of Indian Affairs. It crosses from the Fort Apache Reservation south into the San Carlos Reservation in Gila County, Arizona.</p><br>
<p>It is a deck truss bridge which was fabricated by the Pittsburgh-Des Moines Steel Co. It has three Warren truss riveted steel spans, each 82.0 ft in length, achieving a total length of 273.0 ft. The roadway is a concrete deck that is 18 ft wide. The bridge has concrete abutments and wingwalls and solid concrete piers. It has a concrete deck over steel stringers.</p><br>
<p>The original bridge on those piers was designed by Arizona Territorial Engineer G.B. Girand and was completed in 1912 as a timber/iron truss bridge for wagons, employing Howe trusses; the superstructure was replaced by the current steel and concrete system in 1929.</p><br>
<p>It was deemed significant as one of the earliest public works projects by the Arizona Territorial government, and the only timber bridge that it built.</p><br>
<p>Further, the 1929-built superstructure "is technologically significant as the oldest of the four multi-span deck trussed trestles" identified in a 1986–87 inventory/study of historic Arizona highway bridges performed for the Arizona Department of Transportation by Clayton Fraser, covering 610 pre-1945 vehicular bridges. According to Fraser, the bridge is "one of the most visually striking spans in Arizona" and "represents an important aspect of the state&#39;s bridgebuilding history."</p><br>
<p>A 2002 photo of the bridge is included in a 2008-updated report on Arizona&#39;s historic highway bridges.</p><br>
<p>The Butler House in the general area of Pueblo, Colorado was built around 1880, or before. It was listed on the National Register of Historic Places in 1984. The listing included five contributing buildings and a contributing site on 22.5 acre.</p><br>
<p>The main house of the Butler House ranch complex is a one-story adobe residence of about 2,800 ft&sup2, which was built in the 1880s or before; perhaps portions of it are from the former Craig residence, built in 1864 and burned in 1879.</p><br>
<p>In 1882 it became the ranch of Benjamin F. Butler, "a prominent military figure and attorney from the east."</p><br>
<p>Other elements of the complex are: an agent&#39;s stone house, a stone outbuilding, a barn, and a cow shed.</p><br>
<p>It is located 26 miles southeast of Pueblo on the Huerfano River, in the plain just after the river comes out of its canyon, in the vicinity of Avondale.</p><br>
<p>In 2021, the Pueblo County Assessor identifies the owner of 6916 Broadacre as "Bar Nothing Ranches LLC", which had acquired title in 1997 from the Paul Butler Trust. The property has 640 acre total land area, though only 22.5 acre is NRHP-listed.</p><br>
<p>The St. Charles Bridge near Pueblo, Colorado which brings Pueblo County Road 65 over the St. Charles River, was built in 1924. It is a filled spandrel arch bridge. It was listed on the National Register of Historic Places in 1985.</p><br>
<p>It has three 91 ft spans achieving a total bridge length of 251 ft with a roadway almost 20 ft wide. Salle Construction Company won competitive bidding to construct either a steel or concrete structure for its bid of $39,077. The company "used a reinforced concrete vault system to excavate for the foundations, an unusual method which they later patented." The bridge was completed during February to late June 1924.</p><br>
<p>It is one of the longest filled spandrel arch bridges in Colorado.</p><br>
<p>The Methodist Episcopal Church, also known as the Methodist Episcopal Church of Hibernia, is a historic church built in 1869 and located at 419 Green Pond Road in the Hibernia section of Rockaway Township, Morris County, New Jersey. It was added to the National Register of Historic Places on July 14, 2011, for its significance in architecture and industry. Since 1970, the building has been used as a branch of the Rockaway Township Free Public Library.</p><br>
<h2>History</h2><br>
<p>Hibernia was home to the workers of the nearby Hibernia mines. Using funds from the iron mining companies, the New Jersey Mining Company built the church in 1869 using Carpenter Gothic architectural style, an adoptation of Gothic Revival architecture using simpler materials. In 1953, the property was sold to the Holy Trinity Lutheran Church. In 1969, it was sold to the Rockaway Township Lions Club, who in turn sold it for a nominal $1 to be used as a public library.</p><br>
<p>Converse Hall, built in 1895, is one of the oldest buildings on the campus of the University of Vermont  in Burlington that has been continuously used as a residential dormitory. A rare example in the state of Chateauesque architecture, it was listed on the National Register of Historic Places in 2021.</p><br>
<h2>Description and history</h2><br>
<p>Converse Hall is located on the east side of the UVM campus, in an area that was somewhat isolated when the hall was built, but is now dominated by the University of Vermont Medical Center to the north. The hall is a U-shaped structure stories in height, with the opening of the U facing west toward the central campus area. Its exterior is finished in Vermont marble, with sash windows set singly and in pairs in plain rectangular openings. Each wing of the U has projecting sections near the center, which give their roof lines a cruciform appearance. The gable ends are decorated with finials and turrets, and the roofs are dotted with attic and wall dormers that have similarly styled gables.</p><br>
<p>The hall was built in 1895, during a period of the university&#39;s rapid growth (echoing that of the city itself). It was designed by the Wilson Brothers firm of Philadelphia, Pennsylvania, and is one of just a handful of documented Chateau-style buildings in the state, modeled stylistically on French chateaux of the 16th century. It was noted for its architecture at the time of its construction. It has served as a residential dormitory since its construction, except during the two World Wars, when it was converted to barracks use for military trainees. The interior of the building underwent some restyling in the 1920s, and then had major work done in 1974–75, when much of its interior styling was covered over or removed. Its basic interior plan was not changed by these alterations, and fragments of the original and 1926 finishes are still discernible. The building was listed on the National Register for its architecture in 2021.</p><br>
<p>The Martin Walter House, also known as Walter&#39;s Mansion, at 300 W. Abriendo Ave. in Pueblo, Colorado, was built c. 1906–08. It was listed on the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>It is a two-story, brick building. It was "one of the largest-scale and most elaborately detailed structures designed in the "Foursquare" or "Classic Box" style found in Pueblo."</p><br>
<p>Around 1912, a Los Angeles architect named P.C. Pape drew up plans for remodeling of the house; the only part of the plans implemented was to add a porte cochere.</p><br>
<p>Walter had moved to Pueblo to operate the Pueblo Brewery, which he had purchased for $7,000 in 1898; it became one of the two most-known Colorado breweries along with Coors Brewery.</p><br>
<p>The historical merit of the house includes serving as "the sole landmark of the Walter family and the role Martin Walter played in the early development of Pueblo", after the brewery itself was destroyed by fire and vandalism, after its closing.</p><br>
<p>The James Townley House is a historic farmhouse on the campus of Kean University located at the intersection of Morris Avenue and Green Lane in Union Township, Union County, New Jersey. It was documented by the Historic American Buildings Survey  in 1939. The house was added to the National Register of Historic Places on May 14, 1979, for its significance in architecture.</p><br>
<h2>History and description</h2><br>
<p>The oldest part of the farmhouse was built before 1796 by William Townley. His son James Townley (1760–1823) expanded it twice by 1820. The property remained in the Townley family until 1848 when Noah Parcell acquired it and added Greek Revival features. Hamilton F. Kean became the owner of the house in 1917. He was a USA Senator for New Jersey from 1929 to 1935. The state bought the property in 1954 and used it to move Newark State College (now Kean University) here.</p><br>
<p>The Upper Main Street Historic District encompasses a collection of mainly late-19th-century commercial buildings on Main Street in downtown Ansonia, Connecticut. Extending south from Maple Street, the district exemplifies the rapid commercial growth of the city at that time. Its most prominent feature is the Ansonia Opera House, built 1870. The district was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>Ansonias historic downtown area is located on a terrace of the steeply pitched hillside on the eastern bank of the Naugatuck River, from which it is separated by railroad tracks and a flood wall. The district is about 2 acre in size, with its major feature a row of connected masonry commercial buildings on the west side of Main Street, extending south from Maple Street to the opera house. A smaller array of buildings standing roughly opposite the opera house round out the district. The district is hemmed in by a combination of more recent construction and by some of the factories that caused the citys growth. Most of the buildings were constructed between 1870 and 1900, with most predating Ansonia&#39;s separation from Derby in 1889.</p><br>
<p>The Ansonia Opera House is the largest and most prominent of the district&#39;s buildings. It was built about 1870, and is a fine example of Italianate architecture executed in brick and stone. Across the street stands the Savings Bank of Ansonia building, a neo-Classical structure with an elaborate granite facade. Immediately north of the opera house stands a two-story Romanesque building finished in yellow brick. The buildings extending north from it are all brick three-story buildings, whose most architecturally sophisticated elements are their cornices, some of which are elaborately worked.</p><br>
<p>The Wallingford Center Historic District encompasses the historic 18th and 19th-century town center of Wallingford, Connecticut. Extending mainly along North and South Main Streets, the district includes high-quality residential, civic, commercial, and institutional architecture from the mid-18th to early 20th centuries, reflecting the community&#39;s growth. The district was listed on the National Register of Historic Places in 1993.</p><br>
<h2>Description and history</h2><br>
<p>Wallingford&#39;s historic town center is set atop a long north–south ridge, along which Main Street runs. The historic district extends along Main Street from Ward Street in the south to Church Street in the north, and includes one block of commercial buildings on adjacent Center Street. The district has 73 buildings, of which 66 are of historic significance. Architecturally diverse houses, ranging from Georgian colonials to Queen Anne Victorians, line South Main Street north to Prince Street, where the town hall (1916 neo-Classical, formerly the town high school) begins the commercial and civic area. Three churches, built between 1868 and 1870, are prominent landmarks in that area, as is the former armory (1920, now the police station).</p><br>
<p>Wallingford was founded in the 1670s, but saw its major growth as a commercial and industrial center beginning in the mid-19th century, when local businessman began manufacturing silver products. The Simpson and Wallace families that dominated this business also built commercial blocks in the downtown area that still stand. Wallingford&#39;s primary commercial center migrated westward to be nearer the railroad right-of-way in the early 20th century.</p><br>
<p>The Cassidy House is a historic house at 691 Ellsworth Street in Bridgeport, Connecticut. Built in 1849, it is a well-preserved example of early Italianate residential architecture, and the only documented building in the city from that period which retains its original board and batten siding. It was listed on the National Register of Historic Places in 2011.</p><br>
<h2>Description and history</h2><br>
<p>The Cassidy House stands in a residential area in Bridgeport&#39;s western Black Rock neighborhood, at the northwest corner of Ellsworth Street and Crowther Avenue. It is two-story wood-frame structure, with a shallow pitch hip roof sporting broad boxed eaves, and a wraparound single-story porch. The porch supports are fine examples of period scrollwork and bracketing. The interior of the house retains many original period features, including flooring, fireplaces, and trim. A number of the windows still have original glass, and many doors have original porcelain doorknobs.</p><br>
<p>The house was built in 1849 by John Plumb, and was the first house built north of Fairfield Avenue in this area, which was part of Fairfield until it was annexed by Bridgeport in 1870. The once-extensive property was subdivided for development in 1893, and the house was purchased in that year by Edward and Ellen Cassidy. It remained in the Cassidy family for 109 years. In a 1974 survey of Bridgeport&#39;s 19th-century residential architecture, it was one of two houses of the period that had its original board and batten siding; the other has subsequently been resided.</p><br>
<p>The Cedar Grove School is a historic one-room schoolhouse located at 4216 County Route 516 in Old Bridge Township of Middlesex County, New Jersey, United States. Built in 1885, it was added to the National Register of Historic Places on October 24, 1976 for its significance in education and community history. It was named after the nearby cedar trees and cedar swamp. Since 1964, the building has been the Thomas Warne Museum, run by the Madison–Old Bridge Township Historical Society.</p><br>
<p>The Phelps Sanitarium, later known as the Battle Creek Sanitarium, was a health care facility located at 197 N. Washington Avenue in Battle Creek, Michigan. The building was demolished in 1985.</p><br>
<h2>History</h2><br>
<p>The Phelps Sanitarium was built by brothers O.S. and Neil S. Phelps, with construction beginning in 1899 and completed in 1900. The sanitarium was intended to compete with the nearby Battle Creek Sanitarium operated by Dr. John Harvey Kellogg. However, the Phelps brothers went bankrupt within four years, and in 1904 the building was sold to C. W. Post, who used it to house his Trades and Workers Association labor union. In 1906, Bernarr MacFadden opened his own sanatorium in the building, which lasted only until 1909.</p><br>
<p>In 1913, Dr. Kellogg purchased the building and used the building as a Sanitarium Annex. In 1942, the original Battle Creek Sanitarium building was sold to the federal government to become Percy Jones Army Hospital, and Kellogg&#39;s sanatorium moved into the former Phelps Sanitarium building. In 1957, the building was purchased by the Seventh-day Adventist Church. They operated the sanatorium for some time, constructing an annex in 1970. However, the original Phelps Sanitarium building was demolished in 1985.</p><br>
<h2>Description</h2><br>
<p>The Phelps Sanitarium was constructed entirely of fieldstone, and at the time of construction was reputed to be the largest fieldstone building in the United States.</p><br>
<p>The Ward-Heitman House is a historic house museum at 277 Elm Street in West Haven, Connecticut. The house displays furnishings and objects that might have been used by families that lived here in more than 250 years of residential occupancy. The house was listed on the National Register of Historic Places in 2003.</p><br>
<h2>Description and history</h2><br>
<p>The Ward-Heitman House is located north of the center of West Haven, occupying 0.5 acre on the north side of Elm Street between Campbell Avenue and Ward Place. It is a -story timber-frame structure, with a heavy post-and-beam frame finished in wooden clapboards and covered by a gabled roof. It has a three-bay front facade, with sash windows arranged symmetrically around the main entrance. The second story has a slight overhang, and there is a large brick chimney at the center of the building. One ell extends to the rear, and a second extends to the west side. A 20th-century addition which extended to the east has been removed. The interior of the main block was originally two rooms on each floor, separated by the chimney.</p><br>
<p>The house&#39;s exact construction date is not known but could date to as early as 1684. It was certainly on the site by 1725. It was most likely built by Ebenezer Clark, who owned the land in this area at that time through his marriage to Rebecca Brown, daughter of Ebenezer Brown, the first colonial grantee. The property was acquired by Thomas Ward in 1788, and his descendants (including the Heitmans) remained on the property until 1909. It went through a number of owners in the 20th century, before being given to the National Trust for Historic Preservation in 1995. The trust deeded the property to a local nonprofit, which now operates it as a historic house museum.</p><br>
