<p>The Weston Havens House is a historic Modernist and International Style house in the Panoramic Hill neighborhood of Berkeley, California, built in 1940. John Weston Havens Jr.  commissioned the architect Harwell Hamilton Harris  to design a custom house suited to Havens&#39; interests and preferences.</p><br>
<p>The Weston Havens House was listed on the National Register of Historic Places on June 11, 2008. It is recognized as an example of regional California Modernist style, with its radical design that looks outward from the hill to a view of the Pacific, along with its use of materials such as Douglas fir and redwood.</p><br>
<h2>Original owner</h2><br>
<p>Havens was the last direct descendant of Berkeley founder, Francis Kittredge Shattuck, and built the house with part of his inheritance. Havens wanted a beautiful private home suited for entertaining guests, listening to music, displaying his collection of antique Asian art, and playing badminton in a courtyard with large amounts of plants. Havens was a gay man, and the house has been referenced in scholarly works about queer space.</p><br>
<h2>Architecture</h2><br>
<p>The Weston Havens House has been compared to Frank Lloyd Wright’s Fallingwater house. The house has a unique truss system that supports the roof, main floor, and lower floors. The trusses are made of three inverted triangular beams. Harris built the house of unfinished redwood. The large windows give an 180-degree panorama of the San Francisco Bay.</p><br>
<p>The house has not been changed, but it is vulnerable to weather damage and has needed repairs, for example after winter storms in winter 2002.</p><br>
<h2>Impact and legacy</h2><br>
<p>In 1941 Man Ray photographed the interior and exterior of the house, and these photos were published in many magazines.</p><br>
<p>Upon Havens&#39; death in 2001, he bequeathed the house to the University of California. The UC Berkeley College of Environmental Design takes care of the property and provides limited access for tours and other educational purposes. Original drawings and other materials related to the house are in the Environmental Design Archives at the UC Berkeley College of Environmental Design.</p><br>
<h2>Photos</h2><br>
<p>The Los Gatos Historic Commercial District of Los Gatos, Santa Clara County, California is a designated USA Historic District area of the city. The commercial district comprises a collection of commercial buildings that is bounded by both sides of West Main Street, North Santa Cruz Avenue, and University Avenue. These streets form an F-plan layout extending westward from the Main Street bridge situated in the southwestern region of the town of Los Gatos. The district covers the town&#39;s original commercial intersection and includes a substantial segment of its 19th-century commercial center. Within this area lies the sole surviving cluster of historic commercial buildings, reasonably well-preserved. The architectural styles within the district span from the Queen Anne style architecture and Richardsonian Romanesque, representing a broad spectrum of design trends, including Art Deco. The Los Gatos Historic Commercial District was placed on the National Register of Historic Places on September 13, 1991. Today, the historic commercial district remains a commercial hub and plays a role in local tourism.</p><br>
<h2>History</h2><br>
<p>The origin of the Los Gatos Historic Commercial District can be traced back to 1863 when W. S. McMurtry and J. W. McMillan inaugurated a general store on Main Street, situated to the east of Los Gatos Green near the mill. In 1864, an official post office was established, marking a pivotal development. Subsequently, other businesses followed suit. By 1875, the Paulson directory recorded the presence of two general stores, two blacksmiths, and two saloons, presumably all located on Main Street to the east of the Los Gatos Creek. In addition, there was a hotel situated on the west side of the creek. The economic progress of Los Gatos experienced a significant boost when the railroad arrived in 1877. Within a span of three years, the population tripled, reaching 1,510 residents. According to the 1888 Sanborn maps, the area that would later become the historic district featured a range of businesses, including hardware stores, millinery shops, drugstores, lodgings, general stores, lodge halls, barbershops, notaries, jewelers, surveyors, and insurance offices. Moreover, there were two saloons, cigar and notions shops, produce stores, printing facilities, butcher shops, and a hotel. Main Street was indeed the primary commercial thoroughfare, with nearly all of the town&#39;s commercial activity concentrated there or just a few steps away on selected side streets.</p><br>
<p>A massive fire on July 27, 1891, wreaked havoc, consuming approximately two blocks of Main Street to the east of the then-wooded bridge. In the wake of this devastating event, the Town Board acted by authorizing the establishment of a second volunteer fire company. Additionally, they enacted an ordinance designating specific fire limits and requiring that structures within these limits be constructed using brick or stone materials, in a proactive effort to prevent future such calamities. In 1901, a devastating fire swept through the area, leveling a significant portion of the business commercial on both sides of West Main Street, resulting in the destruction of 60 buildings. In the aftermath of the fire, the town&#39;s business district shifted its focus northward onto Santa Cruz Avenue.</p><br>
<p>Within this commercial district, you can find numerous architectural styles. For instance, the Sorenson Plumbing building at 21-23 West Main Street, a one-story wood frame structure erected in 1906, stands as a fine example of the Mission Revival style. In 1941, the property was purchased by Sorenson. Meanwhile, the Fretwell Building, located at the intersection of West Main Street and University Avenue, is a prime example of Romanesque Revival architecture, with intricate detailing on its stone-faced reinforced concrete facade. This building, completed in 1907, also serves as an illustration of early, robust reinforced concrete construction and was once home to the First National Bank of Los Gatos from 1912 to 1918.</p><br>
<h3>Rankin Block</h3><br>
<p>In 1902, William B. Rankin and his wife, Clara, oversaw the construction of a two-story Mission Revival-style building on a site located at Main and Front Street (now known as Montebello Way). The stucco-faced Rankin Block, also known as the Montebello Building, situated at 123-149 West Main Street, serves as another example of Mission Revival architecture within the district. This building remains standing to this day and served as the post office from 1917 to 1948. Additionally, from 1932 until the 1989 Loma Prieta earthquake, the Chamber of Commerce had a presence in a portion of the building. Although some alterations have been made, such as the removal of two curvilinear parapets and modifications to the storefronts and applied relief ornamentation on the upper floor, the building remains a visual anchor for the district. It still retains many of its historical elements, including the distinctive tile hip-roofed towers, exterior stucco finish, windows, ornamental window mullions, corner entrance, brick pilasters, vertical divisions, entrance, and upstairs hallways. The Montebello building&#39;s construction dates back to 1902, following a fire on October 13, 1901.</p><br>
<p>The First National Bank Building is located at the northeast corner of 160 West Main and Santa Cruz Avenue. This structure exemplifies Renaissance Revival architecture, a tall one-story design that was constructed in 1920. The First National Bank of Los Gatos occupied this building until 1955. The lunettes above four windows feature bas-relief sculptures of Franciscan Missions, adding to its historical and artistic significance.</p><br>
<h3>Hofstra Block</h3><br>
<p>Among the buildings at this intersection is the Hofstra Block, also known as the La Cañada Building at 1-17 North Santa Cruz Avenue. This area is defined by three brick party wall buildings, with the first one positioned at the intersection of West Main and Santa Cruz Avenue, featuring a circular bay window topped by a witch-hat roof projection. The northernmost section and the ground floor of the central portion were constructed in 1891, with the southern portion added in 1895, and the second story added to the central portion in 1905.</p><br>
<h3>Bogart Block</h3><br>
<p>Frank A. Bogart was associated with a 60 ft establishment on one of the main streets in Los Gatos. The Bogart Block, also known as Woodmens Hall, located at 18-20 Santa Cruz Avenue, was built in 1907. This two-story building is constructed of reinforced concrete and features Classical Revival ornamentation. Architectural elements include rusticated pilasters, a modillion cornice, a paneled parapet, and arched second-story windows. Historically, the upstairs of the Bogart Block served as the meeting place for the Woodmen of the World. During the Loma Prieta earthquake, the second story became separated from the first floor. However, it was subsequently reconnected and reinforced without altering its historic appearance, preserving the buildings architectural integrity.</p><br>
<p>The Art Deco architectural movement is well-represented by the Bank of America Building at 198 West Main Street. This two-story reinforced concrete building, with a stucco facade, was constructed between 1931 and 1932. It served as the location for Bank of America until 1963. It was one of the earliest new buildings constructed for the bank after its name changed from Bank of Italy to Bank of America. The building features a framed window wall composition and an exquisite zigzag frieze beneath a ceramic tile roof, showcasing elements of the Art Deco style. At 24 North Santa Cruz Avenue, you&#39;ll find the Templeman Hardware Store, a one-and-a-half-story reinforced concrete building designed in the Mission Revival style. It is characterized by a combed brick parapet, molded accent blocks, and green marble splash panels. Arthur W. Templeman operated his hardware store in this building from its construction around 1921 until 1966.</p><br>
<p>The Charles Wagner River Rock Bungalow, located at 15 University Avenue, stands as the sole residential structure within the district. Constructed in the 1920s, this one-story bungalow is distinguished by its exterior, which is entirely composed of rounded rocks sourced from Los Gatos Creek. Charles Wagner, the original owner, operated a barbershop on West Main Street, while Mrs. Alice Wagner ran her professional photography business from this residence. In the 1930s, Jacques Libante lived in the house. In 1934, Libante had the Gem City French Laundry constructed at the rear of the property, which is located at 11 University Avenue. This laundry is one of Los Gatos&#39; finest examples of Art Deco architecture and served as a French hand laundry until the 1960s.</p><br>
<h2>Historical significance</h2><br>
<p>The Los Gatos Historic Commercial District holds historical significance as determined by the National Register of Historic Places. It satisfies Criterion A due to its association with the economic development of the community, reflecting significant events and patterns in the towns history. Additionally, it aligns with Criterion C, which pertains to its architectural value, as it represents the towns sole concentration of reasonably intact commercial buildings that are over 50 years old. The district&#39;s period of significance is from 1891 to 1941. The Los Gatos Historic Commercial District was placed on the National Register of Historic Places on September 13, 1991.</p><br>
<h2>Significant buildings</h2><br>
<p>The Colony House Motor Lodge is a historic motel in Roanoke, Virginia. The motor lodge was built in 1959 in the Googie style and located on a main thoroughfare in what at the time was the outskirts of the city, making it a notable example of mid-20th century trends in design, travel, and lodging. The property consists of two buildings of guest rooms, an office and porte-cochere, and a swimming pool. Despite the changing character of its setting and national lodging trends, the motel remained in business until closing in 2018. It was listed on the National Register of Historic Places in 2023, and was being renovated for use as a boutique hotel.</p><br>
<h2>History</h2><br>
<p>The Colony House Motor Lodge was developed by Glover and Richard Trent, a pair of brothers who were businessmen in Roanoke during the mid-20th century. The brothers built the motel on Franklin Road, the primary thoroughfare into the city from the south, at a location which at the time was part of Roanoke County and located outside the developed portion of the area. The motor lodge was designed by Kinsey and Motley, an architecture firm based out of nearby Salem, who developed an understated version of the Googie style for the business. The buildings primary design trait is their folded plate roofs, cantilevered and painted white, which delineate the motels bays. The same feature is used on the office roof as well as its attached porte-cochere. The assorted design elements show influence from the work of Frank Lloyd Wright.</p><br>
<p>The lodging portion of the property initially consisted of two buildings housing a total of 45 motel rooms.</p><br>
<p>Along with the motel office and porte-cochere, an additional contributing resource to the property is a rectangular swimming pool, originally constructed with a masonry screen to shield swimmers from traffic on the road. The property initially included a steak restaurant called Town and Ranch; after it burned in the early 1980s it was replaced with a 1984 addition to the motel, connected via a breezeway, that increased its room capacity to 67. The final contributing structures are two signs that date to the motel&#39;s 1959 opening and a sign.</p><br>
<p>The motor lodge was a popular destination in its early years and benefitted from a national trend of increasing automobile tourism. Its proximity to Roanokes Victory Stadium saw it host not only attendees of that venues events but also many of its performers. Notable guests included Johnny Unitas, whose Baltimore Colts played exhibition games in the stadium in 1961 and 1962, and Hermans Hermits, who also held a meet and greet with fans at the propertys Town and Ranch restaurant in 1965.</p><br>
<p>Despite the rise of national hotel chains in the latter half of the 20th century, the growth of Franklin Road as a commercial corridor, and the construction of an expressway that bypassed the road into Downtown Roanoke, the Colony House stayed in business longer than many similar establishments in the area. With its décor little changed since its opening, the motel attracted guests seeking a retro lodging experience.</p><br>
<p>In 2018, the Trent family, owners of the motel since its opening, closed its doors and sold the property. The motor lodge was listed on the National Register of Historic Places in 2023, and that same year it was announced that the site was being renovated in the style of a boutique hotel. The rooms will be modernized and updated, but the exterior appearance will remain largely the same.</p><br>
<p>The Live Oak Creamery was a historic creamery in Gilroy, California that was established in 1908. The creamery is best known as Gilroy&#39;s first butter factory and only insulated structure in the vicinity. During the 1920s and 1930s, the creamery played a role in cheese processing.</p><br>
<h2>History</h2><br>
<p>Colonel Oscar Eugene Learnard (1832-1911), after serving two terms in the Kansas Senate, relocated to California, where he owned approximately 1,000 acres of farmland located roughly four miles west of Gilroy in the Solis district. His son Tracy was actively engaged in the dairy industry. In 1907, they started a creamery on their western Gilroy property, producing butter bearing the "Live Oak" brand name. The creamery was equipped with the latest and most advanced machinery. Subsequently, Tracy acquired a piece of land at the intersection of Martin and Railroad streets in Gilroy, where he oversaw the constructed of a state-of-the-art creamery facility, called the Live Oak Creamery. On March 30, 1908, the first batch of butter was made.</p><br>
<p>The Live Oak Creamery had a one-story, false front commercial-style design with a rectangular floor plan, measuring approximately 37.2 ft in width and 96.2 ft in length. The initial structure was a simple, insulated brick building. Subsequent expansions included a refrigeration room with one-foot-thick walls, a packaging and processing room, a milk sales area, and a milk arrival and testing room. These additional sections were constructed with wooden frames and finished with stucco surfaces.</p><br>
<p>This facility had the capacity to produce up to 1,000 pounds of butter each day. On November 6, 1911, Learnard died, and ownership of the creamery transferred to his wife, Mary and their son Tracy, who successfully managed the creamery for several years. By 1917, William Garlock was appointed as the creamery&#39;s manager. Under his leadership, significant upgrades were made, including the installation of a pasteurizer and homogenizer in 1919. In 1920–1921, Garlock & Cook acquired the Live Oak Creamery from Mary Learnard. It was during the early 1920s that the creamery diversified its production to include cheese.</p><br>
<p>Walter Luchessa, originally trained as a cheesemaker in his native Switzerland, immigrated to the Gilroy area in 1919 and was subsequently hired. In 1925, Walter, along with his three brothers, Peter, Alessio, and Quinto, purchased the factory from Crook. Walter assumed the role of running the business, while his brothers became investors. This transition marked the discontinuation of butter and cream production, as the Luchessa family focused on crafting Monterey Jack and cheddar cheeses. Taking advantage of the Southern Pacific Railroad, the Luchessas loaded their cheeses directly onto railroad cars for distribution throughout California. In the mid-1930s, the Luchessas leased the cheese factory to the Zottola Brothers, who continued the cheese-making enterprise. The Zottola Brothers also operated a retail store where they sold cheese, butter, and cream. Their establishment marked the last of the cheese-making businesses in Gilroy.</p><br>
<p>In 1945, the Creamery discontinued its original operations. Subsequently, it underwent a series of transformations, serving as an electricians workshop, a loan sharks office, a laundromat, and even a Jehovah Witness&#39;s Hall under various owners. In 1976, it was repurposed for the craft of making spinning wheels.</p><br>
<p>In November 1984, a fire gutted the wood-and-brick creamery building.</p><br>
<p>The Live Oak Creamery holds historical significance and was placed on the National Register of Historic Places on March 11, 1982. It is historically significant under the criterion of California history as being Gilroys first butter factory and only insulated structure in the region, serving a time when the dairy industry played a major role in the Gilroys economy.</p><br>
<p>The Cooper Apartments, also known as Seaside Apartments, is a historic apartment building located at 421–425 Seaside Avenue in Honolulu, Hawaii, USA. Constructed in 1939 during the Great Depression, the building is a distinguished example of a pre-war garden court apartment in Waikiki, embodying a transition between Streamline Moderne and the emerging tropical modern style, a fusion between Modern architecture and borrowing from Asian and South American vernacular architecture. This architectural style is characterized by its clean lines and simple aesthetic, reflecting the economic austerity of the time.</p><br>
<p>Designed by the Honolulu architectural firm of Dahl & Conrad, the Cooper Apartments exhibit characteristic features of tropical modern style blended with modest art deco-Asian decorative elements. The building&#39;s design includes white masonry walls, a low pitched hipped roof with overhanging eaves, large sliding windows with horizontal panes, and a distinctive stepped scalloped front wall. Additionally, the courtyard fireplace’s chimney and chimney cap contribute to its unique architectural identity.</p><br>
<p>It has been listed on the National Register of Historic Places since 2017.</p><br>
<h2>History and architecture</h2><br>
<p>The Cooper Apartments, also known as Seaside Apartments, is a distinctive example of the small garden court apartments prevalent in the Waikiki neighborhood of Honolulu before World War II. This two-story, concrete masonry edifice housed ten units arranged in an L-shape, centering around a paved, brick-walled courtyard which is accessible through a moon gate from the street. The architectural detailing extends to a cantilevered second-story lanai, corridor embellished with a wrought-iron railing exhibiting a foliate pattern, reaching upwards to the roof. The design also features fret-work doors and large sliding windows to facilitated the flow of cooling trade winds into the individual units, embodying a design responsive to Hawaii&#39;s tropical climate.</p><br>
<p>The building is a fine example of the modern design ethos of the architectural firm Dahl & Conrad. Bjarne Dahl, the senior partner, graduated from the Chicago Technical School in 1918 and worked with California architect Julia Morgan for five years. He moved to Hawaii in 1926 as the supervising architect for Morgan&#39;s YWCA project, and decided to make Hawaii his home. After a series of professional engagements, Dahl established his own office in 1935. The following year, he formed a partnership with Conrad "Connie" Conrad, a graduate in architecture from the University of Southern California who arrived in Hawaii in 1934. Their partnership, which lasted until the end of 1941 following the bombing of Pearl Harbor, resulted in a variety of architectural designs encompassing apartments, residences, and commercial buildings. Their design philosophy was rooted in a regional offshoot of modernism, a style well-reflected in the Seaside Apartments. Unfortunately, many of their architectural creations in Waikiki have been demolished to make way for larger-scale developments, but the Seaside Apartments continues to stand as a significant example of their modern design legacy in Hawaii.</p><br>
<p>The building was owned and constructed by Francis Cooper. Cooper was the owner of Hawaiian Transportation & Rock Products Company, the firm which manufactured the 4” x 16” hollow concrete blocks used in the construction of the building. The blocks were made with crushed lava rock aggregate. In addition, the company produced the water-proof concrete tile roof used in the building&#39;s original construction.</p><br>
<p>The Cooper Apartments is considered to be the best surviving example of a pre-war garden court apartment in Waikiki.</p><br>
<h2>Modern usage and preservation</h2><br>
<p>Following the war, the intense need for reasonably priced housing led to the construction of three and four story buildings in other parts of the city, as lots were consolidated to accommodate the larger structures that increased urban density. Originally constructed with five studio apartments on each floor of the building, all the original interior walls and ceilings have been removed through multiple building-wide renovations, shifting the building&#39;s primary function from residential use to commercial.</p><br>
<p>The building was placed on the US National Register of Historic Places on August 7, 2017 owing to its embodiment of the distinctive characteristics of the local architectural period.</p><br>
<p>In recent times, a notable event in the history of Cooper Apartments was its sale along with the neighboring historic property, Seaside Hawaiian Hostel, for a collective sum of $9.5 million. This transaction, reported on October 19, 2023, highlights the continued relevance and value of Cooper Apartments in the modern real estate landscape of Honolulu.</p><br>
<p>The Wheeler Hospital was a historic hospital constructed in 1929, in Gilroy, California. The hospital was designed by California architect William Henry Weeks and funded by merchant Lin Walker Wheeler. In 1990, the Wheeler Hospital merged with an elder care facility to establish the Wheeler Manor Senior Apartments.</p><br>
<h2>History</h2><br>
<p>Lin Walker Wheeler (1868-1944) provided $40,000 The construction of the hospital was supervised by builder William Radtke.</p><br>
<p>During the economic challenges of the Great Depression, city-sponsored development initiatives continued to thrive throughout the latter part of the 1930s, through financial support from influential Gilroy families such as the Wheelers. In 1962, a new 50-bed wing was incorporated into the Wheeler Hospital, situated adjacent to the original 1929 structure and connected by a walkway. Every room and department within this new building featured a wall plaque denoting a memorial contribution from various sources, including individuals, families, businesses, employee groups, and clubs.</p><br>
<p>During the 1979 Coyote Lake earthquake, the Wheeler Hospital treated six cases of injuries related to the earthquake. In 1990, Wheeler Hospital merged with a nearby elder care facility to establish the Wheeler Manor Senior Apartments. In 1993, Wheeler Manor introduced a new senior housing complex called Building B. In 2018, a renovation project was undertaken to safeguard historical elements of the original hospital, which included the preservation of the original foundation and walls, the clay tile roof, double hung windows, arched entrance, and tile inlay.</p><br>
<h2>Design</h2><br>
<p>The Wheeler Hospital was designed by California architect William H. Weeks (1864-1936) in 1928. It was done in the Mediterranean Revival (Spanish Eclectic) architectural style, which was a hallmark of Weeks&#39; work in Gilroy between 1921 and 1934. The Wheeler Hospital was a 10,144 ft&sup2; medical facility that occupied a 3.74 acre city block, sharing the space with a newer hospital completed in 1962. The Wheeler Hospital was designed in the shape of an "H." In each part of the structure, are low-pitched hipped tile roofs, covered with straight barrel mission-style terracotta tiles, arranged in a regular pattern. It was constructed from reinforced concrete and features, stucco siding, and decorative ceramic tile, and wrought iron elements on the front facade.</p><br>
<p>The hospital was equipped with 22 patient rooms, each having a toilet, with many also including full baths. Each patient station was furnished with a built-in radio equipped with earphones and a nurses call button, representing an innovative feature and making it the only hospital in the state with this equipment. The central section of the building consists of two stories, with a second-story recessed loggia situated above a double-arched, tiled entryway. It spans five structural units and features a second story above the central section. The buildings concrete foundation includes a partial basement used to house the furnace and water heaters. The lower part of the central section encompassed the main entrance, offices, and a stairway to the second floor. The upper floor, spanning approximately 1,300 ft&sup2, originally served as the nurses quarters and featured five bedrooms, two fully tiled baths, and a sitting room with a balcony overlooking the main entrance. The wings of the building are single-story, and they include windows of various sizes, including single, double, and triple configurations with wooden mullions.</p><br>
<p>The buildings exterior walls are primarily stucco, with ceramic tile embellishments located beneath the windows on the north side. The buildings exterior remains largely unaltered, except for the plywood coverings added to the windows, doors, and transoms in 1989. Internally, some modifications have been made, including the removal of certain walls. The ground plans east wing accommodated surgery suites, an emergency room, a dining area, and the primary kitchen. The west wing housed a maternity and nursery rooms, private patient rooms, and a visitors room. Male and female surgical patients had their rooms on the east and west sides of the central two-story section. Inside, the walls were constructed using lath and plaster, with wainscoting extending up to three feet, except in the maternity and surgery areas, where the walls are entirely covered in ceramic tile. Additionally, all the wood used throughout the building is of high-quality full-dimension redwood or better.</p><br>
<p>In 1962, a new wing was added to the Wheeler Hospital, adjacent to the original 1929 structure. A roof designed in an awning-style provides shelter for a walkway extending from the rear center of the 1929 building to the 1962 building, which is situated on the south side of the block.</p><br>
<h2>Historical significance</h2><br>
<p>The Wheeler Hospital was placed on the National Register of Historic Places on September 13, 1990. This hospital holds historical significance under California Register of Historical Resources criterion "C" within the field of Agriculture History as the work of local architect, William H. Weeks. The period of significance is in 1929 when the hospital was constructed to support Gilroy&#39;s needs for a community hospital.</p><br>
<p>The Miller Red Barn is a historic wooden hay barn constructed in 1891, in Gilroy, California, using pole construction techniques. It was erected on land belonging to Henry Miller, a prominent California cattle baron of that era. The barn is most known for its connection to agriculture production in Santa Clara County, and its role within the agricultural estate of Henry Miller, who was a partner in the cattle-raising and meat-packing enterprise of Miller & Lux in San Francisco. The Miller Red Barn was placed on the National Register of Historic Places on September 26, 2016.</p><br>
<h2>History</h2><br>
<p>Constructed in 1891, the Miller Red Barn was commissioned by rancher Henry Miller (1827-1916) on the Glen Ranch. It is currently recognized as the Ranch Site Addition of Christmas Hill Park, a 51-acre community park operated by the city of Gilroy. Initially, its primary function was to serve as a local storage facility for hay to feed Henry Millers cattle and horses. In subsequent years, the barn was repurposed for the processing of tree fruits cultivated on Millers land.</p><br>
<p>In the early 1900s, Glen Farm shifted its agricultural focus from growing tree fruits to the cultivation of wine grapes. By 1906, with the wine grape industry in Santa Clara County gradually migrating southward, Henry Miller entered into a 15-year lease agreement with the California Wine Association to operate Glen Farm. In 1941, the San Martin Winery acquired Glen Farm, and they continued to use the barn for winemaking purposes for an extended duration.</p><br>
<p>In 1962, a portion of Glen Farm was generously donated to the city of Gilroy by an interim owner with the intention of establishing Christmas Hill Park for public access. This park subsequently became the venue for the annual two-day Gilroy Garlic Festival during the summer months. As the festival&#39;s popularity grew, attracting larger crowds, concerns about high attendance emerged. In 1990, with the support of the Garlic Festival Association, the city acquired the section of Glen Ranch adjoining Christmas Hill Park, which also included the barn. For several years, the city permitted the Garlic Festival to utilize the barn for storing event signs. However, as time passed, worries about the structural integrity of the barn led the city to discontinue any use of the building. In 2013, the city opted to proceed with the demolition of the barn, sparking public concern and initiating a movement aimed at preserving and restoring this historic structure.</p><br>
<p>On September 22, 2018, the Miller Red Barn Association organized a fundraising dinner with the aim of raising funds to support an ongoing project involving the construction of a new foundation floor for the barn. In April 2020, the Santa Clara County Board of Supervisors, acting on the advice of the Historical Heritage Commission, granted the Miller Red Barn Association a sum of $297,008. The association intends to use the funds for various improvements, including replacing a section of the wooden flooring within the barn, swapping out the aluminum doors for redwood ones, establishing historical exhibits, and giving the barn a fresh coat of paint along with new siding. The barn will be raised in sections to facilitate the replacement of its foundation.</p><br>
<h2>Design</h2><br>
<p>The barn stands at a height of 25 ft, with a total area of 5,358 ft&sup2;. It is a vernacular-style barn, belonging to the Western-style barn category commonly found in the Western United States. These types of barns were designed to accommodate the storage of substantial amounts of feed, which was necessary for supporting the maintenance of large herds of animals.</p><br>
<p>The upper central portion of the roof incorporates a small raised monitor designed for enhanced ventilation, situated above the extended lower roofing. This windowless barn showcases a unique architectural feature: a wide gabled transept that spans the width of the structure, positioned approximately two-thirds towards the rear. This design allows for the convenient passage of horse-drawn vehicles, enabling them to load and unload cargo and exit on the opposite side without needing to turn around. Erected in 1891, the barn remains in robust structural condition, exhibiting no signs of sagging or leaning. Its roof is covered with galvanized sheet metal, a roofing material installed in the early 1950s. Over time, several gaps, primarily caused by storms, have developed, leaving certain sections of the barn exposed to the elements. Furthermore, some areas of the roof have become detached at the edges. In the rear north end of the building, there is a partitioned space measuring 25 ft by 56 ft, featuring a wooden floor. Historically, this area was used for the storage of dried fruit and served as temporary accommodations for seasonal laborers.</p><br>
<p>The barn&#39;s exterior is clad in redwood vertical boards, ranging from 9 ft to 11 ft in height and 9 in to 11 in in width. These boards are secured with 1 in to 2+1/2 in fir strips as battens. The boards bear distinct curved marks, which are characteristic of lumber that was rough-milled using a steam-powered circular saw.</p><br>
<h2>Historical significance</h2><br>
<p>The Miller Red Barn was placed on the National Register of Historic Places on September 26, 2016. This barn holds historical significance under Criterion A within the field of agriculture due to its integral role in the production of prunes, apricots, and wine grapes in the southern region of Santa Clara County, California. It is closely associated with Henry Miller, a partner in the San Francisco-based cattle-raising and meat-packing firm of Miller & Lux. The timeframe of significance spans from 1891 when the barn was constructed to support the cultivation and harvesting of fruit trees and grapevines, concluding in 1941 when the Glen Ranch, including the barn, was sold as part of the Henry Miller estate.</p><br>
<p>The Willard Griffin House and Carriage House is a historic mansion and carriage house located in Los Altos, California. The estate, constructed in 1901, features a three-story main house designed in the American Craftsman style. The Willard Griffin House and Carriage House was placed on the National Register of Historic Places on April 13, 1977. Today, the house and carriage house are located at the lower section of the Foothill College campus.</p><br>
<h2>History</h2><br>
<p>In the mid-1870s, Willard M. Griffin (1841-1913) and his family moved from Stockton Springs, Maine to California. Then, Griffin established Griffin & Skelley, a dried fruit packing company that joined with other firms to create the California Packing Corporation, known today as Del Monte Foods. Griffin purchased a 100 acre estate known as "Lake Grove" in Los Altos Hills. In 1901, he proceeded to build what is today known as the Willard Griffin House, or the Griffin House. The shingled American Craftsman style residence was designed by architects Frank Delos Wolfe and Charles McKenzie, while the construction was overseen by Edwin Greenwood and George Culver. The Carriage House, located on the same property as the main house, was used for the maintenance and storage of carriages, cows, and six horses. It later served as the station for the Los Altos Hills Fire Department for an extended period. The Carriage House now serves as the repository for the Foothill–De Anza Community College District&#39;s historic archives.</p><br>
<p>Griffin recruited a team of Japanese artisans from Japan to craft and care for the gardens across the property. They were responsible for the creation of the a tea house, as well as the construction of a bridge leading to it, along with various other garden structures.</p><br>
<p>Willard C. Griffin, the grandson of Willard M. Griffin, acquired the 100 acre property in 1936. He later retired to Portola Valley and died on April 1, 1975. The remnants of the Griffin&#39;s fish pond and tea garden are still present, situated in close proximity to the football field and directly behind the building that serves as the headquarters for Educational Technology Services.</p><br>
<p>The "Committee to Save the Griffin House," initiated in the 1990s, achieved a significant milestone in 1996. They successfully gathered $101,000 in public donations to address essential repairs, including reinforcing the foundation, adding a new shear wall, and completely replacing the sloping roof. As of November 2022, the Griffin House and Carriage House have been included in the project descriptions outlined in the Foothill-De Anza Community College District Sustainability Action Plan. These descriptions pertain to the installation of new heating and cooling systems in the buildings, along with the necessary connections to existing or new utilities.</p><br>
<h2>Design</h2><br>
<p>The Griffin House, designed by architects Frank Delos Wolfe and Charles McKenzie, spans three levels. The ground floor comprises a living room, dining room, study, kitchen, and pantry. The living room of the Griffin House had a brick fireplace, serving as the main heat source. On the second floor, there are five bedrooms and an indoor bathroom. The third floor primarily serves as an attic, yet it has a balcony on one side.</p><br>
<p>The Griffin House was in the 1907 Book of Designs, a publication featuring various home designs from across the country. It was the sole entry in the book to showcase both its exterior and interior design. The home has over 5,000 ft&sup2, and it was constructed entirely using California redwood.</p><br>
<h2>Historical significance</h2><br>
<p>The Willard Griffin House and Carriage House was placed on the National Register of Historic Places on April 13, 1977, by the United States Department of the Interior. This house and carriage house holds historical significance under Criterion A within the field of architecture, as it is closely associated with Frank Delos Wolfe 1862–1926) and Charles McKenzie, who played a significant role in shaping the architectural landscape of now-historic neighborhoods in the Santa Clara Valley. Four of their undertakings have earned a place on the National Register of Historic Places.</p><br>
<p>The Duckabush River Bridge is a bridge over the Duckabush River in the Olympic Peninsula in Washington, United States. It is listed in the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>As the state of Washington grew, road construction grew in demand. In the 1920s and 30s a series of five reinforced concrete tied arches were constructed within the State. Like In these arches, the deck slab is hung by suspenders from a pair of arch ribs above the roadway. In most arches, massive abutments and foundations are necessary to resist the horizontal thrust exerted by the arch on the skewbacks. In a tied arch design, the horizontal thrust is resisted by longitudinal ties. In the five tied arches in Washington, the deck slab itself acts as a tie. This design eliminates the need of massive abutments to counter the horizontal thrust. This concrete, through tied, ribbed arch was constructed in 1934 by the West Coast Construction Company.</p><br>
<h2>Appearance</h2><br>
<p>The 168 ft bridge consists of a 110 ft concrete arch and two concrete girder spans. It is 24 ft wide. The deck slab is hung by suspenders from the pair of arch ribs and acts as a tie. As with a steel arch bridge, the two arch ribs of the Duckabush River Bridge were connected by three struts to provide lateral rigidity against traffic and wind loads. The Duckabush River Bridge is one of five concrete tied arches within the State.</p><br>
<p>Simmons Colored School is a historic building and a former African American school in The Ville neighborhood of St. Louis, Missouri, USA. It served as a historically segregated African American elementary school and middle school from 1898 until 1930. The building served as the Stowe Teachers College campus, an African American normal school and junior college from 1930 until 1940. The building has played an important role in The Ville community since its inception.</p><br>
<p>The Simmons Colored School has been listed on the National Register of Historic Places since 1999, for the architecture and contributions to Black history.</p><br>
<h2>History</h2><br>
<h3>19th-century</h3><br>
<p>In 1873, the Elleardsville School for Colored Children No. 8 (shortened as Colored School #8) was opened in a two room frame building on the site of the present Simmons Middle School. The school began with only White teachers; and by 1877, Black teachers had replaced them and had begun serving in administrative positions in the school as well.</p><br>
<p>The Classical Revival style school building was designed by nationally-known St. Louis architect William Butts Ittner during the first full year of his tenure as the first Commissioner of St. Louis School Buildings.</p><br>
<p>In 1891, the school was renamed for William J. Simmons (1849–1890) shortly after his death, a Black Baptist clergyman, educator, and author who was formerly enslaved. The need for a more adequate facility was finally addressed when the first part of the present Simmons School building was designed in 1898, during this time most students (including neighboring White students) did not finish schooling past the 8th grade.</p><br>
<h3>20th-century</h3><br>
<p>Architect Ittner designed the school to be two-stories high with a removable wooden roof to facilitate the addition of another five-room story. When the school building opened in 1898, the enrollment was 50 students. By 1900, the enrollment was 492 students. With a great increase in demand, that third story was added in 1901. The school enrollment continued to increase quickly, and Ittner found it necessary to address the inadequacy of the facilities in 1911, when he designed the three-story companion wing to Simmons School. The crowding problem was somewhat alleviated in 1918 when the nearby all-White Marshall School (or John Marshall Elementary School) became an African American middle school.</p><br>
<p>The demand for Black teachers for the Black schools increased, and the local Black teachers training facilities became inadequate. The Normal School located at Sumner High School outgrew its space and moved to Simmons in 1930, where it was renamed Stowe Teachers College, after Harriet Beecher Stowe. An addition was designed in 1929 and built at the west end of the 1911 wing at a cost of US $50,000; the records do not include the architects name, but it was almost certainly Rockwell M. Milligan, the school board architect in 1929. In 1933, Lincoln University in Jefferson City, Missouri established a junior college division at Stowe Teachers College, funded under the Public Works Administration (PWA). Although the Lincoln University junior college program lasted only a few years, Stowe received its own junior college standing in the fall semester of 1938. The St. Louis Argus newspaper had a regular news column dedicated to the school updates. In the mid-1930s, of the 21 accredited institutions of higher learning located in St. Louis, only Stowe Teachers College and the Homer G. Phillips School of Nursing admitted African Americans. In 1940, the Stowe Teachers College moved to a new building a few blocks away, eventually becoming the Harris–Stowe State College (now Harris–Stowe State University).</p><br>
<h3>21st-century</h3><br>
<p>In 2022, new apartments were proposed for the former school building.</p><br>
<p>The Malaguerra Winery is a historic winery located in Morgan Hill, California. The two-story winery is the oldest remaining winery structure in Santa Clara County, which stands at the eastern edge of the Valley and the foothills of the Diablo Range. It was constructed in 1869 for ranchero José María Malaguerra. The Malaguerra Winery was placed on the National Register of Historic Places on October 23, 1980.</p><br>
<h2>History</h2><br>
<p>By the late 1850s, Swiss immigrant and Californio ranchero José María Malaguerra began cultivating vineyards in Madrone, Morgan Hill, California, then an independent township just north of Morgan Hill.</p><br>
<p>In 1861, Malaguerra and his wife, Alvina, acquired a 200 acre parcel of Rancho Refugio de la Laguna Seca from Liberata Piatti, the widow of Californio pioneer William Fisher. In a collaborative effort, they cultivated grapevines and tomato plants, tended to hogs. Over the years, the Malaguerras brought up 11 children.</p><br>
<p>In 1869, he founded the Malaguerra Winery, the oldest existing winery in Santa Clara Valley. The Malaguerra Winery is situated at the eastern border of the Santa Clara Valley, with the foothills of the Diablo Range rising just behind it. The original northwest section of the Malaguerra Winery also served as a space for the family to air-cure homemade sausage and salami, suspending the pork casings from the rafters within the building. While other wineries from the same era have gone on to produce nationally renowned wines, the majority of their original winery buildings have been replaced over time. The cultivation of grapes on a commercial scale commenced in this region during the early 1850s, and by 1860, Malaguerra was one of the twenty-six winemakers in the county. The Malaguerra Wine enterprise can be viewed as a representative example of the viticultural development in Santa Clara County.</p><br>
<p>During the mid-1890s, a national economic downturn and this, combined with the "Wine War," a period characterized by excessive grape planting following the resolution of the Phylloxera problem, led to the closure of many local wineries, including the Malaguerra business&#39;s demise in 1898. The Malaguerra operation, however, experienced a revival and expansion at the turn of the 20th century under the management of Augustino A. Guglieri. The involvement of Italian immigrants in the wine production industry became a hallmark of Santa Clara County, as exemplified by the Malaguerra Winery. In 1920, the Guglieri family sold the property to John Traverse, who owned and oversaw it until 1950. Subsequently, for nearly fifteen years, the former Malaguerra Wine operation functioned as a chicken farm during the 1960s.</p><br>
<p>Since 1971, the Malaguerra estate has been under the supervision of the County of Santa Clara, acting as a connection between Anderson Lake and the Coyote Creek Parkway. The entire property was granted a lease by the County of Santa Clara to the Friends of the Winemakers. Reports from the late 1970s described the group as being committed to renovating the building into a functioning wine museum and redesigning the grounds with historically accurate grape varieties, all with some degree of collaboration with the California Department of Parks and Recreation.</p><br>
<h2>Design</h2><br>
<p>The Malaguerra Winery is on an unevenly shaped 15 acre tract of land. The Winery complex consists of four distinct sections. Of these, two hold historical significance: the initial rubblestone winery building, dating back to 1869, and an adjoining rubblestone barn added in 1904. The remaining two sections are modern additions that will be eliminated as part of the planned restoration.</p><br>
<p>The two-story winery building is positioned within the northwest section of the Malaguerra Winery complex. It has an almost square layout, measuring 22 ft by 24 ft, and is constructed from basalt rubblestone sourced from the nearby Coyote Creek. The exterior walls have been finished with stucco and painted white. The gable roof of this structure is largely concealed by the expansive roof of the adjoining barn. There is no chimney present, but the kitchen features gas-fired space heaters for warmth. On the north side, there&#39;s an aluminum-framed casement window that opens into the kitchen. All the windows feature generously recessed interior reveals.</p><br>
<p>On the west side of the building, a double wooden door grants entry to the basement. The basement comprises a spacious single room, divided by four wooden posts that provide support for the floor above. Access to the main floor, at the upper level of the winery building, can be found on the south side through a contemporary stuccoed frame addition.</p><br>
<p>Around the turn of the century, the barn was added to the complex. Given the sloped terrain on which it stands, the original winery building was designed without an interior staircase, as both the basement and main floors of the barn are accessible at ground level. The rectangular barn measures 31 ft by 88 ft and is founded on basalt stone foundations. The basalt rubblestone walls, extending up to a height of 8 ft, have been painted white. Above this, a 4 ft-high wooden frame wall, clad with ship-lapped siding, completes the structure. The barn features a spacious single interior area. Its roof is supported by an exposed, rugged truss system, which includes a tie beam, queen posts, collar beam, two diagonal struts above the collar beam, and, at irregular intervals, diagonal braces that bolster the lower section of the system. The barn&#39;s roof extends over and effectively covers almost the entire roof of the original stone winery building.</p><br>
<p>Between 1930 and 1950, an extension comprising a living and sitting room was integrated into the 1869 structure. The main floor has served as a living space and is sectioned into three rooms by wooden partitions, which do not seem to be part of the original structure. All four interior walls have been plastered, and the floor is composed of 2 in-wide soft wooden boards. On the main floors west-facing facade, there are two one-over-one sash windows. Theres also a star-shaped unglazed opening in the gable of this facade, likely designed for attic ventilation. Below the star is a cartouche that bears the initials "C-M" and the date 1869. Given that Malaguerras wife was Alvina Collins, its plausible that these initials "C-M" could represent their combined monogram.</p><br>
<h2>Historical significance</h2><br>
<p>Registration for the Malaguerra Winery to be placed on the placed on the National Register of Historic Places dates back to December 2, 1976. The winery was placed on the National Register on October 23, 1980. This winery holds historical significance under the criteria of Agriculture and Industry. The Malaguerra Wine operation represents the early stages of wine cultivation in Santa Clara County, and for demonstrating the role played by Italian immigrants in shaping the local wine production industry.</p><br>
<p>The Salvation Army Citadel is a historic religious building in Roanoke, Virginia. Built in 1941 in the Colonial Revival style, the site was the headquarters for the Salvation Armys operations in Roanoke, including church services, social services, and outreach. After the church constructed a new primary location in 1980, the building served as the Red Shield Lodge, a mens homeless shelter, until closing in 2018. It was listed on the National Register of Historic Places in 2020, and reopened that year as an apartment building.</p><br>
<h2>History</h2><br>
<p>The Salvation Army began operations in Roanoke in 1884. The institution aimed many of its resources toward reaching poor and disadvantaged citizens, often foregoing traditional church buildings in favor of evangelizing in the streets and in commercial establishments. The church did have various physical locations in the city during the late-19th and early-20th centuries, including a former Salem Avenue saloon purchased in 1916 for $37,000. The organization remained in that building until 1941, when it was sold and work began on a new headquarters ("citadel") farther west on the same street. A fundraising drive provided $20,000 of the eventual $50,000 cost for the new location.</p><br>
<p>Roanokes vice-mayor laid the sites cornerstone in a May 4 ceremony. The buildings architect was Eubank and Caldwell, a local firm responsible for at least eight other locations eventually listed on the National Register of Historic Places. The citadel was designed in the Colonial Revival style; a two-story block with basement occupies the propertys southern end and a gymnasium the northern. The exterior is concrete with a red brick veneer done in Flemish bond. The southern façade is symmetrical, and features a pair of cut stone pilasters to either side of a recessed entrance.</p><br>
<p>The citadels interior featured a space used as both an auditorium and chapel on the first floor, while the second included classrooms as well as an office for the churchs commanding officer and an apartment for the assistant officer. The gymnasium&#39;s walls are made of painted concrete, and its floor is maple and was installed with the tongue and groove method.</p><br>
<p>More than 700 people attended the citadel&#39;s dedication on October 12, 1941. The church soon began offering services in the building, including home economics, lodging for women, preschool programs, and food and clothing drives for the needy. A 1941 Christmas drive provided care packages to over 250 Roanoke-area families.</p><br>
<p>In 1948, Roanokes mayor presided over the churchs mortgage burning ceremony in honor of completing its final payment on the citadel. By 1951 the local chapter had 250 members and an annual budget of over $40,000.</p><br>
<p>The citadel served as the church&#39;s headquarters in Roanoke until 1980, when the organization spent $1.3 million to obtain and renovate a former elementary school located in the southeast portion of the city. The remainder of its $2 million fundraising drive was spent renovating the former headquarters on Salem Avenue. The citadel was redeveloped into the Red Shield Lodge, a shelter for homeless men. Its chapel became a 50-bed dormitory, and the second floor held 12 beds for men transitioning out of the shelter. The building operated in this fashion until 2018, when declining use made the Salvation Army decide to close the shelter. While it was initially intended to be razed, a local developer purchased the property in 2019. The site was listed on the National Register of Historic Places in 2020, and later that year reopened as apartments and retail space.</p><br>
<p>Bel Air Motel, also known as Bel Air West, is a historic building and motel in the Central West End neighborhood of St. Louis, Missouri.</p><br>
<p>It was listed on the National Register of Historic Places in 2009. This building is now a Holiday Inn Express after a remodel in 2014.</p><br>
<h2>History</h2><br>
<p>The Bel Air Motel was built in 1957, and is located east of the intersection of Euclid, facing north onto Lindell Boulevard, and north of Forest Park. Lindell Boulevard is primarily a commercial street with a mixture of large, multistoried, office and apartment buildings, but it is also known for its concentration of historic hotels. The buildings are a mixture of those completed in the years associated with the historic development of the Central West End (primarily from the late 1890s through the 1920s), but one of the unique features of this section of Lindell is, that unlike other sections of the city, there was a resurgence of construction after World War II and there is also a concentration of distinctive mid-century modern designs, both in apartment and office buildings, with at least 20 in this 8 block stretch.</p><br>
<p>The Bel Air Motel was founded by St. Louis hotelier, Norman K. Probstein. Constructed by Westlake Construction Company according to the designs of architect Wilburn C. McComick (1918–2008), the Bel Air Motel was first completed in 1958 with 150 guest rooms. A third story was added across the front in 1959, bringing the total number of guest rooms to 198. The addition continued the basic design of the original two stories and was designed by architectural firm, Russell, Mullgardt, Schwartz, and Van Hoefen (made up of Ernest John Russell, William Oscar Mullgardt, Bernard Schwartz, and Hari Van Hoefen).</p><br>
<p>The Bel Air Hotel is a three-story building that is a U-shaped structure, with the interior of the U creating the courtyard that originally had a patio and swimming pool for guests. The interior of the hotel is divided into a series of guest rooms flanking a central hallway that runs along the base of the U and rear leg of the U on the first floor as well as down the center of the two upper floors of the front leg of the U.</p><br>
<h3>Bel Air East</h3><br>
<p>The motel was renamed Bel Air West after the Bel Air East was constructed in 1963 in downtown St. Louis (at Fourth Street and Washington Street). Bel Air East building was taller, and at the time of opening, featured a Trader Vic&#39;s restaurant and tiki bar. While the buildings kept the names of Bel Air West and Bel Air East, the company changed its name in 1968 to Bel Air Luxury Motor Inns.</p><br>
<p>Washington Metropolitan African Methodist Episcopal Zion Church is a religious organization and historic church building in St. Louis, Missouri, USA. The building originally housed the United Methodist Episcopal Church. It is one of the few surviving examples of Gothic Revival churches in St. Louis. It has been listed as one of the National Register of Historic Places since 2005, for the architecture.</p><br>
<h2>History</h2><br>
<h3>United Methodist Episcopal Church (1880–1915)</h3><br>
<p>Located a few blocks to the northeast of the campus of St. Louis University, the church is one of only a few surviving buildings in the 19th century "Piety Hill" neighborhood.</p><br>
<p>The Gothic Revival style building was constructed in 1880 from a design by architect August M. Beinke (1846–1901). It was originally a Methodist church, the United Methodist Episcopal Church. After being badly damaged by fire in 1911 the church was rebuilt from plans by architect William Anelett Cann. The building is constructed of rough-cut limestone with brick. After the interior of the church was rebuilt in 1911, features were added such as the vaulted ceiling and stained glass windows. Attached at the church is the parish house designed in 1883 by an unknown architect.</p><br>
<h3>Washington Metropolitan A.M.E. Zion</h3><br>
<p>The St. Louis congregation which became Washington Metropolitan African Methodist Episcopal Zion church was founded in about 1865 as home prayer meetings with the first known pastor, Gary Matthews. After its founding and over the years, the location of the Washington Metropolitan A.M.E. Zion congregation moved around the neighborhood.</p><br>
<p>In 1915, the United Methodist Episcopal Church congregation decided to sell their building to Benjamin Garland Shaw and the Washington Metropolitan A.M.E. Zion congregation. Shaw was well-known for his fundraising skills. Under Shaw&#39;s leadership, the church opened the AME Zion Social Center in 1915 and offered free classes taught by professionals, including child study and home economics, literature, current events, music, writing, and commercial law. The principal and teachers from the nearby Sumner High School (the only Black school at the time) taught at the church. His work brought him local and national accolades; in 1920, Shaw left St. Louis to become a vicar bishop.</p><br>
<p>In the 1970s, Rev. Richard Laymon Fisher served as the pastor.</p><br>
<p>The Broadway Trust Company building is located at 938–944 Broadway in the city of Camden in Camden County, New Jersey, United States. The limestone Classical Revival building was built in 1920 and was added to the National Register of Historic Places on August 24, 1990, for its significance in architecture and economics. The bank is part of the Banks, Insurance, and Legal Buildings in Camden, New Jersey, 1873–1938 Multiple Property Submission .</p><br>
<p>The Broadway Trust Company was founded in 1909. The building was designed by the architect Phillip Merz in a Neoclassical style and features six Ionic columns facing Broadway. It is no longer used as a bank and is now the St. James Apostolic Temple.</p><br>
<p>The building at 525 Cooper Street, also known as the Charles S. Boyer Building, is a professional building in the city of Camden in Camden County, New Jersey, United States. The historic brick building was built in 1925 and was added to the National Register of Historic Places on August 24, 1990, for its significance in architecture and law. The building is part of the Banks, Insurance, and Legal Buildings in Camden, New Jersey, 1873–1938, Multiple Property Submission .</p><br>
<p>The three-story building was built with tan bricks and features Mission Revival architecture. The site was originally a rowhouse where Charles S. Boyer lived. According to the nomination form, it was part of the expansion of the legal profession and the insurance industry in the city in the 1920s.</p><br>
<p>The Roma Bakery is a bakery located in San Jose, California built by Vittorio Pera in 1911. The building&#39;s architectural style is a blend of Colonial Revival and Queen Anne. The bakery was placed on the National Register of Historic Places on January 21, 1982.</p><br>
<h2>History</h2><br>
<p>Pera, who arrived in the United States sometime after 1900 undertook the bakery project for his cousin, Rizieri Pera and his wife Rosa, who had initiated the bakery-grocery business back in 1907. The Pera family has continued to run the same business for three generations.</p><br>
<p>Mario Pera re-established his father&#39;s 1907 Roma Bakery in San Jose in 1952 and sold French and sourdough bread and rolls throughout the Bay Area. Steven Pera, was co-owner of Roma Bakery in Sept. 4, 2020.</p><br>
<h2>Design</h2><br>
<p>The structure&#39;s most distinctive architectural feature is the second level turret that occupies the northeast corner of the building. This turret, characteristic of the Queen Anne Victorian-style popular in the 1890s, has a shingled, rounded roof and was once adorned with a flagpole. The entrance has been sealed with horizontal wood siding, and two plate glass windows that flanked the entrance have been partially covered, although the upper sections of these windows remain visible. The original trio of columns still stands within this sealed entrance.</p><br>
<h2>Historical significance</h2><br>
<p>Its architectural style is a blend of Colonial Revival and Queen Anne styles. The Roma Bakery was placed on the National Register on October 23, 1980.</p><br>
<p>The Baldwin–Reynolds House is a historic home in Meadville, Pennsylvania, United States. It was built in 1843 by USA Supreme Court Justice Henry Baldwin, who died within months of its completion. After Baldwins death, the house was used as a girls school until it was sold to local businessman William Reynolds in 1847.</p><br>
<p>The house now serves as a museum. The Baldwin–Reynolds House offers free tours in the summer. It was home to two mayors. The Crawford County Historical Society purchased the home in 1963.</p><br>
<h2>History</h2><br>
<p>The Meadville property on which the Baldwin–Reynolds House was built was purchased in 1840 from Squire Lord by Henry Baldwin, who had been appointed as a justice on the Supreme Court of the United States by President Andrew Jackson in 1830. The house was built for Baldwin in 1843 by an unknown architect. Baldwin died several months after moving into the house. After his passing, the mansion became a finishing school for girls.</p><br>
<p>The house was acquired by William Reynolds in 1847. Reynolds was the nephew of Baldwins wife. William Reynolds and his wife Julia added a third story and, in 1866, renovated the house to change its roof styling and add further rooms. He would later serve as mayor of Meadville. After William Reynolds died, the he mansion remained in the Reynolds family: John Reynolds, son of William and Julia, became the homes next owner. John, who married Katherine Shryrock, was Meadville&#39;s mayor for three terms. Katherine helped establish Meadville Garden Club. In 1963, after they died, the Crawford County Historical Society purchased the home.</p><br>
<p>Antique Victorian fencing, valued at $15,000, was purchased at auction and donated to the museum. Portions had been installed around a garden on the museum&#39;s grounds before it was all stolen in May 2023. Two men were charged with the theft in June that year.</p><br>
<h2>Property</h2><br>
<p>The three-story historic house museum and surrounding property is owned and managed by the Crawford County Historical Society, which keeps the museum open from Memorial Day until Labor Day. The Meadville Garden Club helps with upkeep on the grounds, which remain open all year. An annual "Fezziwig&#39;s Christmas Dinner" is held in the home.</p><br>
<p>The original two-story mansion was built in a "southern styled" Greek Revival style. The structure features an exterior of yellow brick. Baldwins original construction was said to be a copy of Andrew Jacksons "Hunters Hill" home in the Nashville area. During Reynolds 1866 renovation, the house&#39;s roof was changed from a hip roof to a mansard roof. The same renovation also added a stairway, a library, a conservatory, and new first-story entrance A gazebo dating to the 1890s used to stand in the property.</p><br>
<p>The museum&#39;s property occupies more than 3 acres adjacent to the house. The grounds includes a small pond known as Little Conneaut Lake and two Dutch copper beeches, the latter of which are more than a hundred years old. William Reynolds collected plants and landscaping items placed on the property during trips to Europe. A plan to purchase Victorian-era furnishings for placement on the grounds and develop the space into a botanical garden and arboretum was announced in 2022. In 2023, antique Victorian brass and iron fencing was partially installed around a garden on the property before it was stolen in May.</p><br>
<p>Levi–Topletz House is a historic brick residential building in Dallas, Texas, USA. It displays elements and characteristic of the Italian Renaissance revival and Prairie School styles. It is one of the few residences of the Edgewood Addition  that is surviving on Martin Luther King, Jr. Boulevard , the principal streetcar route across the South Dallas neighborhood. The original owner of the house was Jewish businessman, Leo S. Levi, who commissioned the building.</p><br>
<p>It has been listed on the National Register of Historic Places since 1995, for the architecture. The building is associated with the historic context, "The Development of East and South Dallas: 1872–1945". It is also known as Phase IV--East Dallas DAL/DA 9.</p><br>
<p>Levi–Moses House is a historic residential building in Dallas, Texas, USA. It was designed by architect H. A. Overbeck with elements of Italianate, Renaissance revival, and Prairie School styles. It is one of the few residences of the Edgewood Addition  that is surviving on Martin Luther King, Jr. Boulevard , the principal streetcar route across the South Dallas neighborhood. The Edgewood Addition was home to many prominent Jewish families who built their homes near Temple Emanu-El . The original owner of the house was Charles G. Levi and then his son-in-law Jacob Moses who succeeded him.</p><br>
<p>It has been listed on the National Register of Historic Places since 1995, for the architecture. It is also known as Phase IV--East Dallas DAL/DA 16.</p><br>
<p>The Yuma Street Historic District in Manhattan, Kansas is a historic district which was listed on the National Register of Historic Places on January 3, 2023. It was a historic center for the Black community in Manhattan, emerging during the American period of racial segregation. The Yuma Street Historic District stands in the southern portion of Manhattan. It includes the Second Baptist Church, United Service Organization, Douglass Park, Douglass School, and Shepard Chapel.</p><br>
<h2>History</h2><br>
<p>Yuma Street has been a center for the Black community in Manhattan since the late 1870s when the first organizations and framed buildings started appearing. Its churches have consistently been an integral institutional centerpiece that brought the Black community together. The Yuma Street Historic District contains three such churches that have been an anchor of support for the local Black community. It also includes the Douglass School, once an elementary school for Black children during segregation, and a former United Service Organization building that was for Black soldiers recreation.</p><br>
<p>Many buildings in the historic district were designed by architect Dr. John Walters, who was better known for his buildings on the campus of Kansas State University.</p><br>
<p>Welch-Hurst, also known as the Judge J.R. Welchs Ranch, is a historic gentlemans working ranch and family retreat in Saratoga, California. This ranch represents an early example of American Craftsman-style architectural, built for Judge James R. Welch. The Welch-Hurst ranch was placed on the National Register of Historic Places on September 18, 1978.</p><br>
<h2>History</h2><br>
<p>In 1902, the Superior Court Judge for Santa Clara County, James R. Welch (1860-1931), established an 800 acre estate on land acquired from McElroy, Bonjetti, and Pourroy. In 1908, the Welch-Hurst Ranch was constructed as a vacation residence. This log-style house is both a gentleman&#39;s working ranch and a summer retreat for his family. Welch expanded the estate by introducing orchards and transforming a sag pond into a water feature with a waterfall.</p><br>
<p>James Ray Welch was born on February 2, 1860, in Plainview, Illinois. In 1866, he and his family relocated to Missouri. The economic hardships of the 1870s compelled Welch to strike out on his own at the age of fourteen, leading him to Boise, Idaho. There, he attended public school and, by the time he turned twenty, he had become a teacher and assistant principal. In Montana, he fought alongside the USA Army against Native American tribes. In 1882, he made San Jose his home, enrolling at the University of the Pacific and Healds Business College while simultaneously serving as Principal of the universitys Commercial department. He went into the legal field, and he was granted admission to the bar in 1886. He practiced law in the office of Judge John E. Richards. Welch served as the City Attorney of San Jose from 1894 to 1897 before transitioning into private practice. His legal career was from 1901 to 1931, where he held a position on the State Superior Court. The James R. Welch Papers can be accessed through the Online Archive of California. This collection of documents was originally in the possession of Judge James R. Welch and his daughter, Ione Welch. After Judge Welch&#39;s passing, Ione donated these papers to the archive.</p><br>
<p>Welch held a prominent position in the community, recognized for his civic-minded dedication. He served as a board member for the California Prune and Apricot Growers Association, which would later evolve into the Sunsweet Growers Cooperative. He played a role in successfully advocating for the preservation of the Skyline Highway as a scenic route along the Santa Cruz Mountains&#39; crest, which was officially opened in 1929.</p><br>
<p>Upon Judge Welchs passing in 1931, the Welch family retained ownership of the house until 1955 when it was acquired by "Americas Uranium King", Vernon J. Pick, who established a 200-person electronics company on site In that year, Pick purchased the 800 acre Welch-Hurst ranch, situated near Sanborn Road on Big Basin Way, for a total of $101,000. Pick renamed the estate Walden West after the cabin by a pond in Henry David Thoreau&#39;s book Walden.</p><br>
<p>During the 1960s and 1970s, the ranch changed hands between multiple owners. In the 1970s, Sanborn County Park expanded through a series of land acquisitions, and in 1977, the property was purchased by the Santa Clara County. The main house was at risk of demolition, but it was rescued by the American Youth Hostel in 1979. They undertook the necessary repairs and maintenance of the building, ultimately operating it as Sanborn Park Hostel. In 2010, the hostel was forced to close in the face of increasing insurance costs and reduced international travel after 9/11. The hostel took pride in offering the most budget-friendly rates in the United States, charging $14 per night at the time of it closing.</p><br>
<p>On June 4, 2019, the County of Santa Clara Board of Supervisors granted approval to the Sanborn County Park Master Plan. Their goal is to explore strategies for safeguarding and elevating the historic Welch-Hurst structures. Once these enhancements are complete, the Welch-Hurst Area can once more assume a role as a destination within Sanborn County Park.</p><br>
<h3>Design</h3><br>
<p>The Welch-Hurst is a redwood log house with rustic details that follows the tradition of the California Arts and Crafts movement. What sets this estate apart within the county is its use of indigenous materials and integrating the house with a hillside forest. The front of the house overlooks a series of terraces and landscaped grounds. Toward the southwest, there is an artificial pond with an island. The house exhibits an irregular plan, with overall dimensions measuring 82 ft by 128 ft. The southwestern wing has a stone block foundation, while the central area relies on mud sills for support. The northwest section is constructed with concrete, and the northern section features robust stone foundation walls. The exterior walls are crafted from halved redwood logs, preserving the full circular section where they project at the corners. On the ground floor, the logs are oriented horizontally, while on the upper floor, they are placed vertically.</p><br>
<p>Part of the roof relies on support from the log walls, with no evident frame system beneath the half-log veneer. Within the primary room, a truss system can be observed; however, it does not extend to the gable walls, and the lower chords seem to terminate over the door and window openings, suggesting a decorative rather than structural function. The front entrance porch features a gable roof that is upheld at its outer edges by vertical logs resting on two stone pedestals. Additionally, two gazebos can be found on the eastern facade, with the northern one abutting the building and both being supported by vertical log posts.</p><br>
<p>There are fireplaces in both the living room and in the north wing. Both chimneys sport an exterior finish of rugged, coarse aggregate concrete. The living room chimney is crowned with a tall, cylindrical sheet metal flue. The main entrance features a spacious oak door adorned with four beveled glass lights. The doorway is flanked by sidelights composed of 22 vertical window panels. The door leading to the kitchen is a 10-light window panel. Within the living room, six double glass doors provide ample light and access. Most of the windows in the building are swinging casement windows, some featuring multiple panes, while others are single large lights. The southwestern wing boasts a hipped roof, while the central section features a gable roof with interruptions caused by the gables of the entrance porch and the stairway. The north wing&#39;s roof has an irregular design. Large shakes predominantly make up the roofing material. Both gazebo roofs take the form of six-sided pyramids, and they are covered with shakes.</p><br>
<p>A basement can be found beneath the north wing. The first floor of the southwestern wing comprises two bedrooms with a shared bath situated between them at the far southwest and features a spacious living room that connects to a hexagonal dining room. The dining room serves as the central hub of the house. To its northwest, there is a kitchen and other service areas. There is an attached family room wing. Access to the second floor is provided by the main staircase, which leads into the living room in the southwest wing. This staircase is constructed with polished log posts and half-log steps, and the balustrade is partially supported by uniquely shaped manzanita branches. The staircase consists of three runs, with a substantial landing following the initial run of two steps, and a smaller landing after the second run. Above the first floor&#39;s southwest arrangement, two bedrooms are situated with a bathroom between them, mirroring the layout below. Located above the north wing, are two bedrooms, a cedar closet, and a bathroom. An additional staircase, added at a later time, connects these bedrooms to the first floor.</p><br>
<p>The living and dining rooms feature wooden paneling. In the living room, the ceiling displays exposed wooden decking, rafters, and trusses. Meanwhile, the dining room&#39;s ceiling is constructed with boxed beams adorned with recessed panels. In the remaining rooms, the walls are either painted or covered with wallpapered plaster. Some spaces also feature acoustical tiled ceilings. The house is fully equipped with electrical lighting and heated by two forced hot air furnaces. It is positioned on a relatively flat area on the western slopes of the Santa Cruz Mountains.</p><br>
<h2>Historically significant</h2><br>
<p>Welch-Hurst holds historical significance in architecture as an early American Craftsman-style gentlemans working ranch and family retreat and because of ranchs association with Judge James R. Welch. On September 18, 1978, the Welch-Hurst was placed on the National Register of Historic Places.</p><br>
<p>La Luz del Oeste is a planned community on the West Side of Albuquerque, New Mexico, which is notable for its architecture and urban planning as an example of the New towns movement of the mid-20th century. The development consists of 96 townhouses along with shared community spaces and 40 acre of land which was left undeveloped as a viewshed toward the Rio Grande bosque and Sandia Mountains. It was designed by architect Antoine Predock in his first major commission and built between 1967 and 1974. The property was added to the New Mexico State Register of Cultural Properties in 1977 and the National Register of Historic Places in 2023.</p><br>
<p>The residential units of La Luz are arranged in terraced rows facing east toward the river. Vehicle and pedestrian routes are kept separate with a series of loop roads providing access to garages and parking areas at the rear of the units, while pedestrian access is from the front via landscaped paths and courtyards. The architecture of the development combined modernism with influences from the environmental movement and traditional Pueblo architecture in its organization of public and private spaces, use of efficient materials such as adobe, and conservation of the surrounding landscape.</p><br>
<p>Potwin Place Historic District  is a neighborhood of Topeka, Kansas. The neighborhood is well known for its brick-lined streets and variety of Victorian and Queen Anne style homes. It is bounded by SW Willow Ave , SW Woodlawn Ave , NW Grove Ave  and SE Greenwood Ave .</p><br>
<h2>History</h2><br>
<p>Charles Wolcott Potwin, a banker from Zanesville, Ohio, purchased several acres of land from a Shawnee Native American in 1869. In 1882, Potwin divided the land into 80 lots for development. By 1885, the lots were available for purchase.</p><br>
<p>In 1888, the area was incorporated as the City of Potwin. There was controversy as many Topeka residents had become resentful as many Potwin residents were making their money in Topeka and not spending it there. In 1899, the City of Topeka annexed Potwin, mostly due to the lack of public services in the area.</p><br>
<p>The Moses Craig Lime Kilns, also known as the Peapack and Gladstone Lime Kilns, are located at 122 Main Street in the borough of Peapack-Gladstone in Somerset County, New Jersey, United States. Built, the lime kilns, listed as the Moses Craig Limekilns, were added to the National Register of Historic Places on April 11, 2019. The Historical Society of the Somerset Hills acquired the site in 1998. The kilns were subsequently transferred to the borough in 2019.</p><br>
<h2>History</h2><br>
<p>Moses Craig (1797–1874), a wealthy farmer, owned the lime kilns, which were built about 1860, and a local limestone quarry. The limestone was burnt in the kilns and used in agriculture as a soil additive and used in construction to make mortar and whitewash. The operation remained in business until about 1934, as pulverized lime replaced burnt limestone for agriculture. The two stone kilns are 26 feet high. The site is now a small park with information signs about the lime kilns.</p><br>
<p>The Alexander and James Linn Homestead is a historic 36 acre property located on USA Route 202 , between Lake and Sunnybranch roads, in the borough of Far Hills in Somerset County, New Jersey, United States. Built around 1750, the Linn House was added to the National Register of Historic Places on October 27, 1988, for its significance in architecture and politics/government.</p><br>
<h2>History and description</h2><br>
<p>Alexander Linn, a Scotch-Irish farmer, built the two and one-half story frame building around 1750. He later became a judge of the county court and an elder of the Lamington Presbyterian Church. After his death in 1776, his son, James Linn, inherited the property. During the American Revolutionary War, he served in the Somerset County Militia under William Alexander, Lord Stirling. He later was elected to United States House of Representatives for the 1799–1801 term. In 1810, he moved to Trenton, New Jersey. The house was expanded with a one and one-half story wing with Federal style.</p><br>
<p>The Stephens Homestead is a historic farmhouse located at 800 Willow Grove Road in Stephens State Park in Mount Olive Township in Morris County, New Jersey, United States. Built around 1865, the house was added to the National Register of Historic Places on January 14, 2013, for its significance in agriculture and architecture.</p><br>
<h2>History and description</h2><br>
<p>The Second Empire style farmhouse was built by businessman and farmer Amzi Chapman Stephens (1826–1910). The two story frame building has an attic story with a mansard roof. The property, located along the Musconetcong River, also includes an outhouse, a well house, and a 19th century lime kiln. When Stephens died in 1910, the property was inherited by his sons. In 1937, they gave 230 acre to the state to form Stephens State Park. They retained rights to the homestead and Margaret Stephens Zimmermann (1927–2007), daughter of one of the brothers, used it as a summer residence until her death, when it was given to the state.</p><br>
<p>The Ravenna-Cowen North Historic District is a historic district in Seattle that gained recognition on the National Register of Historic Places on September 13, 2018. Encompassing an area bounded by NE 65th Street, Ravenna Ravine, Ravenna and Cowen parks, and 12th Avenue NE, the neighborhood is notable for its diverse 20th-century residential architectural styles and its integration of nature with urban living.</p><br>
<h2>History and development</h2><br>
<p>The area experienced significant growth in mid-1880s when the Seattle, Lake Shore and Eastern Railway extended its route, making Ravenna a new stop. Most homes in the district were constructed prior to the early 1930s, influenced by architectural styles from the early 1900s to the 1930s. The district&#39;s recognition extends beyond its architectural value; it encapsulates the rapid urban growth of early 20th-century Seattle, including the histories of nearby parks and the University of Washington.</p><br>
<h2>Architectural styles</h2><br>
<p>The architectural diversity of the Ravenna-Cowen North Historic District is characterized by predominant styles such as Craftsman, Tudor Revival, and Colonial Revival. The designs of many homes in the district were influenced by pattern books and kit home catalogs. Following World War II, the district expanded to include Minimal Traditional cottages and Pacific Northwest contemporary houses.</p><br>
<h2>Parks and bridges</h2><br>
<p>Cowen Park to the east and Ravenna Park to the south are key elements of the Ravenna-Cowen North Historic District. Originally a wooded area, Cowen Park has been developed into a public recreational space featuring amenities like a baseball field and a playground. Ravenna Park, in contrast, retains a more natural setting. Both the Cowen Park Bridge and the Ravenna Park Bridge are prominent structures within the district.</p><br>
<h2>Legacy and recognition</h2><br>
<p>Listing on the NRHP has often served as an initial measure to enhance protections against upzoning in Seattle neighborhoods. In February 2019, the Seattle City Council passed an amendment excluding the neighborhood from the urban villages targeted for upzoning under its Mandatory Housing Affordability regulations. In 2020, Seattle installed historic marker signs in the neighborhood.</p><br>
<p>The Abilene Union Pacific Railroad Passenger Depot is a former railroad station that serves as the headquarters of the Abilene Convention and Visitors Bureau in Abilene, Kansas. The station was built in 1928  as a replacement for a three-story depot combined with a railroad hotel, originally built by the Kansas Pacific Railway. It was designed by Gilbert Stanley Underwood and was constructed by G.A. Johnson & Sons company in Chicago. It was designed in the Mission/Spanish Revival and Spanish Colonial Revival, as many Union Pacific stations were at the time. It is across from the junction of Northwest Second Street and Broadway</p><br>
<p>Though the address is given as being on Northwest Second Street and Broadway, it actually spans one block to the east to Spruce Street. The east parking lot reaches as far as K-15 (Buckeye Street), and the west parking lot reaches as far as Cedar Street across from the Union Pacific Freight Depot.</p><br>
<p>Former President Dwight David Eisenhower was said to have left the previous version of the station to get to West Point in 1911. His funeral train arrived at the existing station in 1969. Union Pacific terminated passenger service on May 1, 1971, surrendering most stations to Amtrak. Abilene was not one of those stations, yet they continued to own the station until 1986.</p><br>
<p>The depot was listed on the National Register of Historic Places on September 8, 1992.</p><br>
<p>The English Gardens Apartments is a historic complex of apartment buildings located in Roanoke, Virginia. The complex was designed by the Richmond-based architect E. Tucker Carlton, and was built in two phases. The first, completed in 1947, consists of nine building of three stories each, while the second, finished in 1950, consists of eight buildings of two stories each. The complex was designed in the Colonial Revival style, and all buildings are constructed of concrete blocks fronted with brick.</p><br>
<p>The English Gardens was designed as a garden apartment complex, arranged to create courtyards between the buildings in order to maximize green space and ventilation. The Federal Housing Administration provided financing for the project, which was aimed primarily at middle-class World War II veterans and their families. The complex was listed to the National Register of Historic Places in 2022, and was in the process of reopening after a renovation.</p><br>
<h2>History</h2><br>
<p>The Federal Housing Administration (FHA) was established in 1934 in an effort to provide affordable housing in the midst of the Great Depression. The agency would provide mortgage insurance in order to spur development by the private sector. For example, apartment buildings could not exceed three stories nor take up more than 25% of each acre of land, and density levels were to be kept low, with no more than four units to a floor.</p><br>
<p>The first major FHA-financed housing project was Colonial Village, built in 1935 in Arlington, Virginia. The development was a success, and was used thereafter as an example for future FHA complexes. In Roanoke, Carlton built two FHA-financed projects: English Gardens in 1947 and 1950, and the since-demolished Carlton Terrace in 1950.</p><br>
<p>The first phase of construction on English Gardens consisted of nine buildings of four separate types, all designed in the Colonial Revival style. The building types are primarily distinguished by the roof type of each; some are gabled, some hipped, and some flat. The buildings hold a total of 52 apartments, 36 of which are two-bedroom units with the rest containing one bedroom. Each structure in this phase is three-storied, with laundry facilities and a boiler room on the ground floor and living spaces above. The buildings are constructed of concrete block with a common bond brick veneer. The façades are symmetrical, and consist of a centralized entrance and either a five- or seven-bay width. Many of the structures are built at right angles to each other, set back from the road, creating large courtyards with open green space.</p><br>
<p>The second phase, completed in 1950, consisted of eight two-story buildings, designed in three distinct types, and of a simpler style than the first phase. The eight structures contain a total of 32 apartments, all but eight of which are two-bedroom. All buildings are symmetrically faced with a five bay width, and of the same concrete block with brick veneer construction as phase one.</p><br>
<p>Once completed, the English Gardens&#39; 84 units made it the third largest FHA-insured development built in Roanoke after World War II, and the second largest to survive into the 21st century (the Roanoke Apartments, also constructed in 1950 only a mile away from English Gardens, was built with 225 units).</p><br>
<p>The development was listed on the National Register of Historic Places in 2022. In that year, the apartments were sold for $3.53 million to an ownership group based out of nearby Salem. A shortage of affordable housing made relocation difficult for many of the complex&#39;s tenants, and in July legal action was taken against eight residents still on the property. The development was renamed Gardens at Grandin, and in 2023 some of the renovated apartments reopened.</p><br>
<p>Barnes Avenue School is a school building located at 1028 West Barnes Avenue in Lansing, Michigan. It was listed on the National Register of Historic Places in 2023.</p><br>
<h2>History</h2><br>
<p>In the early 20th century, the rise of the automobile and the auto factories in Lansing attracted large number of workers. Middle-class neighborhoods sprang up around the factories, and these new residents strained the capacity of the school system. In 1919, the Lansing School District raised funds to build a school in the neighborhood south of the Grand River to house kindergarten and grades one through eight. They commissioned architect Judson Newell Churchill to design the building, planning for two steps of construction. Construction immediately began on the first portion of the school, and it opened in September of the same year. The district constructed the second phase in 1920.</p><br>
<p>Soon after opening, the Lansing School District created junior high schools and Barnes shifted to serve students in grades one through six, plus kindergarten. In 1958, an all-purpose room was added to the rear of the building. The school continued to serve as a public school until the 1970s, when declining enrolment led the Lansing School District to consolidate schools. Barnes closed in 1979. Afterward, the school building became home to a series of charter schools. The latest, El-Hajj Malik El-Shabazz Academy, opened in 1995 and closed its doors in 2019.</p><br>
<h2>Description</h2><br>
<p>The front of Barnes Avenue School is a symmetrical building, three stories high and nine bays wide. The center entrance is in a stone surround, with a stone tablet that reads "Barnes Ave School 1919" above. The middle five bays each have a window in the third floor. On the second, the center bay contains the stone tablet. The flanking bays have paired windows, while the outer of the five bays have tall, narrow window openings. The two bays on each end of the building contain tapestry brick panels with small stone corner blocks.</p><br>
<p>27–29 Fountain Alley is a historic commercial building located in San Jose, California. The building is architecturally significant as the only representative of late Victorian-style in this area. Its historically important for its association with Fountain Alley, one of San Jose oldest streets. The Fountain Alley building at 27–29 Fountain Alley was placed on the National Register of Historic Places on March 2, 1982.</p><br>
<h2>History</h2><br>
<p>The building at 27–29 Fountain Alley is a three-story brick commercial structure, located between First and Second Streets in Downtown San Jose. It occupies a lot measuring 23.5 ft by 57.15 ft. Its façade has a pair of two-story bay windows that extend over the first story. Cornices at the roof level and between the bays add definition to its floor and roofline.</p><br>
<p>The inside of the building features a tin ceiling with a deep cove cornice. The narrow staircase on the east side of the building has turned balusters and leads to the upper floors. In a recent rehabilitation, the partitions on the second and third floors were removed, transforming the space into larger areas. All doors are crafted from pine with redwood panels, and the moldings showcase the Queen Anne-style. Plain brick walls are on the north end of the building, while iron shutters protect the door and window openings in the rear wall. Two skylights are located on the third floor.</p><br>
<p>During a period of the city&#39;s expansion, R. H. Quincy erected the brick Fountain Alley building in 1889.</p><br>
<p>Over time, the building has hosted a range of commercial ventures, one of which being J.L. Chargin restaurant that occupied the building between 1905-1935. Since 1935, the ground floor has accommodated various service-oriented businesses, including a tavern, a liquor store, and most recently, a beauty shop.</p><br>
<p>Initially, the second and third floors served as lodgings and boarding rooms. However, since 1950, the upper floors have remained unoccupied. Between 1965 and 1969, the ground floor commercial space remained unoccupied. By 1969, the latest utilization of the ground floor was as a beauty salon.</p><br>
<p>In 1998, the city approved $100 million downtown revitalization project to attract more shops and restaurants to Fountain Alley district on First and Second streets between Santa Clara and San Fernando streets. Today Fountain Alley Building at 27-29 Fountain Alley is part of the city&#39;s proposed mixed-use San Jose Fountain Alley project.</p><br>
<h2>Historical significance</h2><br>
<p>27–29 Fountain Alley was placed on the National Register of Historic Places on March 2, 1982. The Fountain Alley building holds historical significance in architecture because it is the only representative of Italianate design and late Victorian-style in this area. Its historically important for its association with Fountain Alley, one of San Jose oldest streets.</p><br>
<p>The William J. Leverett House is a historic house in the Nob Hill neighborhood of Albuquerque, New Mexico. It was built in 1928 and is a notable early example of the Pueblo Revival style. The property was listed on the New Mexico State Register of Cultural Properties in 1985 and the National Register of Historic Places in 1986. It is also a contributing property in the Monte Vista and College View Historic District.</p><br>
<p>The house was built as a personal residence and model home by William J. Leverett, the developer of the surrounding Monte Vista subdivision. It has been compared to the James N. Gladding House, which is also a Pueblo-style model home built around the same time in the Spruce Park neighborhood. The Leverett house is roughly rectangular in plan, one story high, and constructed from stuccoed adobe. It displays many characteristics of the Pueblo style such as vigas, irregular parapets, and front and rear portales or porticos with log posts and corbels.</p><br>
<p>Monsons Hoist Bay Resort is a former summer resort on Namakan Lake in the USA state of Minnesota, in what is now Voyageurs National Park. Ted and Fern Monson established the resort in 1939 and operated it every summer until 1973, except for a three-year hiatus during World War II. The remote property was and remains accessible only by water. Monsons Hoist Bay Resort was listed as a historic district on the National Register of Historic Places in 2011 for its local significance in the theme of entertainment/recreation. It was nominated for exemplifying the family-owned resorts established in the mid 20th century to serve the growing phenomenon of middle-class tourists.</p><br>
<p>The National Park Service maintains the site as a day-use destination within Voyageurs National Park. Several of the historic buildings are open to visitors, along with basic amenities consisting of a boat dock, an outhouse, and picnic tables.</p><br>
<h2>Description</h2><br>
<p>The historic district includes nine contributing properties constructed from 1939 to 1968. These comprise four cabins built 1939–1945, a 1941 kitchen/store, 1940s ice house, 1968 boathouse, a root cellar, and the surrounding landscape. A 1970s dining hall constructed on the site for a National Park Service youth camp is considered a non-contributing property.</p><br>
<p>The Samuel Shalit House is a historic house in the North Valley area of Albuquerque, New Mexico. The house is a well executed example of the English Cottage style, which is not commonly found in New Mexico, and has distinctive features such as patterned brick, a faux thatched roof, and notably tall chimneys. It was built in 1936 by Samuel Shalit , a Russian Jewish immigrant who accumulated substantial real estate holdings in the North Valley. The property was listed on the New Mexico State Register of Cultural Properties in 1983 and the National Register of Historic Places in 1984. In the mid-1980s, the house was converted from a private residence into a restaurant, Mr. Powdrells Barbeque House, preserving much of the interior. Powdrells is still operating as of 2023.</p><br>
<p>The interior features original hardwood floors, decorative tile work, arched cabinet doors, and a brass ceiling fixture. The house is one story high and constructed from uniquely patterned red brick. The roofline is complex, consisting of a hip roof with two clipped gables, a diagonal Dutch gable, and a half-hipped dormer. The edges of the roof are rounded off to emulate thatching. The building also features boxed soffits, casement windows, some with semicircular fanlights, and a wrap-around porch with wrought-iron balustrades.</p><br>
<p>We and Our Neighbors Clubhouse is a historic building located in the Cambrian area of San Jose, California. The Clubhouse was placed on the National Register of Historic Places on December 20, 1978. The Clubhouse is historically significant due to its role in shaping the civic and cultural life of the San Jose community. Established in 1892, it stands among the oldest General Federation of Women&#39;s Clubs within the Loma Prieta District, encompassing Santa Clara, Santa Cruz, and San Benito counties.</p><br>
<h2>History</h2><br>
<p>In January of 1910, builder C.H. Wheeler secured the contract for $2,650 to build the Clubhouse. He began work in February 1910, and the Clubhouse was completed in June of 1910. The We and Our Neighbors Club stands as one of the five most longstanding organizations within the California Federation of Womens Clubs. The clubs records can be accessed within the California Federation of Women&#39;s Clubs archives, spanning from 1892 to 1997.</p><br>
<p>The We and Our Neighbors Club began in June 1892 when a group of farmers wives from the Union School District met for an afternoon tea at Ann Jane Cilkers home. The first official meeting took place at the Clubhouse on May 27, 1910, witnessing a significant turnout of Club members and community friends. Founded to foster social engagement within the community, the organization remains active and conducts regular monthly meetings at the Clubhouse. At present, six descendants of the charter members actively participate as members of the Club. The Clubhouse served as the central hub for social gatherings within the district, hosting annual Christmas and New Year&#39;s celebrations, as well as Harvest dinners in November, engaging the entire community. Fundraising events like parties and dances were organized to support causes such as the Red Cross, the Belgium Relief Fund, and various other charitable endeavors.</p><br>
<p>Amidst the Spanish-American War, club members contributed by dispatching books to troops stationed in the Philippines. Additionally, they gathered eggs, dried fruit, bandages, and reading materials for veterans receiving care in hospitals. In the aftermath of the 1906 San Francisco earthquake, club members contributed by providing food, bandages, clothing, and blankets. Additionally, they actively engaged in various other community initiatives and projects. During the late 1940s and early 1950s, the Clubhouse used a portion of the dining room as a branch of the San Jose County Library.</p><br>
<p>The land where the building stands was a segment of a 160 acre farm positioned at the intersection of Union Avenue and the Los Gatos-Almaden Road. This property has a rectangular shape, measuring 105 ft by one hundred 50 ft. The We and Our Neighbors Clubhouse was constructed on 0.333 acre of land provided by charter member and property owner Sophia La Montagne for one gold dollar. The funds used to erect the Clubhouse were donated by the Club&#39;s first president, Maria Schofield, who served in that role from 1892 until 1921.</p><br>
<h3>Design</h3><br>
<p>The We and Our Neighbors clubhouse, a one-story shingle cottage featuring American Craftsman-style elements, was constructed using redwood with redwood siding. Dedicated in May of 1910, it was built for hosting club meetings and community gatherings with the Union District. The structure measures 65 ft by 40 ft wide. Inside theres an entrance hall and ladies room, both measuring 10 ft by 10 ft. The entrance hall leads to a parlor, a 20 ft by 22 ft, with a rock fireplace. Along the south side of this room, there are five windows, each with a custom-made window bench. The dining room, connected to the western side of the assembly room, spans 12 ft by 30 ft. It features five windows on the west side, complemented by built-in window seats underneath. Next to the dining room lies the kitchen, measuring 12 ft by 10 ft feet. The kitchen comprises two windows, cupboards flanking either side with a sink below, a stove chimney, an exterior door, and an entrance to the stage. The Club House has undergone minimal alterations, primarily focused on maintaining and modernizing the kitchen and ladies&#39; room. Gas has been replaced by electricity, while gas floor furnaces have been introduced for heating purposes. In response to fire department recommendations, a fire door has been installed in the assembly room, and the folding doors have been removed to enhance safety measures.</p><br>
<h2>Significance</h2><br>
<p>The We and Our Neighbors clubhouse holds historical significance for the period 1900 to 1910, and in the realm of social history due to its role in molding the civic and cultural life of the San Jose community. Established in 1892, it stands as being the oldest club within the Loma Prieta District, encompassing Santa Clara, Santa Cruz, and San Benito counties. It is also one of the oldest General Federation of Women&#39;s Clubs. The clubhouse was placed on the National Register of Historic Places on December 20, 1978.</p><br>
<p>The San Jacinto County Jail, also known as the Coldspring Old Jail or San Jacinto County Old Jail Museum, is a historic jail and museum in Coldspring, Texas. Originally built in 1887 and expanded in 1911, it is one of the oldest buildings in Coldspring. It was added to the National Register of Historic Places in 1980 and was designated a Recorded Texas Historic Landmark in 1982. Today, it is the home of the San Jacinto County Historical Commission and is next to Old Town Coldspring, a recreation of some of the settlement&#39;s oldest buildings. It is periodically open for public tours.</p><br>
<h2>History</h2><br>
<p>San Jacinto County&#39;s first jail was constructed in 1870 out of wood, but as the area grew, the need for a more permanent structure became apparent. The new jail was built in 1887 in the county seat of Coldspring, across from the courthouse in the original town square, at the southeastern corner of Loyd and Slade Streets. As Coldspring grew, it became necessary to expand the court buildings. A records vault was built behind the courthouse in 1895, modelled after the architecture of the jail, and the jail itself was expanded to its present size in 1911. Although the gallows were never used in any official capacity, there was reportedly one incident where a mob broke into the jail and lynched a prisoner.</p><br>
<p>In 1915, a fire destroyed the original courthouse and several other buildings in the town square; however, because the jail and the records vault were made of brick, they survived. The new courthouse, which still exists today, was built to the south, effectively moving the center of town to that location. By 1923, the old town square had been abandoned. The jail, however, remained and continued to operate until 1980, when it was deemed to have unsuitable conditions, and a new facility was built. The records building was demolished that year. Upon its retirement, the San Jacinto County Historical Commission moved its operations there, where they planned to open a museum and a "vanishing crafts teaching institute".</p><br>
<h2>Architecture</h2><br>
<p>The two-story jail was constructed out of yellow-pink brick and was initially a perfect square, measuring 28 by before a 1911 expansion doubled its size and shifted the building&#39;s footprint to a rectangular shape. The current front entrance faces west, although the original pre-1911 entrance was on the north side (which then faced the town square).</p><br>
<p>Its hipped roof is made of corrugated galvanised iron, and there is a matching awning above the front entrance. Just below the roof runs a horizontal row of brickwork cornices. All of the windows are sashed and lined with iron bars, and the tops are decorated by projecting brick arches that end in rowlock courses. These courses run the length of the building and are interrupted only by corner and central columns on the building&#39;s facades.</p><br>
<p>Plaster lined the interior walls and the first floor was made of wood, while the second story was mostly made of concrete. Reception, offices, and the kitchen were located on the first floor, while cells were housed on the second floor. Access to the cells was by a metal staircase. Two fireplaces heated the building, and these chimneys are still visible protruding from the roof.</p><br>
<p>The gallows and cells were all built by the Southern Structural Steel Company of San Antonio, which also oversaw the 1911 expansion.</p><br>
<p>The Liberty County Courthouse is a historic county courthouse located in Liberty, Texas, and serves as the official courthouse for Liberty County. Built in 1931 on the site of an earlier courthouse and expanded in 1956, it was added to the National Register of Historic Places in 2002.</p><br>
<h2>History</h2><br>
<p>The usage of this site for government purposes dates back to 1831. During the planning of the settlement that would become Liberty, the area was designated by José Francisco Madero for use as a government plaza. Following the result of the Texas Revolution in 1836, which established Liberty County itself, this plaza converted into a courthouse square. Decades later, the courthouse would also be the first meeting place for the new First Baptist Church of Liberty, which was established in 1898.</p><br>
<p>Over the next century, the local economy oscillated between stagnancy and slow decline. At least six courthouses preceded the current one. A series of fires plagued the government square, sometimes damaging or entirely destroying the courthouse. One burned down on December 24, 1873, destroying most of the records with it. The 1895 courthouse, which was the last courthouse built before the current one, was threatened at least once by a fire in 1909.</p><br>
<p>In the early 20th century, the Texas oil boom revitalized the economy. The local government found itself in possession of enough funding to remodel the old 1895 courthouse, which it deemed inadequate for the county&#39;s recordkeeping. Houston architect Corneil G. Curtis was hired to survey the old courthouse in the mid-1920s, and he determined it was much more cost-effective to demolish it and rebuild. In 1927, Curtis began designing the new building in an Art Deco style. Several years passed before a building contract could be settled, as most passed on it, deeming it too costly. However, in September 1930, M. H. Ryland of Uvalde was awarded the bid on the construction. Offices were temporarily moved next door into a vacant Methodist church. Construction took up most of 1931 and was finally completed in December at a grand total of $250,000.</p><br>
<p>In 1955, the county announced it was considering adding an annex to the courthouse. Houston architect Wyatt C. Hedrick was hired to design the new addition, which he appended to the west end of the original building. This provided space for a new courtroom and offices. Construction was completed in 1956.</p><br>
<h2>Architecture</h2><br>
<p>The Art Deco style chosen by Curtis had not yet been widely reflected across Texas, and the Liberty County Courthouse is one of the earliest examples of this style in the state. Some architects have identified the courthouse as belonging to a subcategory of Art Deco, which Jay Henry coined the Modern Classic style. Both Curtis and the Liberty County council favored these elements of Progressivism, which they believed reflected contemporary society&#39;s values during the Roaring Twenties. It has notable similarities to the Rusk County Courthouse and the Chambers County Courthouse, which Curtis also designed in 1928 and 1936, respectively. Its overall layout, however, is very similar to earlier Texas courthouses, which often were constructed in a Beaux-Arts or Neoclassical style.</p><br>
<p>The original courthouse building measures 62 by with 8 ft projections on either side, making the floor plan resemble a shallow "H", and contains two stories and a basement. The facade is mainly constructed of Texas Cordova Cream limestone over a concrete frame and foundation with steel trusses. Overall, it is much simpler in detail than many Art Deco buildings, owing to its more modernist leanings. The large windows are interrupted by large pilasters that ascend up to the second-story frieze, upon which is inscribed "Liberty County AD 1930" in Latin script. Most of the building&#39;s ornamentation consists of bands of metal bas-relief panels that run horizontally along the dado and across and between the pilasters. These motifs reflect everyday elements of Texan life, ecology, and geography; such sculptures include pine trees, the Lone Star symbol taken from the Texas flag, covered wagons, Texas Longhorns, and oil derricks. Stylized eagles decorate the entablature above the main entryways located at on each of the four faces.</p><br>
<p>Inside, two main hallways bisect the building into quadrants. Stairways at each end provide access to the second floor. Much of the original mosaic flooring and marble wainscoting are still intact. The courtroom itself still contains most of its original features.</p><br>
<p>Since its construction, the building has been largely unchanged, except for periodic remodels and the 1956 expansion to the west side. This addition attempted to complement the original structure and used similar limestone for its facades, it is decidedly much more plain and unornamented. The slightly recessed sash windows are lined with aluminum, and the limestone paneling is interrupted by beige brickwork around the outer windows. A metal hipped roof was added to the new wing in the 1990s.</p><br>
<p>Battelstein&#39;s is a commercial skyscraper located on Main Street in downtown Houston, Texas, United States. From 1924 until 1980, it housed an eponymous department store founded by Philip Battelstein. Originally only two floors, it was expanded to its present ten-story form between 1934 and 1950 by architects Joseph Finger and George Rustay. It was added to the National Register of Historic Places on February 6, 2020.</p><br>
<h2>History</h2><br>
<h3>P. Battelstein & Company</h3><br>
<p>Philip Battelstein arrived in Houston in 1897 as a Jewish immigrant from Lithuania. Arriving with only a few dollars to his name, he soon opened his own tailor and haberdashery, P. Battelstein & Company, located inside the Prince Theater building at 314 Fannin Street (now a walkway adjacent to the Harris County Tax Office); it later burned down.</p><br>
<p>Battelstein restarted his business at 618 Main Street in 1909; around the same time, the partnership dissolved and the company name became just "P. Battelstein". This business also burned down in 1924 after a fire broke out at the adjacent Old Capitol Hotel.</p><br>
<h3>Battelstein&#39;s building</h3><br>
<p>Battelstein then purchased the present-day site at 812 Main Street. This new iteration of Battelstein&#39;s was a simple two-story building, completed in early 1924; however, the architect Battelstein hired to plan the works is unknown, but at least the interior fixtures were the work of Houston Showcase & Manufacturing Co.</p><br>
<p>Originally, Battelstein shared the building with several other tenants, but quickly began to expand. By June 1924, Battelstein&#39;s announced it would double in size and touted itself as "being made the most modern in the Southwest". By 1933, his business had expanded enough to take up the entirety of the first floor. The following year, Battelstein hired Houston architect Joseph Finger to design an expansion. The store expanded again in 1937, this time adding three floors and multiple new departments.</p><br>
<p>Battelsteins prospered during the post-World War II years. The department store business in Houston flourished, and several expanded their buildings and services during this time; they were some of the first companie to start building skyscrapers in downtown Houston. By the late 1940s, Battelsteins was ready to increase in size again and planned a major remodel along with it. Finger was rehired and Tellepsen Construction Company was chosen to construct it. The expansion was completed in 1950 and was followed by several minor restorations and redecorations over the decades, as well as the opening of two new stores: at River Oaks in 1953 and at Sharpstown Mall in 1961. Although Battelstein himself died in 1955, his stores success did not slow. From 1952 to 1956, Battelsteins was announced to have advertised so much that it led the nation in newspaper linage for its menswear ads.</p><br>
<h3>New management and decline</h3><br>
<p>In 1967, Battelsteins was purchased by Manhattan Industries, a New York-based clothing manufacturer, for $8 million. In 1969, two new outlet stores at Northwest Mall and Almeda Mall opened. By this time, Battelsteins employed over 1,100 people and was one of the largest department store chains in Houston.</p><br>
<p>Soon, however, Battelstein&#39;s began its decline. Throughout the 1970s, crime in downtown Houston increased significantly. The downtown location had long been outsold at its sister stores, as well as other department store outlets, especially those located in suburbia. It also did not have the parking capacity to support immense numbers of shoppers, which the while the suburban malls could build sprawling parking lots. It then entered a period of on-and-off vacancy at different tenants occupied the building and operated as a nightclub and then as condominium apartments. The building then sat vacant for over a decade before it was purchased by the neighboring Marriott Hotel in 2019.</p><br>
<h2>Architecture</h2><br>
<p>Overall, the building covers a total floor area of 63,960 ft&sup2; over ten stories, and its footprint measures about 52 x. The first two floors are original to the 1924 construcution and were designed by an unknown architect, but the top eight floors date from the 1930s to 1950; these were conceived of by architects Joseph Finger and George Rustay, who chose a Modern design with International elements. The facade is made of limestone on its eastern (street-facing side) and brick on the others. Its roof is flat with a flared edge. There is an inset balcony with three bays on the second floor, which overlooks the street below. The ribbon windows on the upper eight levels are all identical and are set in the center of the facade.</p><br>
<p>The Ernest & Emily Renzel House is a historic residence in San Jose, California. The house was the residence of San Jose mayor Ernie Renzel, and for being one of the first Ranch style homes built in the Naglee Park conservation area. It was placed on the National Register of Historic Places on September 23, 2010.</p><br>
<h2>History</h2><br>
<p>In July 1936, Charles and Mary Derby sold about 0.6667 acre of his subdivision to San Jose mayor Ernest Renzel (1907– 2007). In 1939, Renzel commissioned local architect Chester Root to design and Gibson & Wheeler Co., to build a Ranch style single family home that stands on the property. Today, it is known as The Ernest & Emily Renzel House.</p><br>
<p>The house is set on the hillside, located along Arroyo Way, in a small 1930s residential area between Coyote Creek and Naglee Park in San Jose. Renzel and his wife Emily and their children lived in the house.</p><br>
<h3>Design</h3><br>
<p>Thestructure consists of a single-story Ranch style residence at the front and a two-story addition towards the rear. The building has a blend of brick and wood siding, incorporating early Ranch style elements, like Modernist steel corner windows, and horizontal dimensions beneath the eaves. Designed by Chester Root, this residence blends Modern architecture and traditional materials. The property sits within a residential neighborhood, surrounded by mature trees and well-established landscaping.</p><br>
<p>An addition in 1949, was done by Kress & Gibson. The expansion included a two-story layout that includes two large brick chimneys. Spanning 4,700 ft&sup2, the property has a partial basement, garage, and enclosed patio.</p><br>
<h2>Designation</h2><br>
<p>The house was nominated by the State Historical Resources Commission and was placed on the National Register of Historic Places in September, 2010. The home is an early example of Ranch style architecture in the area. The architecture blended traditional ranch-style architecture with early modern period materials to fit the rustic setting of the estate. The period of significance is from 1926 to 1949. The house was locally designated as a local landmark prior to being placed on the National Register of Historic Places on September 23, 2010.</p><br>
<p>Elkhi Stadium, also known as Handke Stadium and locally nicknamed "the Pit", is an outdoor sports venue in Elk River, Minnesota, United States. It was begun with community labor in 1922 and improved by the National Youth Administration in 1940. It was listed on the National Register of Historic Places in 2004 for its significance in the themes of entertainment/recreation and politics/government.</p><br>
<h2>Description</h2><br>
<p>Elkhi Stadium consists of a regulation-size athletic field in a natural depression, surrounded by a fieldstone retaining wall varying from one to five feet high. Additional short tiers on the north and west sides created stadium bench seating, though some have since been covered over with earth fill to create a smooth slope. The north side also has a small fieldstone building with a 22 by footprint. Used as a warming hut during winter activities, the interior contains a 16 ft hearth with benches along the other three sides.</p><br>
<h2>History</h2><br>
<p>The site of Elkhi Stadium was originally a large seasonal pond with steep wooded banks. Elk River&#39;s first high school was established next to it in 1898. For over two decades the basin was mainly used for ice skating and sledding. In 1921 a group of about a dozen boys, lamenting that the school had no athletic field, got permission from the newly elected district superintendent to fill in the pond for a football field. Though the district could not provide any money or material, the effort quickly snowballed. On weekends over the next two years, students from area farms lent wagons, horses, and shovels to bring in fill. Adults began pitching in as well. The new field was officially dedicated in May 1925. The name "Elkhi" was selected by the student body in a vote.</p><br>
<p>More formal organization attended a second effort in 1929. Under the direction of a new district superintendent, and with logistical support from the Elk River Commercial Club, donations and volunteer labor were raised to haul in 2,000 yards of additional fill to enlarge the football field to regulation size. The work largely took place over two days in August.</p><br>
<p>Two months later the nation plunged into the Great Depression. Beginning in 1933, federal job creation programs established by the Franklin D. Roosevelt administration provided funds for local infrastructure projects. In 1939 Elk River submitted a successful application to the National Youth Administration (NYA) to improve Elkhi Field once more. This secured funding for 40 unemployed high school graduates, while the school district contributed $1,200 to pay for a foreman (a local engineer named Gene Chase) and materials (largely fieldstone, an abundant nuisance in area cropland). Under Chase, the crew reshaped the sides and built paths, steps, and retaining walls over several months. They also built tennis courts, removed old debris, and planted trees around the site. Since the stadium was still used as an ice rink in winter, a local civic group contributed extra funds to build the warming house. The improved Elkhi Stadium was dedicated on September 5, 1940.</p><br>
<p>For decades the stadium hosted football and hockey games, physical education, band concerts, and an annual homecoming bonfire. By the end of the 20th century, years of deferred maintenance had left the stone walls crumbling, the steps and warming house unsafe, and the hillsides choked with undergrowth. A suggestion to fill the site with dirt and redevelop it was defeated by community outcry. Local generosity again benefited the site. From 2000 to 2006, Elk Rivers Rotary Club repaired and improved the stadium, raising money through fundraisers, donations, and grants. The walls, steps, and warming house were repaired with donated stone. A gas fireplace, safety railing, and period lighting were installed. A new plaza at the southeast entrance sports the Rotary Club seal and Handke Schools original school bell. Elkhi Stadium continues to serve as a popular outdoor skating rink.</p><br>
<p>The Elk River Water Tower is a historic water tower in Elk River, Minnesota, United States. It was built in 1920 to improve the city&#39;s firefighting infrastructure, and uses a design popular from 1890 to 1940. It was listed on the National Register of Historic Places in 2012 for its significance in the themes of "community planning and development" and "engineering".</p><br>
<p>In 2021, Elk River was able to restore the water tower using Minnesota Historical and Cultural Heritage Grants. The tower was returned to its original color scheme of silver with a red top, with black block lettering of the city&#39;s name.</p><br>
<p>The Santa Clara Verein was a cultural and social center for the German community in Santa Clara, California, US. Built in 1868, it was listed on the National Register of Historic Places in 1985. The building was demolished in 1991 and is commemorated by a plaque.</p><br>
<h2>Design</h2><br>
<p>The building was a one-and-a-half-story balloon-framed wooden false front structure with horizontal siding, measuring approximately 60.2 ft by 62.2 ft and with a corrugated metal rear addition. The 6-bay street facade had two entrances, both with double doors, and pilasters at the two corners that supported a cornice.</p><br>
<p>The interior of the auditorium had a hand-stenciled canvas ceiling. A proscenium arch with a square opening remained, and a decorative arch suspended from the ceiling approximately 12 ft in front of the stage was ornamented with Baroque moldings. The color palette was predominately gray, yellow, and maroon, with red line-work accents.</p><br>
<h2>History</h2><br>
<p>German immigrants settled in Santa Clara from the mid-1850s, and increased in numbers through the 1880s. The Santa Clara Verein was founded in 1868 as a Turnverein and social club, and members purchased land at the corner of Alviso and Benton Streets. The club building was constructed in three phases: a social hall with a gable roof was extended on the south side by a second gable-roofed construction and later by a rear addition. Construction concluded in 1881. Another false-front building across the street, known as the Larder House and reportedly a former stagecoach stop, was also used by the German American community. The lodge building contained both a gymnasium and an auditorium and was used for dramatic performances, musical recitals, graduation exercises, and social activities such as dances.</p><br>
<p>By 1881, the club had forty-five members, Membership declined in the early 20th century as German Americans left the area, and anti-German sentiment arising from World War I accelerated the decline, leaving only five members. One of them, Lewis Kline, a beer distributor, acquired ownership of the building and leased it out to a sheet metal fabricator; it was later used as a furniture warehouse and as a thrift shop supporting handicapped war veterans.</p><br>
<p>The Santa Clara Verein House was placed on the National Register of Historic Places on February 28, 1985. It was then the oldest Turnverein hall in Northern California.</p><br>
<p>In 1990, the city voted to allow the then dilapidated building to be razed to make way for a Santa Clara University guesthouse for visiting Jesuits. It was demolished in 1991; its former location is marked with a plaque set in the ground., the Larder House was being renovated for use as a student learning center.</p><br>
<p>The Herman Schroeder House and Livery is a historic residence in Shakopee, Minnesota, United States. The house and outbuilding were constructed in 1880 for Herman Schroeder , the longtime owner of Shakopee&#39;s most successful brickyard and an influential civic leader. Both buildings feature ornate brick detailing, including on an outhouse addition to the livery. The property was listed on the National Register of Historic Places in 2023 for its significance in the theme of art. It was nominated for its association with Schroeder, a German immigrant whose signature red "Shakopee" bricks were used in numerous buildings throughout the region.</p><br>
<p>The Navy Yard Urns are two decorative bronze urns located in Lafayette Square, a small park across the street from the White House, in Washington, D.C. They were originally planned to be installed in the 1850s, but due to the Civil War and other events, they were not erected until 1872. Secretary of the Navy George M. Robeson had ordered the urns be made at the Washington Navy Yard using melted cannons from the Civil War.</p><br>
<p>The urns have been moved a few times during their history, most recently in 1969. They originally stood on the east and west side of the equestrian statue of President Andrew Jackson that is the centerpiece of Lafayette Square. The urns are contributing properties to the Lafayette Square Historic District, a National Historic Landmark, and the L&#39;Enfant Plan. Both the district and plan are listed on the National Register of Historic Places and the District of Columbia Inventory of Historic Sites.</p><br>
<h2>History</h2><br>
<h3>Installation</h3><br>
<p>Lafayette Square, a 7-acre (2.8 ha) park on the north side of the White House in Washington, D.C., was originally planned by Pierre Charles LEnfant in 1791. The square, part of Presidents Park, was redesigned by Andrew Jackson Downing in 1851–1852. Amongst the changes in Downings plans were the installation of urns in the square. Due to delays by the Civil War and other events, most of Downings plans were not carried out until the late-19th century and 20th-century.</p><br>
<p>The first changes were made in 1853, with the installation of the equestrian statue of President Andrew Jackson. More substantial changes took place from 1872 to 1873, which is the time period when the urns were installed. On the order of Secretary of the Navy George M. Robeson, the Washington Navy Yard melted cannons from the Civil War to create two decorative urns. They were based on the design of vases brought from Paris by William Wilson Corcoran, but it is unclear who the original designer was. According to the Smithsonian Institution Research Information System, they may have been designed by Downing or Calvert Vaux.</p><br>
<h3>Description</h3><br>
<p>The urns, measuring 5-feet tall (1.5 m) and 4-feet wide (1.2 m), are made of bronze and are similar in design to ones found at the Palace of Versailles. They feature a classical figure motif and each urn is inscribed "Ordnance Department, USA Navy Yard, Washington D.C. 1872". They originally stood on the east and west sides of the Jackson statue, resting on granites bases set amongst flower beds. Robeson described them as "extremely good examples of the work of government mechanics and workshops." Although each urn contains a decorative motif, they are different than the designs found on the Andrew Jackson Downing Urn. That urn was created in 1856 and is located in the Enid A. Haupt Garden.</p><br>
<h3>Later history</h3><br>
<p>Flowers were placed in the urns in 1879, but were later removed.</p><br>
<p>During an improvement project of the square by the Works Progress Administration in 1936, the urns were moved to the center of each side of the park, near Jackson Place and Madison Place, small streets on either side of Lafayette Square. The last time the urns were moved occurred in 1969. They stand on granite pedestals near the south entrance to the square.</p><br>
<p>The urns are contributing properties to the Lafayette Square Historic District, a National Historic Landmark, that was listed on the National Register of Historic Places (NRHP) on August 29, 1970, and the District of Columbia Inventory of Historic Sites (DCIHS) on June 19, 1973. They are also contributing properties to the L&#39;Enfant Plan, listed on the NRHP on April 24, 1997, and the DCIHS on January 19, 1971.</p><br>
<p>The New Market–Linvale–Snydertown Historic District is a 160 acre historic district located along NJ 31, Linvale, Snydertown, and Woodsville Roads in the communities of Linvale, formerly known as New Market, and Snydertown in the townships of East Amwell and West Amwell in Hunterdon County, New Jersey, United States. It was added to the National Register of Historic Places on February 12, 1998, for its significance in architecture, commerce, settlement, and community development.</p><br>
<h2>History and description</h2><br>
<p>The Linvale United Methodist Church, historically known as the New Market Methodist Episcopal Church, was built in 1858 following the Wren–Gibbs church building tradition. The one-story frame building features Italianate and Gothic Revival styles. There is a square bell tower with a gable roof in the front center. The congregation was formed in 1844.</p><br>
<p>The former New Market Store in Linvale was first built around 1770 and rebuilt in 1866. The two-story brick building has a gable-fronted roof and shows Italianate and Gothic Revival styles. A late 18th-century or early 19th-century grist mill in Snydertown has been converted into a residence.</p><br>
<p>The San Jose Central Fire Station, also known as San Jose Fire Station One, was the central fire station for the San Jose Fire Department in downtown San Jose, California. The International-style firehouse was designed by the architectural firm Binder & Curtis and built in 1951. The station became the citys central fire station, equipped with a new communication system that served as a command center for emergency services across the entire city. Its historical significance is association with the mid-century expansion of San Jose. The building now houses the San Jose Fire Museum on Market Street. The Fire Station was listed on the National Register of Historic Places on January 7, 2015. On January 31, 2024, The Mercury News announced the celebration of the San Jose Fire Departments 170th anniversary at the San Jose Fire Museum.</p><br>
<h2>History</h2><br>
<p>After World War II, the San Jose Fire Department raised $350,000 fire bond to provide funds to build five new fire stations in 1946. The San Jose Central Fire Station (Station No. 1) was designated as the central fire station and emergency communications center for the San Jose Fire Department. The opening of the San Jose Central Fire Station took place in 1951, during the onset of significant growth in San Jose.</p><br>
<p>From 1951 to 2000, San Joses Central Fire Station served as the citys main hub for firefighting equipment and personnel. This Modern style building also accommodated the City of San Jose&#39;s emergency communications and command center until the late 1950s. A new facility was built in 2000, to the north on the same block, replacing the Central Fire Station. Despite their proximity, the two structures were kept distinct, offering the city the option to repurpose the 1951 firehouse into a civic firefighting museum.</p><br>
<h2>San Jose Fire Museum</h2><br>
<p>The former San Jose Central Fire Station, now the San Jose Fire Museum, stood at the intersection of North Market and West St. James Streets in downtown San Jose. On the opposite end of the same block stands its modern replacement, the San Jose Fire Station No. 1.</p><br>
<p>The San Jose Fire Museum has a collection of ladders, helmets, documents, and trucks dating back to 1810. John McMillan, president of the San Jose Fire Museum, said "Our goal is to restore this beautiful, historic Old Fire Station One and make it a destination in downtown San Jose."</p><br>
<h3>Design</h3><br>
<p>The San Jose Fire Station building was designed by the architectural firm Binder & Curtis with William Binder and Ernest N. Curtis as the main architects. The building is a two-story building built in an International Style and Art Moderne in its horizontal banding of windows. Its design featured three bays labeled Battalion 1, Truck 1, and Engine 1. The Central Fire Station was designed to accommodate up to six vehicles inside, two in each bay. This was the first fire station constructed with drive-through bays. The building is constructed using cast-in-place concrete. Its exterior walls feature both horizontal and vertical scoring, mimicking large blocks on each of the four sides. The windows are a combination of multi-light metal casement, tilt, and fixed windows. On the second level, the windows are arranged horizontally and come with integrated concrete header and sill trim, creating a visual band that wraps around and unifies the windows.</p><br>
<h2>Significance</h2><br>
<p>The San Jose Fire Station was placed on the National Register of Historic Places by the State Historic Preservation Office on January 7, 2015. The City of San Jose has designated this site as a city landmark (HL08-169) in 2012. The station is historically significant under Criterion A, in the areas of Patterns and Events at the local level for its association with the mid-century expansion of downtown San Jose during the city&#39;s transformation from an agricultural community to the heart of the Silicon Valley. Additionally, it holds significance under Criterion C, in architecture as an example of the later work of the architectural firm Binder & Curtis. The period of significance from 1951 to 1954.</p><br>
<p>The Riegel Ridge Community Center is a historic building located on County Route 519 in the Riegel Ridge section of Holland Township near Milford in Hunterdon County, New Jersey, United States. It was added to the National Register of Historic Places on June 7, 1996, for its significance in architecture, entertainment and social history.</p><br>
<h2>History and description</h2><br>
<p>The 22 acre property includes a two-story Colonial Revival community house, baseball field with grandstand, and pool house. The community house was designed by architect James Gamble Rogers. It was built from 1937 to 1938 by the Riegel Paper Corporation, led by its chairman Benjamin D. Riegel, for the benefit of its employees and their families. Since 1996, the property has been owned and operated by the township.</p><br>
<p>The Kalmia Club is a womens club established in 1892 in the city of Lambertville in Hunterdon County, New Jersey, United States. It has used the house at 39 York Street as its clubhouse since 1893. The Italianate wood-frame house was built around 1870 and expanded in 1882. It was listed as a contributing property of the Lambertville Historic District on June 30, 1983. It was later added individually to the National Register of Historic Places on April 16, 2012, for its significance in education, entertainment, and social history. The Kalmia Club was listed as part of the Clubhouses of New Jersey Womens Clubs Multiple Property Submission .</p><br>
<h2>History</h2><br>
<p>The club was established in 1892 by a group of local women and was first known as the Reading Circle. They discussed literature and cultural topics, led by their first president, Elie Erismann. In 1893, they started holding their meetings at 39 York Street and changed their name to the Kalmia Club, after the botanical name, Kalmia latifolia, of the mountain laurel. The club became a member of the New Jersey State Federation of Womens Clubs in 1897, and is also a member of the General Federation of Womens Clubs. In 1995, they published the Lambertville Community Cookbook to raise funds for their community service projects, including scholarships for local young women. In 1996, they started the annual Hidden Gardens of Lambertville tour to raise funds for community projects.</p><br>
<h2>Clubhouse</h2><br>
<p>The house was built by Joseph Smith and others around 1870 as a one-story frame schoolhouse, which became known as the Lambertville Seminary. It was enlarged in 1882 into a two-story Italianate house with a gable-fronted roof. There is a two-story tower with a hip roof on the east side and a three-story tower with a mansard roof on the west side. It then became a Society of Friends Meeting House, with the entrance on two-story tower used by the Quaker women, and the entrance on the three-story tower by the Quaker men. The Kalmia Club has used it for their meetings since 1893. According to the nomination form, this may be the first local women&#39;s clubhouse in the state. The Society of Friends deeded the building to the club in 1910. It is now painted in the club colors, pink and green. There is a large public meeting room on the first floor and a meeting room on the second floor.</p><br>
<p>The Cameo Theatre is a historic former movie theater on Broadway in Los Angeles, California. Opened by film mogul W. H. Clune as Clune&#39;s Broadway Theatre in 1910, it was one of the first purpose-built movie theaters in the United States. It remained the oldest continually operating movie theater in Los Angeles until its closure in 1991. Alfred Rosenheim designed the building in the Neoclassical style.</p><br>
<h2>History</h2><br>
<p>Hollywood mogul W. H. Clune opened Clune&#39;s Broadway Theatre on October 10, 1910. Opening night rates were advertised at 10 cents for standard seats and 20 cents for loge seats. The theater became one of the first in the United States built specifically to show movies.</p><br>
<p>In 1921, a Wurlitzer organ was installed in the theater. In 1924, Los Angeles theater proprietor H. L. Gumbinger closed the facility for renovation. The overhaul included the addition of a 16-piece house orchestra. Gumbinger reopened the building as the Cameo Theatre on August 1, 1924, with a premiere of the Universal Pictures silent drama The Signal Tower attended by its director and co-stars.</p><br>
<p>The Cameo was subsequently operated by various companies throughout its history: Fox West Coast Theatres, Pacific Theatres, and Metropolitan Theatres. The decline of the Cameo mirrored the downturn of the Broadway Theater District in Los Angeles. At 4:00 a.m. on December 2, 1991, the Cameo was permanently closed following its final quadruple-bill run of action films. At the time, it was the oldest operating movie theater in Los Angeles. The building retained most of its original facade and was converted into retail space.</p><br>
