<p>The Town Hill District is a historic district bounded roughly by Rutherford Avenue and Main and Warren Streets in the Charlestown neighborhood of Boston, Massachusetts.</p><br>
<p>Town Hill was laid out by Charlestown engineer Thomas Graves in 1629 and was the site of Boston&#39;s first settlement. The unique elliptical street plan forms a tightly delineated neighborhood that survives to this day, one of the few colonial aspects to have survived. City Square (then known as Market Square) is the focus of the neighborhood, historically having been a market as well as the seat of government.</p><br>
<p>During the 18th century, Market Square was paved and other important town institutions, including a courthouse and meeting-house, were built in the district. On April 18, 1775, Paul Revere, on the night of his famous ride, rowed to Charlestown from Boston. Here, he borrowed a horse and departed to sound his warning of British troops on the march all the way to Lexington and Concord.</p><br>
<p>Town Hill is composed of residential and commercial structures dating from as early as 1780, when Charlestown was burned to the ground by the British during the Battle of Bunker Hill in 1775. Rebuilt after the revolution, the square, then known as Charlestown Square, regained its role as the center of town life. As the 19th century progressed, the square became a crossroads as bridges and grand hotels were built and wharves crowded the waterfront. Most of the buildings are constructed of natural materials including brick, wood, and stone.</p><br>
<p>The district was added to the National Register of Historic Places in 1973.</p><br>
<p>This district is currently under study for landmark status by the Boston Landmarks Commission.</p><br>
<p>The Trinity Neighborhood House is a historic brick townhouse at 406 Meridian Street located in the Eagle Hill section of East Boston, Massachusetts.</p><br>
<h2>History</h2><br>
<p>The house was built in 1847 for entrepreneur Noah Sturtevant and was thus named the Noah Sturtevant House. In 1917, it was named the Trinity Neighborhood House and Day Nursery. Since 1888, it operated as a social service center and philanthropy of Trinity Church. The building is now owned by and is a 16-unit single resident occupancy (SRO) facility for the formerly homeless.</p><br>
<p>The House had long been a beneficiary of many notable events. On November 19, 1957, comedian Anna Russell held a concert at Jordan Hall in Boston to benefit the House. On May 8, 1958, noted archaeologist Byron Khun de Prorok gave a fundraising lecture at the New England Mutual Hall. On February 4, 1960, a screening of the film Sweet Love Rememberd starring Margaret Sullavan was scheduled to benefit the House, but due to her untimely passing, the show was cancelled. The show was replaced with Laurence Oliviers The Tumbler.</p><br>
<p>In 1981, the building was designated a Boston Landmark by the Boston Landmarks Commission and it was later added to the National Register of Historic Places in 1992.</p><br>
<p>Ely&#39;s Stone Bridge is a bridge that was listed on the National Register of Historic Places in 1979. The bridge was built across Deer Creek in 1893 by Reuben Ely, Sr., a farmer, and his son Reuben Ely, Jr. The bridge is a three-span arch bridge made of stone from the stream bed and quarries in Anamosa, Iowa.</p><br>
<p>There are no bridges like it in the area, and it seems to have been a "personal expression" of the stonemasons. The bridge was maintained by four generations of stonemasons in the family.</p><br>
<p>The bridge had been tuckpointed in 1933 and 1957 and was assessed to be in excellent condition in 1979. As of 2008, the foundation of the bridge had recently been reinforced with concrete.</p><br>
<p>The Truman Parkway is a historic parkway in Milton and southern Boston, Massachusetts. It runs along the southern boundary of a portion of the Neponset River Reservation and serves as a connection between the Neponset Valley Parkway and the Blue Hills Parkway. The parkway was built in 1931 and added to the National Register of Historic Places in 2005.</p><br>
<h2>Description</h2><br>
<p>The northern terminus of the parkway is at a junction with Brush Hill Road in Milton, about 1/2 mi south of its junction with Routes 28 and 138. The parkway, a four-lane road, with two lanes in each direction, with a grassy center median strip, then winds southward, roughly following the contours of the Neponset River on the southern edge of the Neponset River Reservation. It has a major junction with Beacon Street and Fairmount Avenue, the latter of which crosses the river into Boston. There is a small local commercial area at this intersection. It then passes through a section with houses lining both sides, until Dana Avenue, at which point a railroad right-of-way to its north separates it from the river. The railroad soon crosses the river, which turns south, and the parkway passes between a section of the Neponset River Reservation and a municipal playground before itself crossing the river into Boston and reaching its southern terminus at the Neponset Valley Parkway.</p><br>
<h2>History</h2><br>
<p>Unlike other Boston-area parkways, the Truman Parkway was constructed by the Massachusetts Department of Public Works, and not the Metropolitan District Commission (MDC) or its predecessors. It was built in 1931, to standards similar to those used by the MDC for its parkways, and acquired by the MDC in 1956.</p><br>
<p>The United Shoe Machinery Corporation Building is a historic office building at 160 Federal Street in the Financial District of Boston, Massachusetts. The steel-frame skyscraper has 24 stories and a penthouse, and was built in 1929–1930 to a design by George W. Fuller and Parker, Thomas & Rice for the United Shoe Machinery Corporation. It is one of Bostons finest Art Deco buildings, including an elaborately decorated lobby. It was built for the United Shoe Machinery Corporation, which at the time controlled 98% of the nations shoe machinery business.</p><br>
<p>The building was listed on the National Register of Historic Places in 1980 and in 1983 it was designated a Boston Landmark with rare interior (lobby) as well as exterior protection by the Boston Landmarks Commission.</p><br>
<p>The Upham&#39;s Corner Market is an historic commercial building at 600 Columbia Road in the Dorchester neighborhood of Boston, Massachusetts. It is actually three separate buildings built c. 1919, 1923, and 1926. They were built by brothers John and Paul Cifrino, who were Italian immigrants. They established a small neighborhood grocery store in 1915, before building this series of buildings to house what became an early supermarket. After the third section was built, the store had 50,000 ft&sup2; of space, and was the largest store of its kind in the city, serving a nearby population of more than 250,000. The buildings have been converted to mixed commercial and residential use.</p><br>
<p>The building was listed on the National Register of Historic Places in 1990.</p><br>
<p>The Vermont Building is a historic building at 10 Thacher Street in the North End neighborhood of Boston, Massachusetts. The six-story brick and marble building was designed by Arthur Bowdith and Edward Stratton and built in 1904. Its construction was funded by Redfield Proctor, a United States senator from Vermont, and one of the owners of the Vermont Marble Company. It originally housed retail establishments on the ground floor, and commercial, warehousing, and light manufacturing facilities on the upper floors, including facilities of the Vermont Marble Company. It now contains loft apartments.</p><br>
<p>The building was listed on the National Register of Historic Places in 1984.</p><br>
<p>The West Street District is a historic district on West Street in Boston, Massachusetts, one of the city&#39;s "ladder districts" that runs between Tremont Street and Washington Street in the Downtown Crossing commercial/retail area. The district includes four buildings located near the corner of Tremont and West Streets, all built in the early 20th century. The two buildings at 148-150 Tremont Street were once occupied by Chandler and Company, an exclusive department store. Number 148 is a Renaissance Revival structure built as an office building in 1912, and number 150 was built in 1903 to house the Oliver Ditson Company, a music publisher. The Fabyan building at 26-30 West Street was designed by Coolidge, Shepley, Bulfinch & Abbott, and built in 1926. The Schraffts Building at 16-24 West Street was built in 1922, and housed a flagship candy store and restaurant for more than fifty years.</p><br>
<p>The West Street District was added to the National Register of Historic Places in 1980.</p><br>
<p>The Florida Tropical House is a beach house located on Lake Michigans shoreline in Beverly Shores, Indiana, US. It was built in 1933 as part of the Homes of Tomorrow Exhibition at the 1933 Worlds Fair in nearby Chicago. Today it is part of the Century of Progress Architectural District, a historic district.</p><br>
<p>After years of disrepair, the house is being renovated and is subleased to a private renter who has agreed to cover the restoration costs. The house was designed so its inside and outside environments can be continuous. Its exterior was designed in the Modernist style by architect Robert Law Weed and painted a Floridian pink.</p><br>
<p>The house, with four other 1933 exhibition homes nearby, were added to the National Register of Historic Places in 1986. They are collectively known as the World&#39;s Fair Houses.</p><br>
<h2>Construction</h2><br>
<p>The Florida House (as it was called originally) was built in 1933 for the Homes of Tomorrow Exhibition of the 1933 World&#39;s Fair by the State of Florida to showcase itself and to entice tourism to the state. The construction was carried out by the Deigaard & Preston construction firm for a total of approx. $15,000.</p><br>
<p>The house was moved to its current location by real estate developer Robert Bartlett. Bartlett, who wanted to establish a resort community in the area complete with a golf course, hotel, and botanical garden, was responsible for moving six of the exhibition&#39;s homes to the area, brought to Beverly Shores by barge in 1935.</p><br>
<h2>Architecture</h2><br>
<p>The Florida Tropical Houses design was inspired by Floridas tropical climate and blends both the indoor and outdoor environments together with its use of an outdoor terrace. The building was designed in the Modernist style by Miami architect Robert Law Weed with the needs of a Florida resident in mind. This is represented by the fact that some of the original amenities had to be replaced for them to survive the area&#39;s continental climate, with near constant warm temperatures and rainy seasons.</p><br>
<p>The house itself sits atop a concrete slab, which was placed onto a basement foundation when it was moved here in 1935. The exterior is covered with a light-weight concrete stucco painted in pink. Materials used for the building included travertine, limestone, Portland cement and clay tile—all of which are native to Florida. Although it was planned to be built with poured concrete walls, the house was framed in wood in order to save money.</p><br>
<p>The houses interior was carried out by architects James S. Kuhne and Percival H. Goodman from Chicago and New York respectively. was designed in the Modernist style—as was the rest of the house. The central part of the interior features a living and dining room connected via an aluminum staircase to an overhanging balcony with access to the terrace. The houses two bedrooms and the only bathroom, were located on the ground floor.</p><br>
<p>The building&#39;s flat roof was modeled from that of a storm-proof deck from an ocean liner and included a loggia, deck, and recreation room. Once covered with ceramic tiles, the flooring had to be replaced and covered with roofing for it to endure the harsh mid-western winters. At some point in time, a dumbwaiter was also located on the terrace; however, it was removed shortly after the move to Beverly Shores.</p><br>
<h2>Restoration</h2><br>
<p>Restoration efforts on the Florida Tropical House were started in 1997, with the Indiana Dunes National Lakeshore and the Historic Landmarks Foundation of Indiana searching for potential lessees to restore the building. Under the agreement, the private owner would receive a 30-year sublease, providing that they would cover all of the restoration costs, and open the home to the public at least once a year. Restoration on the home is estimated at approx. $450,000 by the current lessee William Beatty, who signed the lease agreement in 2000.</p><br>
<p>The Wigglesworth Building is a historic building at 89-83 Franklin Street in the Financial District of Boston, Massachusetts. The five-story Neo-Gothic Panel Brick building was constructed in 1873, and was one of the first buildings rebuilt after the Great Boston Fire of 1872. Designed by Nathaniel Bradlee of Bradlee, Winslow & Wetherell, it features a curving red panel brick front with detailed sandstone panels. The top floor, added in 1885, is set back from the main facade and features arched windows. It was apparently designed by Peabody & Stearns, who did design work for the building after an 1884 fire.</p><br>
<p>The building was listed on the National Register of Historic Places in 1982.</p><br>
<p>The Jacob Wirth Restaurant was a historic German-American restaurant and bar in Boston, Massachusetts, at 31-39 Stuart Street. Founded in 1868, Jacob Wirth was the second-oldest continuously operated restaurant in Boston when it closed in 2018.</p><br>
<p>The Greek Revival building housing the restaurant was constructed in 1844. The German-style restaurant was founded in 1868 and was the second oldest continuously operating restaurant in the city after the Union Oyster House. The restaurant was added to the National Register of Historic Places in 1980 and designated a Boston Landmark in 1977, with interior and exterior protections. Jacob Wirth was the first distributor of Anheuser Busch products. The Wirth family and Anheuser family are from the same small town in Germany.</p><br>
<p>In 2010, Chelsea developer AJ Simboli Real Estate purchased the property for $1.6 million. The restaurant was put up for sale in January 2018 As recently as October 2021 there was a restoration effort under way to repair fire damage and reopen the restaurant as it had been prior to its closure.</p><br>
<p>In March 2022, the building was purchased by Greater Boston Bar Co. for $5.27 million. Their initial hope was to reopen the restaurant by the end of 2022. The new owners planned to reopen the restaurant in early 2024. The building was gutted on June 25, 2024 in a large fire.</p><br>
<h2>Popular culture</h2><br>
<p>In George V. Higginss 1974 novel Cogans Trade, a meeting takes place at the restaurant.</p><br>
<p>A wedding scene for the 2010 film Knight and Day, starring Tom Cruise and Cameron Diaz, was filmed at the restaurant.</p><br>
<p>In Dennis Lehane&#39;s 2023 novel, Small Mercies, two characters have a date in Jacob Wirths.</p><br>
<p>The Youth&#39;s Companion Building is a historic building at 209 Columbus Avenue in Boston, Massachusetts. The building is also known as the Pledge of Allegiance Building because the Pledge of Allegiance was written and published there. The building originally had the address 201 Columbus Avenue and also has the address 142 Berkeley Street. It was built in 1892 and added to the National Register of Historic Places in 1974.</p><br>
<p>It housed the offices of The Youths Companion, the magazine owned and edited by Daniel Ford that promoted the Pledge of Allegiance. Ford built the building for The Youths Companion and moved the magazine&#39;s headquarters there in 1892, where it remained until 1915, when the magazine moved to a new building near the current Boston University.</p><br>
<p>The architects, Henry W. Hartwell and William Cummings Richardson, also designed a number of other buildings in the Boston area, notably the Belmont Town Hall and Christ Church, Andover.</p><br>
<p>When used by The Youths Companion, the first floor of the building held the business office, correspondence department, subscription and advertising departments with Fords office in the back. The third floor held the premium department, packing and mailing room, and stitching machines. The fifth floor contained the editorial offices, art department and library that had an encyclopedic collection of clippings from over 200 magazines from around the world. The press room was in the basement along with the presses, collators, steam tubular boilers for power binding equipment and two dynamos which generated electricity for lighting.</p><br>
<p>The Hoosac Stores is a historic warehouse at 115 Constitution Road  in Charlestown, Massachusetts. Originally designated Hoosac Stores 1 & 2, it is a six-story load-bearing brick warehouse, set just outside the gate of the Boston Navy Yard. A second, adjacent warehouse, identified as Hoosac Stores 3, was demolished in 2000 because it was structurally unsound.</p><br>
<p>The Hoosac Stores 1 & 2 warehouse was built in 1895 as part of wide-ranging state effort to draw trade activity by the Fitchburg Railroad, which operated rail service to Albany, New York. The railroad notoriously included the Hoosac Tunnel, an expensive and politically controversial project in western Massachusetts that was eventually taken over by the state. The Charlestown terminal was known as the "Hoosac Dock".</p><br>
<p>The warehouses were listed on the National Register of Historic Places in 1985.</p><br>
<p>Bellingham Square Historic District is a historic district encompassing the civic and commercial heart of Chelsea, Massachusetts. Roughly bounded by Broadway, Shawmut, Chestnut, and Shurtleff Streets, the district was almost entirely built in the aftermath of the Great Chelsea Fire of 1908, and is a monument to the civic planning that took place at the time. The district was added to the National Register of Historic Places in 1985.</p><br>
<h2>Description and history</h2><br>
<p>Bellingham Square is centered on the six-way junction of Broadway, Washington Avenue, Bellingham Street, Hawthorn Street, and 5th Street. The historic district radiates away from this junction and the adjacent City Hall to include civic commercial and residential buildings. The square is home to the Chelsea Public Library and a satellite facility of Bunker Hill Community College, located in the former post office.</p><br>
<p>Chelsea was settled by English colonists in 1624, and was made part of Boston after that city was founded in 1630. It was separately incorporated in 1739, and developed in the 19th century as an industrial center, based first around wooden shipbuilding and then other industries. It was reincorporated as a city in 1857. On April 12, 1908, the Great Chelsea Fire of 1908 destroyed the citys commercial and civic heart, as well as 3,000 structures in a 500 acre area. In the wake of this disaster, the state assumed control of the city, and set in motion a modern (for the period) urban planning process to rebuild the fire-ravaged area. New codes governing zoning, building inspection and construction, and fire codes were introduced, and land use of the affected areas was planned. Major architects designed the citys iconic city hall (Peabody and Stearns), library, and post office (both Guy Lowell). The city&#39;s then-sizable Jewish population was recognized in the construction of the Chelsea Free Hebrew School, designed by Jewish architect Samuel Eisenberg.</p><br>
<p>The Bellingham–Cary House is a historic house museum at 34 Parker Street in Chelsea, Massachusetts. The house, built in 1724, may incorporate in its structure the 1659 hunting lodge of colonial governor Richard Bellingham, and is the only surviving 18th-century building in the city. It was listed on the National Register of Historic Places in 1974.</p><br>
<h2>Description and history</h2><br>
<p>The Bellingham–Cary House stands in a residential area of northeastern Chelsea, on the east side of Parker Street between Tudor Street and Clark Avenue. It is a two-story wood-frame structure, with a truncated hip roof, two interior chimneys, and a clapboarded exterior. Its main facade is five bays wide, with a center entrance flanked by Doric pilasters and topped by a transom window, entablature, and gabled pediment. The roof is pierced by three pedimented gable dormers on the front, and one on each of the sides. A two-story hip-roofed ell extends to the rear.</p><br>
<p>Richard Bellingham was an Englishman who was involved in the formation of the Massachusetts Bay Company, which formally established the Massachusetts Bay Colony and founded Boston in 1630. Bellingham came to Boston in 1634, and served three terms as governor of the colony before his death in 1672. Not long after his arrival, he purchased most of what is now Chelsea, as well as a ferry service between it and Boston. After his death, the quarter of his land that included the house eventually passed to the Cary family in 1741. They enlarged the house several times, and about 1791 Samuel Cary greatly expanded the house to create its present appearance.</p><br>
<p>After the deaths of Samuel Cary and his wife, most of the farm was sold off for development. The house remained in the family until 1914, when a local non-profit organization was established to preserve it. It has been owned since then by the Governor Bellingham–Cary House Association.</p><br>
<p>It won the 2006 Massachusetts Historical Commission Preservation Award. In 2008 the earliest part of the house was dated to 1724 using dendrochronology.</p><br>
<p>The Downtown Chelsea Residential Historic District is a historic district roughly bounded by Shurtleff, Marginal, and Division Streets and Bellingham Square in Chelsea, Massachusetts.</p><br>
<p>This district incorporates the Shurtleff School (now the Early Learning Center) and period structures around the school. The area had been completely devastated in the 1908 fire and had previously contained City Hall and a number of other community buildings. The district was listed on the National Register of Historic Places in 1988.</p><br>
<p>The 1909 construction of the school, which takes up an entire city block, spurred residential development in the area.</p><br>
<p>The C. Henry Kimball House is an historic house at 295 Washington Avenue in Chelsea, Massachusetts. The -story wood-frame house was built c. 1896, and is one of the citys finest Queen Anne Victorian houses. It was built by Charles Henry Kimball, an innovative businessman who developed heated vehicles, revolutionizing the transport of potatoes. He was also a major figure in the development of Chelseas wholesale fruit and produce exchange.</p><br>
<p>The house was listed on the National Register of Historic Places in 1982.</p><br>
<p>Naval Hospital Boston Historic District is a historic district at the south end of Broadway in Chelsea, Massachusetts. The district encompasses the area around the former Chelsea Naval Hospital. It consists of five buildings, historically the original 1836 Naval hospital, the 1857 Marine hospital, the Commanding Officer&#39;s quarters, and two ordnance buildings.</p><br>
<p>The district was added to the National Register of Historic Places in 1973.</p><br>
<h2>1836 Naval hospital</h2><br>
<p>The original hospital was built of granite and was used as personnel quarters after a new hospital was built in 1915; it has been converted into condominiums.</p><br>
<h2>1857 Marine hospital</h2><br>
<p>The Marine hospital was a three-story building built of brick with an I-shaped footprint; a fourth story was added in 1866. The building was returned to the Navy in 1940. It has been converted into condominiums.</p><br>
<h2>Commanding Officer&#39;s quarters</h2><br>
<p>Parts of the Commanding Officer&#39;s quarters date back to 1856.</p><br>
<h2>Ordnance buildings</h2><br>
<p>Two buildings on the site were built in the early 19th century to handle ordnance for the United States Navy. The buildings were built by the Bureau of Ordnance and the land was transferred back to the hospital in 1910.</p><br>
<p>The larger building was designed to securely store explosives and ordnance and was not intended for human occupancy. It was a building within a building - an 1830s structure, without its original roof, encased within an 1860s structure which added the current exterior walls and a new roof. The architect and engineer Alexander Parris designed the inside structure. The floor is concrete and the interior is raw masonry, unpainted and unfinished. The ceilings are made of brick and include vaults which were designed to contain fire and force explosions upward rather than outward.</p><br>
<p>The smaller building was used for quarters after being returned to the hospital, then as storage space.</p><br>
<p>The Whitney Plantation Historic District is preserved by the Whitney Institute, a non-profit whose mission is to educate the public about the history and legacies of slavery in the Southern United States. The district, including the main house and outbuildings, is preserved near Wallace, in St. John the Baptist Parish, Louisiana, on the River Road along the Mississippi River. What was originally known as Habitation Haydel was founded in 1752 by Ambroise Heidal, one of the many German immigrants who colonized the river parishes in the 18th century. His descendants owned it until 1860.</p><br>
<p>In 1867, after the Civil War, it was sold to businessman Bradish Johnson. He renamed it Whitney Plantation.</p><br>
<h2>Overview</h2><br>
<p>The plantation was an 1,800-acre property. Today, 200 acres are occupied by the museum and historic district complex. The director of research is Dr. Ibrahima Seck, a Senegalese scholar specializing in the history of slavery.</p><br>
<p>The grounds contain several memorial sites dedicated to the more than 100,000 men, women, and children who were enslaved in Louisiana. Original art commissioned by Cummings, such as life-size sculptures of children, were added to help tell the history of slavery. The sculptures are representative of people born into slavery before the Civil War.</p><br>
<p>Many survivors were interviewed as adults for the Federal Writers Project during the Great Depression in the 1930s. These oral histories of hundreds of the last survivors of slavery in the United States were collected and published by the federal government, to preserve their stories. The transcripts and some audio recordings are held by the Library of Congress.</p><br>
<p>Mr. Cummings donated the entirety of the museum and land to a non-profit in 2019.</p><br>
<h2>Historic structures</h2><br>
<p>The French Creole raised-style main house, built in 1790, is an important architectural example in the state. The plantation has numerous outbuildings or "dependencies": a pigeonnier or dovecote, a plantation store, the only surviving French Creole barn in North America (ca. 1790), a detached kitchen, an overseer&#39;s house, a mule barn, and two slave dwellings.</p><br>
<p>The complex includes three archaeological sites. These have been subject to varying degrees of excavation and exploration.</p><br>
<p>The 1884 Mialaret House, and its associated buildings and property, were added to the complex by later purchase. They help to represent the long working history of the plantation. It extended well into the 20th century. Some of the extensive land is still planted with sugarcane.</p><br>
<p>The Whitney Plantation historic district was listed on the USA National Register of Historic Places in 1992. It is one of 26 sites featured on the Louisiana African American Heritage Trail.</p><br>
<h2>Ownership of the Whitney</h2><br>
<p>The Whitney Plantations land was first bought in 1752, by Ambroise Heidal, an immigrant from Germany. At some point his family changed the spelling of their surname to Haydel. Upon Ambroises death, ownership of the land passed to his youngest son, Jean Jacques Haydel. In 1820, this son bequeathed the property to his own sons, who were named Jean Jacques Jr. and Marcellin. Jean Jacques Jr. and Marcellin later bought a plantation next to the property they had been given by their father. After Marcellins death in 1839, his widow Marie Azélie Haydel ran the plantation during its most productive time. In this period, it was one of Louisianas most profitable sugarcane businesses. Marie Haydel was one of Louisiana&#39;s largest slaveholders by the time she died in 1860.</p><br>
<p>Later, in 1867, after the American Civil War had ended, Bradish Johnson became the owner of the plantation. He renamed it as Whitney, in honor of his daughter who had married a man with that surname.</p><br>
<p>In the late 20th century John Cummings acquired the Whitney complex in 1999, holding it until 2019. He spent more than ten years restoring it before opening it to the public in 2014. He donated the Whitney in 2019, and it is now a 501(c)(3) organization governed by a board of directors.</p><br>
<h2>In popular culture</h2><br>
<p>Quentin Tarantino made a film Django Unchained (2012) about a slave uprising. A scene was filmed in the rebuilt blacksmith&#39;s shop at Whitney PLantation.</p><br>
<p>The Atlantic magazine made a short documentary video about the museum in 2015, Why America Needs a Slavery Museum.</p><br>
<p>Winthrop Parkway is a historic parkway in Revere, Massachusetts. The parkway, built between 1909 and 1919 and now designated as part of Route 145, runs for about 0.75 mi, from Eliot Circle  southeast to the Revere-Winthrop line. Acquisitions for its construction represent the last public purchase of oceanfront lands in Revere. It was listed on the National Register of Historic Places in 2004.</p><br>
<h2>History</h2><br>
<p>Winthrop Parkway was one of several parkways proposed in the coastal area north of Boston, Massachusetts in 1895. Although plans were drafted for it a few years later by the Metropolitan Parks Commission (MPC, predecessor to the Metropolitan District Commission), these plans were shelved while the commission focused on the construction of Winthrop Shore Drive and Revere Beach Parkway. Its development was also complicated by the need to develop a complete new right of way, whereas the other two parkways were built largely on existing alignments.</p><br>
<p>In 1905 the Boston, Revere Beach and Lynn Railroad gave a stretch of right of way to the MPC between Eliot Circle, terminus of the Revere Beach Parkway, and Leverett Street. This part of the road was built in 1909, cutting through the Beachmont neighborhood of Revere. With the original plan to build to roadway all the way to Winthrop Beach, the MPC in 1914 proposed to lengthen the parkway to the city line. Land acquisition and construction followed, and that section of the road, which runs along the coast, was completed by 1919. The MPC then built the adjacent seawall. Discussions to further extend the parkway never resulted in further development.</p><br>
<p>The roadway was widened in 1946, apparently to facilitate parking. Some time before then, tidal gates were added on either side of the parkway near Leverett Street to regulate the passage of water in and out of Belle Isle Marsh.</p><br>
<p>The Immaculate Conception Rectory is a historic former Roman Catholic rectory building at 108 Beach Street in Revere, Massachusetts. It is a -story Colonial Revival wood-frame structure, with a hipped slate roof and clapboard siding. The main facade is divided into three sections, the outer ones consisting of curved bays with two windows at each level, with a balustrade above at the roof level. The central section has the main entrance, sheltered by porch supported by grouped columns, with a balcony above. Three-part windows stand at the second and third level above the entrance, with a pair of gabled dormers piercing the roof.</p><br>
<p>The building was listed on the National Register of Historic Places in 2002. It served as the parish rectory until 1993, when the building was traded to the city in exchange for land across Beach Street, consolidating the church&#39;s land holdings. Today the building houses the Museum of the Revere Society for Cultural and Historic Preservation. Immaculate Conception Church, located at 133 Beach Street, is still an active parish.</p><br>
<p>The Mary T. Ronan School, originally the Bradstreet Avenue School, is a historic former school building at 154 Bradstreet Avenue in Revere, Massachusetts. The -story Classical Revival style brick building was built in 1896, during a period of rapid growth in the city&#39;s Beachmont neighborhood. It was eventually renamed in honor of one of its early principals. The building was converted to senior housing in 1981. It is architecturally noted for its elaborate entrance section, with full-height brick pilasters at the corners, and a round-arch opening flanked by narrow round-arch windows.</p><br>
<p>The building was added to the National Register of Historic Places in 1982.</p><br>
<p>The US Post Office Garage was a historic vehicle maintenance facility at 135 A Street in the South Boston neighborhood of Boston, Massachusetts. The two story building was designed in the International Style by Gilbert Underwood and completed in 1941 by a construction team headed by John Volpe. It was built out of reinforced concrete and steel. Its exterior was scored in a way to give the appearance of paneling, and had large expanses of steel sash windows that typified the International style. Its rounded corners gave it a streamlined appearance.</p><br>
<p>The building was listed on the National Register of Historic Places in 1986. It has since been demolished.</p><br>
<p>The Edward B. Newton School is a historic school building at 131 Pauline Street in Winthrop, Massachusetts. It is a large H-shaped -story brick Tudor Revival building, set on the north side of Pauline Street in central Winthrop. It was designed by William M. Bacon and built in 1908. It was named after Edward B. Newton, a longtime Winthrop resident who was a member of the school committee for 17 years, who donated funds for the clock.</p><br>
<p>The building was listed on the National Register of Historic Places in 1997. Today it is the Winthrop Public Schools Administration Center.</p><br>
<p>Winthrop Shore Drive is a historic parkway in Winthrop, Massachusetts. The mile-long parkway runs through the Winthrop Beach Reservation, and is administered by the Massachusetts Department of Conservation and Recreation . The parkway is one of a series of ocean parkways  that make up a network of parkways connecting major open spaces in the Greater Boston area. Both the parkway and reservation were designed in the mid-1890s by Charles Eliot for the Metropolitan Parks Commission, a predecessor to the DCR. Land was acquired for the parkway in 1899, and construction was largely completed in 1900.</p><br>
<p>The parkway was listed on the National Register of Historic Places in 2004.</p><br>
<p>The Deane Winthrop House is an historic house at 34 Shirley Street in Winthrop, Massachusetts. Deane Winthrop  was the sixth son of the second colonial governor of the Massachusetts Bay Colony, John Winthrop.</p><br>
<p>The oldest part of the house was built about 1675 with an addition made in 1696. It is currently owned by the Winthrop Improvement and Historical Association and is open to visitors by appointment. This building is one of the oldest wood frame houses in the country and is the oldest continuously lived in home in the United States. The house was added to the National Register of Historic Places in 1990. In 2009, an addition was made to the barn to store Winthrop Improvement and Historical Association artifacts and documents. Originally thought to have been constructed earlier, a dendrochronology survey of the tree rings in 2002 confirmed that the earliest part of the house was built in 1675.</p><br>
<h2>Coat of arms</h2><br>
<p>The coat of arms displayed on the Deane Winthrop House are the arms of Deanes father, Governor John Winthrop, and thus it was also used by his sons. The Winthrop coat of arms is additionally used by Winthrop House at Harvard University. The arms were reportedly confirmed by the College of Arms, London, to Governor Winthrops paternal uncle in 1592. The heraldic blazon of arms is: Argent three chevronels Gules overall a lion rampant Sable.</p><br>
<p>The Petroleum Building is a 50-meter/10-floor building at 420 South Boulder in Tulsa, Oklahoma. It was built in 1921, and is a steel and reinforced concrete structure faced with buff brick. The name was given because most of the early tenants were associated with the petroleum industry. Later, it housed the Mayo Brothers Furniture Company. It was identified as one of the supporting structures during the creation of the Oil Capital Historic District.</p><br>
<p>The simple facade is said to be typical of the pre-Art Deco designs used in many downtown Tulsa buildings.</p><br>
<p>The Century of Progress Architectural District is a historic district in Beverly Shores, Indiana. The district is on Lake Shore Drive within the Indiana Dunes National Park. The district comprises five buildings, all from the Homes of Tomorrow Exhibition of the 1933 Century of Progress World&#39;s Fair which took place in Chicago. Intended to display the future of housing, the Century of Progress Homes reflect a variety of designs, experimental materials and new technologies. On June 30, 1986, the district was listed on the National Register of Historic Places as the Beverly ShoresCentury of Progress Architectural District.</p><br>
<h2>Architecture</h2><br>
<p>The Beverly Shores/Century of Progress Architectural District is significant because it encompasses houses from the 1933–34 Chicago Century of Progress Exposition that comprised a portion of the Home and Industrial Arts Group. These structures were innovative and included engineering and construction technologies that are integral parts of modern residential architecture.</p><br>
<p>During the 1893 Columbian Exposition, the classicism of the French Beaux Arts tradition was popular along with the eclectic revivals of the Victorian architectural periods. This trend dominated American architecture during the first part of the twentieth century. Forty years later, Chicago&#39;s Century of Progress Exposition was the national showcase for new directions in American architecture, which once again followed a European precedent, the 1925 Paris Exposition."</p><br>
<p>The Century of Progress Exposition was conceived in the prosperous 1920s, but the nation was deep in the Great Depression by the opening date. Modern technology, the general theme of the exposition, gave the nation something new during a bleak economic</p><br>
<p>period. New materials, nontraditional construction methods, and efficient, new mechanical systems came together." Electric floodlights, searchlights and neon highlighted the polychromed facades and stylized motifs of the major exhibition buildings. The architecture of the Century of Progress Exposition was progressive, which meant either the Art Deco or International Style."</p><br>
<h2>Move to Beverly Shores, Indiana</h2><br>
<p>After the closing of the 1933 World&#39;s Fair, in late winter 1935 the Century of Progress houses were moved from Chicago to Indiana. Robert Bartlett purchased the homes with the intent of using them to sell more properties in his new residential development called Beverly Shores. Owing to their lakefront location in Chicago and their future lakefront location in Indiana, it was determined the easiest way to transport the homes was by barge. The houses were rolled off the barge on telephone poles onto a heavy timber crib built out into the lake. There were a series of three steps used to raise the houses to the level of Lake Front Drive.</p><br>
<h2>Contributing properties</h2><br>
<p>The five contributing properties in the architectural district are:</p><br>
<h2>Significance</h2><br>
<p>In hosting the 1893 Columbian Exposition, Chicago made the classicism of the French Beaux Arts tradition popular with an American public coming from the Victorian architectural periods. This trend dominated American architecture during the first part of the twentieth century.</p><br>
<p>Forty years later, Chicago&#39;s Century of Progress Exposition was the national showcase for new directions in American architecture, which again followed a European precedent, the 1925 Paris Exposition.</p><br>
<h2>Current status</h2><br>
<p>Four of the five houses have been restored; the House of Tomorrow awaits restoration. One day a year, the public is allowed access to the five homes.</p><br>
<p>The Dr. Generous Henderson House is a historic home located at 1016 The Paseo, once one of the most prestigious areas of Kansas City, Missouri.</p><br>
<h2>History</h2><br>
<p>It was designed by local architect, Rudolf Markgraf and built in 1899. It is a three-story, Second Renaissance Revival style brick and stone dwelling with terra cotta ornamentation. It has two-story rear section and measures approximately 55 feet long and 42 feet wide. It features a cast iron cornice, oriel window, and columns. Also on the property is a contributing carriage house. The house was built for a Dr. Generous Henderson (1844–1924). His medical practice in Kansas City went on for forty-five years. The house is one of the few surviving examples of the Second Renaissance Revival style of architecture in Kansas City.</p><br>
<p>It was listed on the National Register of Historic Places in 1979.</p><br>
<p>The Cass Community United Methodist Church is located at 3901 Cass Avenue in Midtown Detroit, Michigan. It was built in 1883 as the Cass Avenue Methodist Episcopal Church, listed on the National Register of Historic Places in 1982, and designated a Michigan State Historic Site in 1985.</p><br>
<h2>History</h2><br>
<p>The Cass Avenue Methodist Episcopal Church was founded in 1880. In 1883, the congregation hired architectural firm Mason & Rice to design a church at the corner of Cass and Selden. In 1891, Malcomson and Higginbotham designed an addition on the eastern side, which is now the main portion of the church.</p><br>
<p>Early in the life of the church, the congregation was well-to-do. In the 1920s, however, the membership declined as congregants moved from the area and the character of the neighborhood changed. However, the church decided to remain in the neighborhood and minister to and with the new residents. The church is still operating as a United Methodist congregation, with services that change to meet the needs of the neighborhood.</p><br>
<h2>Architecture</h2><br>
<p>The church is a Richardsonian Romanesque structure, constructed in the form of a Greek Cross. The church is built from rock faced Grafton stone, trimmed with Ionia sandstone. At the corner is a square tower, 86 feet high; the green ceramic tile roof is original. On the interior, Tiffany grace the windows; a Johnson - Tracker church organ is installed, which is thought to be the largest 19th-century pipe organ in Michigan.</p><br>
<p>A state of Michigan historical maker marks this church.</p><br>
<p>The Monroe Hotel was a hotel in Kansas City, Missouri. It was built in the early 1920s and soon afterward bought by Tom Pendergast, a local political boss, who arranged for connecting access between his office and the hotel. The hotel closed in 1971, and the building was later converted to condominium use.</p><br>
<h2>History</h2><br>
<p>The need for affordable working class hotel space south of downtown came about as the result of the completion of Union Station in 1914. Raymond H. Sanneman designed the Monroe Hotel in 1920 for the Dubinsky Brothers, and Elelman-Fleming Construction Company served as the general contractor. The five-story hotel was constructed of reinforced concrete with brick and terra cotta at an estimated cost of $150,000.</p><br>
<h3>Ownership by Thomas J. Pendergast</h3><br>
<p>Political boss Thomas J. Pendergast purchased the Monroe Hotel in 1924, and he hired Sanneman to design a two-story building adjacent to the south side of the hotel that would serve as the headquarters for his Jackson County Democratic Club. Pendergast operated out of the two-story building at 1908 Main until the late 1930s. Pendergast had a doorway installed between his second floor office and the hotel, giving him a clandestine entry point and access to the hotels elevator. After Pendergasts release from prison for income tax evasion, a Federal Court ordered the doorway to be sealed and barred Pendergast from any further political activity. The hotel closed its doors in 1971.</p><br>
<h3>Redevelopment</h3><br>
<p>After sitting vacant for more than 30 years, renovation to the Monroe Hotel was completed in mid-2006, by the Kansas City designer Benjamin Sundermeier. The hotel is now home to 8 luxury condominiums. The condos range in size from 1,930 to 2500 sq. ft.</p><br>
<p>The Hollywood Studio Club was a chaperoned dormitory, sometimes referred to as a sorority, for young women involved in the motion picture business from 1916 to 1975. Located in the heart of Hollywood, Los Angeles, California, the Studio Club was run by the YWCA and housed some 10,000 women during its 59-year existence. It was the home at various times to many Hollywood celebrities, including Marilyn Monroe, Ayn Rand, Donna Reed, Kim Novak, Maureen O&#39;Sullivan, Rita Moreno, Barbara Eden, and Sharon Tate. The building was designed in the Italian Renaissance Revival architectural style by noted California architect Julia Morgan, who also designed Hearst Castle. The Studio Club closed in 1975, and the building was used as a YWCA-run Job Corps dormitory until April 30, 2012. It was listed in the National Register of Historic Places in 1979 and remains the property of the YWCA Greater Los Angeles.</p><br>
<h2>Formation of the Studio Club</h2><br>
<p>The Hollywood Studio Club was formed in 1916. It began with a group of young women trying to break into the movies who gathered in the basement of the Hollywood Public Library to read plays. A librarian, Mrs. Eleanor Jones, worried about the young women living in cheap hotels and rooming houses with no place to study or practice their craft. Mrs. Jones solicited help from the local YWCA, and a hall was established as a meeting place. Hollywood studios and businessmen donated money to rent an old house on Carlos Avenue with space for 20 women. Mrs. Cecil B. DeMille and Mary Pickford were active in the clubs operations, and Pickford later recalled, "Mrs. DeMille spent every day doing something for the club. And the motion picture industry supported us." A newspaper article in 1919 described the club this way: "The club is more of a sorority, with delightful picture atmosphere, than anything else, and the same happy atmosphere will pervade the new home. A dominant note is the refining touch of home life and sense of protection, with assurance of assistance, not only in material way when need arises, but in ones work, as well. Financially, many desperate cases among young women have been tided over by the Hollywood Studio Club."</p><br>
<h2>The "Studio Girl"</h2><br>
<p>In the early 1920s, Hollywood became embroiled in scandals, including the 1921 case involving Fatty Arbuckle and his role in the death of young actress, Virginia Rappe. The image of the "extra girl", the pretty young girl who had traveled across the country to make it in the movies only to find herself the victim of exploitation, became a public relations problem for Hollywood. One industry observer wondered if extra work would ever be anything other than "an alibi for prostitution." In order to change this negative reputation, the Hollywood studios, led by Will Hays, enacted reforms including the formation of the Central Casting Bureau in 1925 and the construction of a large new home for the Hollywood Studio Club in 1926. By opening a large "chaperoned, elite dormitory" for Hollywood&#39;s young women, the studios hoped to replace the image of sad, bedraggled and exploited "extra girl" with the image of the new "studio girl"—a smartly dressed, graceful, and genteel woman tutored in etiquette as well as the performing arts. Hays told The New York Times that he sought to "make the motion picture business... a model industrial community, complete with recreation facilities, community centres, dormitories matrons."</p><br>
<h2>Architecture and construction</h2><br>
<p>Between 1923 and 1925, a widely publicized fundraising campaign was held to build the new Hollywood Studio Club. Contributions were received from Famous Players–Lasky ($10,000), Metro Goldwyn and Carl Laemmle ($5,000 each), Warner Bros. ($3,000), and Christie Comedies ($2,000). In March 1923, aviator and movie star Andree Peyre conducted an aerial acrobatic exhibition and airplane race over Hollywood to help raise funds for the new home. In February 1925, a final $5,000 donation from silent screen star Norma Talmadge allowed the group to begin construction. The organization hired architect Julia Morgan to design the new building, and a ground-breaking ceremony took place in June 1925 with Mary Pickford and Morgan in attendance.</p><br>
<p>The new Hollywood Studio Club opened in May 1926, having been built at a cost of $250,000. The building was opened at a ceremony attended by 2,500 people, "including many of the celebrities of the motion picture world," with dedication ceremonies in the afternoon and "dancing at midnight."</p><br>
<p>Julia Morgan designed the Studio Club in a Mediterranean style with interiors decorated in "pistache green, rose coral, and tan." The building includes several recurring elements from Morgan&#39;s Mediterranean style buildings, including full-length arched windows, balconies with iron balustrades, and decorative brackets. A writer in California Graphic said "this beautiful and spacious new building is but one more jewel in the crown of Achieved Results which this progressive and cultural little city is wearing so proudly and shows its ever increasing desire to give unstinted moral and financial support to every progressive endeavor."</p><br>
<p>The rooms at the Studio Club had nameplates on the doors identifying individuals who made subscriptions of at least $1000 to the building fund. There were rooms named for Douglas Fairbanks, Howard Hughes, Gloria Swanson, Jackie Coogan, and Harold Lloyd.</p><br>
<h2>Operation</h2><br>
<p>The only qualification needed for admittance to the Studio Club was that the applicant had to be seeking a career in the motion picture business, whether as an actress, singer, script girl, cutter, writer, designer, dancer or secretary. Another article in 1959 referred to the club as a "colony" of students and described the atmosphere this way: "You may hear the wail of a clarinet, the vocal exercise of a balladeer... and seen in a quiet corner, the silent gestures of a rehearsing ingenue with a script. But most of all there are clustered groups recounting their day – of pounding pavements, hearing of jobs, lamenting and blessing their luck and philosophizing." In 2000, Susan Spano wrote in the Los Angeles Times: "The handsome Italianate building, designed in 1926 by architect Julia Morgan (of Hearst Castle fame), still evokes the good old days when a mother could send her daughter to Hollywood to become a star without worrying that her offspring would go astray." However, the Studio Club was not free from scandal. Actress and former Studio Club resident Virginia Sale recalled, "One woman, older than the rest of us, was murdered in front of the club by a boyfriend. He was an ex-serviceman or something like that. And he then killed himself."</p><br>
<h2>Closure</h2><br>
<p>By the mid-1960s, times had changed, and the idea of a chaperoned dormitory had become dated. In 1964, the club expanded its membership to include studio secretaries, dancers, models and others working broadly in the talent field. By 1971, the club was forced to open its doors as a regular hotel for transient women and stopped serving meals, but it still lost money. Changes in the fire code also took a toll, as modifications needed to bring the structure up to fire code were estimated at $60,000. In 1975, the Studio Club closed its doors. At the time of the closure, the Los Angeles Times wrote:</p><br>
<p>The city of Los Angeles began using it in 2018 as a 64-bed crisis housing facility for women.</p><br>
<h2>Famous residents</h2><br>
<p>Over the years of its operation, the Studio Club was home to many budding starlets and others trying to make it in show business. Those residing at the club included:</p><br>
<p>ZaSu Pitts – Pitts, the star of Erich von Stroheim&#39;s 1924 masterpiece, Greed, was one of the first stars to come out of the Studio Club. Von Stroheim called Pitts "the greatest dramatic actress." Pitts later noted that "without the club I should have been a village dressmaker all my days."</p><br>
<p>Ayn Rand – When Ayn Rand arrived in Hollywood in 1926 to become a screenwriter, she lived at the Studio Club. Though her heavy accent and plain Russian clothes made her an "odd apparition" to the pretty, fresh actresses of the Studio Club, Rand was welcomed into the sorority. She was hired initially as an extra, at a salary of $7.50 a day, leaving the Studio Club before dawn each day to arrive at the studio at 6 a.m. for makeup and dress. While staying at the Studio Club, she met both Cecil B. DeMille and her future husband, Frank. A club resident later recalled the following story about Rand:</p><br>
<p>Maureen OSullivan – Actress Maureen OSullivan, who played Jane in the Tarzan movies of the 1930s and early 1940s and starred in The Devil Doll, took up residence at the Studio Club when her mother brought her to Hollywood from Ireland.</p><br>
<p>Virginia Sale – Sale, who went on to have more than 150 film and television credits, also started at the Studio Club. Years later, Sale recalled her friendship with Ayn Rand at the club in the 1920s. Though Rand largely kept to herself, Rand encouraged Sale in her writing of skits. "She (Rand) did the sound effects for me backstage and that was really where my one-woman show got started, right at the club. Over the years on tour I gave 3,000 performances." (Sale is one of the women in the picture above shown "cleaning house.")</p><br>
<p>Diana Dill – Diana Dill was an actress living at the Studio Club when she met Kirk Douglas, whom she married in 1943.</p><br>
<p>Marie Windsor – Windsor, who found a niche in film noir and became known as "Queen of the B&#39;s", won two beauty pageants in Utah before driving to Hollywood to become a star. She lived at the Studio Club when she arrived in Hollywood, stayed for three years (the maximum stay period) and later returned for six more months after World War II.</p><br>
<p>Dorothy Malone – Malone, who later received an Academy Award for her role in Written on the Wind, lived in the Studio Club in the 1940s after moving to Hollywood from Texas. She later recalled that the Studio Club was already famous as a home for aspiring young actresses. She said, "You had to have references and a letter from your parents just to get in. There was a long waiting list from the beginning." She dated Mel Torme while living at the club and recalled being discovered by Alan Ladd while playing a Spanish girl in a showcase at the club; but when she reported to the studio without the black hair, they did not believe she was the same person.</p><br>
<p>Marilyn Monroe – Monroe lived at the Studio Club from 1948 to 1949. She later recalled that it was to raise $50 to pay rent at the Studio Club that she posed for the famous nude photographs. She said, "Funny how shocked people in Hollywood were when they learned Id posed in the nude. At one time Id always said no when photographers asked me. But youll do it when you get hungry enough. It was at a time when I didnt seem to have much future. I had no job and no money for the rent. I was living in the Hollywood Studio Club for Girls. I told them I&#39;d get the rent somehow. So I phoned up Tom Kelley, and he took these two colour shots—one sitting up, the other lying down.... I earned the fifty dollars that I needed." Monroe stayed in Room 334.</p><br>
<p>Kim Novak – Kim Novak was the biggest star to live at the Studio Club in the 1950s. When Harry Cohn, president of Columbia Pictures, signed Novak to a studio contract, he required that she not date anyone during the week and posted a studio guard outside the Hollywood Studio Club, where he required her to live. Novak moved into the Studio Club in 1953 and stayed on at the club even after she became a movie star. Another resident at the time recalled, "She was very neat and clean. Nobody could look more glamorous in a mans white shirt and Levis. I remember she just couldn&#39;t bear to leave. In those years we had raised the limit of time to five years."</p><br>
<p>Barbara Eden – In the 1950s, before landing her role on I Dream of Jeannie, Eden lived at the Studio Club. Other club residents later recalled that Eden would look at the club&#39;s bulletin board and apply for every show business job available, even those that she was advised would "ruin" her career.</p><br>
<p>Sharon Tate – Tate, who was murdered by the Manson Family in 1969, lived at the Studio Club when she began her career in Hollywood in 1963. When her aggressive roommate at the Club made lesbian advances, Tate requested a new room.</p><br>
<p>Joanne Worley – Worley, who went on to fame in Laugh In, lived at the Studio Club in the 1960s. She recalled, "I remember it was a wonderful place.... It was inexpensive, had good food and 24-hour telephone service. And on Sundays the best coffee cake I ever ate."</p><br>
<p>Other residents of the Studio Club included Donna Reed (star of Its A Wonderful Life and The Donna Reed Show and Oscar winner for From Here to Eternity), Rita Moreno (winner of an Academy Award in 1961 for West Side Story, a Grammy Award in 1972, a Tony Award in 1975, and the Presidential Medal of Freedom in 2004), Linda Darnell (star of Forever Amber, Unfaithfully Yours and A Letter to Three Wives in the late 1940s), Nancy Kwan (star of The World of Suzie Wong and Flower Drum Song in the early 1960s), Barbara Rush (Golden Globe winner for It Came from Outer Space and star of The Young Philadelphians), Janet Blair (movie star in the 1940s in films including Three Girls About Town, Broadway, and Gallant Journey), Elvia Allman (voice of Clarabelle Cow in 28 Disney cartoons, the homely woman pursuing Bob Hope in Road to Singapore, Cora Dithers in the Blondie radio series, and the aggressive forelady in the chocolate candy conveyor belt episode of I Love Lucy who yells, "Speeder up a little!"), Barbara Britton (star of Captain Kidd and The Virginian in the mid-1940s), Gale Storm (star of the 1950s television series My Little Margie and The Gale Storm Show and singer of the hit song Dark Moon), Evelyn Keyes (Scarlet OHaras younger sister in Gone with the Wind and real-life spouse of Charles Vidor, John Huston and Artie Shaw), Ann B. Davis (two-time Emmy Award winner as "Schultzy" in The Bob Cummings Show and housekeeper Alice in The Brady Bunch), and Sally Struthers (Gloria from All in the Family), Farrah Fawcett (four-time Primetime Emmy Award nominee and six-time Golden Globe Award nominee, rose to international fame when she played a starring role in the 1976 first season of the television series Charlie&#39;s Angels).</p><br>
<h2>Recognition as historic site</h2><br>
<p>The Hollywood Studio Club has been recognized as a building of significant historic importance at both the local and national level. In 1977, the Studio Club was designated a Historic-Cultural Monument (No. 175) by the City of Los Angeles. And in 1980, it was listed in the National Register of Historic Places.</p><br>
<p>In 1994, an episode of Visiting... with Huell Howser featured a tour of the Hollywood Studio Club and reminiscences of several women who lived there.</p><br>
<p>Camp Lee Canyon is a district listed on the National Register of Historic Places containing seven buildings in Lee Canyon, Toiyabe National Forest in Mount Charleston. The camp is operated by the Clark County Parks and Recreation department. Camp Lee Canyon was leased to Clark County Parks and recreation in 1961 from the US forest service. It is the only camp in control of Clark County Parks and Recreation.</p><br>
<h2>History</h2><br>
<p>The camp was constructed in 1936 by the Works Progress Administration.</p><br>
<p>Mount Hope Cemetery in Bangor, Maine, is the second oldest garden cemetery in the United States. It was designed by architect Charles G. Bryant in 1834 and built by the Bangor Horticultural Society soon after, Bangor was at that time a frontier boom-town, and much of its architecture and landscaping was modeled after that of Boston. The site has been listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Purchased in July 1834, the land consisted of 50 acre of Lot 27, which was set along State Street – at the time known as County Road and later the "Road to Orono" – and the Penobscot River. It did not include all of the cemetery&#39;s central hill; instead, it cut across the crest of the hill and met up with what would later be Mount Hope Avenue. The land was approximately 660 by with the longer side extending north–south along State Street. Approximately 12 acre was to be set aside for horticultural activities, and the rest of the land was to be used as a cemetery.</p><br>
<p>This was the preferred resting ground for Bangor&#39;s 19th- and early-20th-century elite. The cemetery includes the gravesites of Hannibal Hamlin, a USA Vice President who had also held office as Congressman, US Senator and Governor of Maine, a USA Senator, ten USA Congressmen, two USA Ambassadors, four Governors of Maine, eight Civil War Generals, and numerous "lumber barons" and other local businessmen and politicians. Actors Richard Golden and Ralph Sipperly are also buried there.</p><br>
<h2>Representation in other media</h2><br>
<p>The movie Pet Sematary was filmed in Mount Hope Cemetery.</p><br>
<h2>Notable burials</h2><br>
<p>Franklin Muzzy (1806–1873), 32nd President of the Maine Senate</p><br>
<p>Hannibal Hamlin (1809–1891), 15th Vice President of the United States, 26th Governor of Maine</p><br>
<p>Al Brady (1910–1937), Bank robber</p><br>
<p>Doris Pike White (1896–1987), 24th President General of the Daughters of the American Revolution</p><br>
<p>The Mayfield–Gutsch Estate, now named Mayfield Park, is a historic cottage, gardens and nature preserve in west Austin, Texas on a bluff overlooking Lake Austin. Originally built in the 1870s, the cottage was purchased by former Texas Secretary of State Allison Mayfield in 1909. In 1922, the house passed to Mayfield&#39;s daughter, Mary Frances, and her husband, University of Texas professor Milton Gutsch. They expanded the home, adding porches on three sides and, with the help of gardener Esteban Arredondo, greatly developed 2 acre of the property around their home into a botanical garden surrounded by a rock perimeter wall. When Mary Mayfield Gutsch died in 1971, the home and grounds were left to the City of Austin for use as a park. The property was listed on the National Register of Historic Places on September 29, 1994.</p><br>
<p>Mayfield Park is open to the public and is known for its free roaming peacocks on the property. The cottage and gardens can be reserved for private events. The grounds are immediately adjacent to Laguna Gloria, home to the Austin Museum of Art.</p><br>
<p>The Belcrest Apartments is an apartment building located at 5440 Cass Avenue in Midtown Detroit, Michigan. It was built in 1926 as the Belcrest Hotel, designated a Michigan State Historic Site in 1983,</p><br>
<h2>History</h2><br>
<p>The Belcrest Apartment Hotel was built in 1926 as a residential hotel, catering to wealthy tenants. The building exemplified what was, at the time, a novel style of living arrangement: an apartment building that offered amenities normally associated with a hotel. Daily maid service and a restaurant on the premises set this apart from a conventional apartment building. The building was developed by Jacob Singer and Max Hamburger, who hired Charles N. Agree as both architect and general contractor for the building. In 1929, Singer and Hamburger signed an agreement to make the Belcrest a part of the Albert Pick hotel chain. The property was purchased by Detroit-based developer, Holcomb Development Company, in Fall of 2022 and a full renovation of all 140 units has been completed.</p><br>
<h2>Architecture</h2><br>
<p>The Belcrest is a twelve-story, T-shaped apartment building, constructed of concrete and steel and sheathed with brick and terra cotta. Three projecting bays surround the base of the T, emphasizing the vertical, and extend up through the cornice to end in an ornamented gable. The three bays have elaborate detail on the twelfth floor, containing alternating bands of brick and terra cotta, round-arched masonry window openings, and terra cotta diaperwork.</p><br>
<p>Terra cotta cornices on the third, eleventh, and top floors emphasize the horizontal. The grey and cream second-floor cornice is further embellished with dentils, rope molding, and acanthus leaf molding. The tan and dark brown eleventh-floor corniceline has green highlights, and breaks at terra cotta balconets beneath the twelfth-floor windows. The tan twelfth floor cornice is molded into the form of a series of arches and acanthus leaf brackets, topped with an acanthus leaf molding.</p><br>
<p>A gabled single story entry foyer echoes the form of the twelfth floor gables. The entryway is reached through original wrought iron entry gates.</p><br>
<p>The Hezekiah Chaffee House is a historic house museum on Meadow Lane in Windsor, Connecticut. Built about 1765, it is one of Windsor&#39;s largest and most elaborate Georgian brick houses. The house was listed on the National Register of Historic Places in 1972, and is a contributing property to the Palisado Avenue Historic District, listed in 1987. It is owned and operated by the Windsor Historical Society, which offers tours on a year-round basis.</p><br>
<h2>Description and history</h2><br>
<p>The Hezekiah Chaffee House stands on the east side of the Palisado Green, Windsor&#39;s earliest settlement area just north of the Farmington River. It is a large two-story brick structure, with a gambrel roof and central chimney. The brick is laid in Flemish bond, and the house stands on a foundation of red sandstone. There are two gambrel-roofed ells, stories in height, extending to the south and northeast. They appear to be contemporaneous to the main block, sharing a similar foundation. The main facade is five bays wide, with a center entrance topped by a five-light transom window. It is sheltered by a later Greek Revival portico, with a pedimented gable and Doric columns.</p><br>
<p>The house was built c. 1765 for Dr. Hezekiah Chaffee, who had bought the land in 1755. It remained in the Chaffee family until 1926, when it was acquired by the Loomis Institute, then a boys prep school, to house a girls school known as the Chaffee School. The two schools are now united on a different campus as the Loomis Chaffee School. The house is now run as a museum property by the Windsor Historical Society and is open year-round, Wednesday - Saturday from 11 am to 4 pm.</p><br>
<p>The Frenchglen Hotel State Heritage Site is a hotel in the sparsely populated southeast part of Oregon, United States. It is located in the unincorporated community of Frenchglen, near the base of Steens Mountain and at the northern end of the loop road that ascends almost to the mountain&#39;s summit above 9,000 ft.</p><br>
<p>The hotel was built in 1924. In its early days, its guests typically had business at Peter French&#39;s P Ranch or were visiting the Malheur National Wildlife Refuge. From 1937 to 1938, the hotel was restored and enlarged by the USA Bureau of Sport Fisheries and Wildlife, with labor from the Civilian Conservation Corps.</p><br>
<p>The Oregon Parks and Recreation Department took possession of the property in 1973. The site was added to the National Register of Historic Places in 1984.</p><br>
<p>Today, the historic hotel building has eight guest rooms, Guests still visit for the wildlife refuge, as well as nearby Steens Mountain.</p><br>
<p>The Edwin Abbot House, also known as the Zabriskie House, is an historic house at 27 Garden Street  in Cambridge, Massachusetts. Built in 1889 to a design by Longfellow, Alden & Harlow, it is a prominent local example of residential Richardsonian Romanesque architecture. It has served as the principal building of the Longy School  since 1937. It was listed on the National Register of Historic Places in 1979, and included in the Follen Street Historic District in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The Edwin Abbot House stands west of Harvard Square in western Cambridge, at the formerly five-way junction of Concord Avenue, Garden Street, and Follen Street. Follen Street and the eastern portion of Concord Avenue, both quiet residential streets, are isolated from the rest of the intersection by a pedestrian plaza just south of the house. The traditional front facade of the house faces south toward Follen Street, with its major entrance now in the modern addition facing the Garden Street/Concord Avenue intersection. The main block of the house is stories in height, and is built out of a combination of gray and rust-colored rectangular granite blocks, with red sandstone trim. It is covered by a red slate hip roof. The front facade is divided into three basic sections, the most prominent a projecting polygonal bay topped by a pyramidal roof. The entrance is set in the center section, under a segmented stone arch. Trim beltcourses extend around the building, acting as both sills and lintels for windows. The interior includes a grand entrance hall with high quality woodwork and a grand staircase.</p><br>
<p>The house was built in 1889 to a design by Longfellow, Alden & Harlow for lawyer and railroad executive Edwin Hale Abbot (1834–1927). It remained in the Abbot family until 1937, and has since then been home to the institution now called the Longy School of Music of Bard College. In the 1960s a modern addition was made to the north, designed by Huygens and Tappe; it houses the Pickman Concert Hall. The rooms of the mansion are used by the school for a variety of academic purposes, including offices and practice spaces.</p><br>
<p>The John Aborn House is an historic house in Cambridge, Massachusetts. Built in 1846, it is one of west Cambridge&#39;s first examples of residential housing with Italianate features. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The John Aborn House stands in a residential area northwest of Porter Square, on the northeast side of Orchard Street between Blake and Beech Streets. It is a -story wood-frame structure, with a side-gable roof and clapboarded exterior. A two-story porch extends across the front, supported by square posts. The gable eaves have decorative brackets, and the ground floor windows on the front are topped by lintels adorned with small brackets.</p><br>
<p>The house was built in 1846, not long after Orchard Street was platted for development. It was one of the first houses with Italianate elements to be built in the city, coming just one year after the style was introduced. The house was built by Joshua Fernald, a local master carpenter, and was located for convenient access to the Fitchburg Railroad depot (now the Porter MBTA station). It originally did not have a large front porch; a two-story porch with Victorian turned posts and balusters was added about 1890 (as seen in 1972 cultural survey photos); the present porch is a subsequent replacement.</p><br>
<p>The Armory, historically known as the First Regiment Armory Annex, and home to Portland Center Stage at The Armory, is a historic building with two theaters and is located in Portland, Oregon, United States. It was built in 1891 by Multnomah County to house the Oregon National Guard. In 2000, it was added to the National Register of Historic Places. Following a $36.1 million renovation project that lasted from 2002 to 2006, the building home to the theater company Portland Center Stage which produces 11 productions each season. An estimated 150,000 visitors visit The Armory annually to enjoy a mix of classical, contemporary and world premiere productions, along with the annual JAW: A Playwrights Festival, and a variety of high-quality education and community programs.</p><br>
<h2>Construction</h2><br>
<p>In the late 19th century, anti-Chinese sentiment, particularly along the West Coast of the United States, had led to anti-Chinese violence in Oregon and Washington. After violence turned to riot in some cases (such as in Seattle), the State of Oregon authorized construction of armories so that National Guard troops could drill, in an effort to prevent or control potential riots.</p><br>
<p>The First Regiment Armory in Portland was completed in 1888, but was immediately deemed too small, and so an Annex was commissioned to give troops stationed there more space for maneuvers. Amenities included an underground firing range. The annex is also an example of Castellated architecture. The fortress-like structure has a recessed arched entrance flanked by turrets above. The turrets have crenelated parapets and loophole vertical gun slots.</p><br>
<h2>Uses</h2><br>
<p>Constructed with a truss system with no supporting pillars to block views or impede movement, the building was one of the few Portland buildings in the early 20th century that could handle large crowds. As a result, the building hosted exhibitions of early motion picture machines, conventions, reunions, recitals, concerts, and speeches by presidents Theodore Roosevelt, William Howard Taft, and Woodrow Wilson. In 1918, the new Municipal Auditorium (now called Keller Auditorium), designed with superior acoustics and comfortable seating, supplanted the Armory for concerts and speeches, though amateur boxing events were still held at the Armory.</p><br>
<p>In 1928, the Portland fire marshal declared the building to be a fire hazard; nonetheless, the building continued to be used. From 1946 to 1948, the Armory was home to the Portland Indians of the Pacific Coast Professional Basketball League. In 1948, the building was used to take in refugees of the Vanport Flood which destroyed the town of Vanport in 1948.</p><br>
<p>In 1968, the Blitz-Weinhard Brewing Company purchased the entire complex, demolishing the original Armory for a parking lot and using the Annex as a warehouse.</p><br>
<h2>Present use</h2><br>
<p>The Armory now contains the 590-seat USA Bank Main Stage and 190-seat Ellyn Bye Studio. The reinvention of the building as an arts center was contemplated as early as 2002. The renovation cost $36.1 million.</p><br>
<p>The Armory has become a significant case study for historic preservation and sustainable design. It received a Platinum Leadership in Energy and Environmental Design (LEED) Certification, becoming the first building on the National Register and the first in Portland to achieve Platinum certification. As of 2007, it was one of only two Portland buildings to attain that status. Some of the green features include a catch system for rainwater, displacement ventilation systems, skylights for additional natural lighting and bicycle parking spaces.</p><br>
<p>The Almshouse is an historic almshouse located at 45 Matignon Road in Cambridge, Massachusetts. It is now the site of the International School of Boston&#39;s main campus. It was built in 1850 and is a prominent example of institutional residential architecture in stone, resembling prisons of the era. The building was added to the National Register of Historic Places in 1982, where it is incorrectly listed at 41 Orchard Street.</p><br>
<h2>Description and history</h2><br>
<p>The former Cambridge Almshouse is located in the northwestern corner of Cambridge, on the north side of Matignon Road between Matignon High School and the St. Sava Serbian Orthodox Church. It is a large three-story stone structure with modest Greek Revival styling, set partly across the city line between Cambridge and Somerville. It has a central octagonal administrative section from which four wings of varying sizes radiate. It is built mostly out of slate blocks that were quarried from a ledge on site, with dressed dark granite corner quoining, and granite belt courses between the floors. The rooflines are pierced by rows of gabled dormers.</p><br>
<p>The building was built in 1850, designed by architect Gridley J.F. Bryant and prison reform expert Rev. Louis Dwight. A similar design was used by Bryant for Boston&#39;s Charles Street Jail (built in 1848) and for the Deer Island Jail (1850). The building was the fifth and final instance of an almshouse built by the city. It was built on a farm purchased by the city in 1849 for the purpose of establishing a poor farm. The property was sold to the Roman Catholic Archdiocese of Boston in 1927, which operated a school and convent on the premises. (The archdiocese continues to operate Matignon High School, but sold the adjacent church, now St. Sava, in 2006.)</p><br>
<p>The American Net and Twine Company Factory is a historic factory at 155 2nd Street in Cambridge, Massachusetts. It was built in 1875 by the nation&#39;s first manufacturer of cotton fishing nets. It now houses corporate office space. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The former American Net and Twine Company Factory stands in a formerly industrial area on the south side of East Cambridge. It is located on the west side of Second Avenue between Charles and Rogers Streets, spanning most of the block between Second and Third Streets. Its parking area is formed out of a truncated part of Bent Street, which continues both east and west of the property. It is an L-shaped three-story brick building, exhibiting industrial Italianate styling. Windows are set in segmented-arch openings, and the truncated gable roof carries a row of gabled dormers. The long leg of the L is oriented east-east (just north of the former alignment of Bent Street), with a projecting four-story stairwell tower near the center of the south elevation. Flat-roof sections to the left, creating the L and interrupting the former Bent Street alignment, are late 19th and early 20th century additions. The sections are stylistically similar to the original portion, also built of brick.</p><br>
<p>The American Net and Twine Company was founded in 1844, and was the first company in the United States to produce fishing nets made from cotton instead of hemp. Prior to its founding, fish netting was imported from the United Kingdom. Ivers Whitney Adams was president of the company at one point.</p><br>
<p>This building was built by the company in 1875 to accommodate rising demand for its products, and was twice expanded between 1886 and 1916. It is currently used as offices, including those of One Laptop per Child and Disney Research among other tech firms.</p><br>
<p>The Ash Street Historic District Cambridge, Massachusetts is a residential historic district on Ash Street and Ash Street Place between Brattle and Mount Auburn Streets in Cambridge, Massachusetts, off Brattle Street just west of Harvard Square. The district consists of ten well-preserved houses, most of which were built between 1850 and 1890. The district was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>Ash Street is located on the western edge of Harvard Square, extending south from Brattle Street to Memorial Drive. The Ash Street Historic District is located on the northern half of the road, between Brattle and Mount Auburn Streets, including Ash Street Place, a short stub extending eastward. It directly abuts the Old Cambridge Historic District, which lies to the north.</p><br>
<p>Properties on Ash Street are densely built on small lots. The district includes five houses on Ash Street, four with Mount Auburn Street addresses (located at the four corners of the junction), and one on Ash Street Place. Eight were built between 1850 and 1890, and are stylistically diverse. The oldest house in the district is the 1828 Henry Nowell House at 19 Ash Street; it was originally located on Brattle Street, and was moved to its present location in 1858.</p><br>
<p>The oldest house to be built in the district is an 1848 Gothic Revival cottage at 6 Ash Street Place; the only 20th-century building in the district is the 1941 house of architect Philip Johnson at 9 Ash Street. This house was designed and built while Johnson was studying at Harvard, and is one of the city&#39;s earliest International Style buildings.</p><br>
<p>The Portuguese Embassy in Washington, D.C. is the diplomatic mission of Portugal to the United States. The building is located at 2012 Massachusetts Avenue in Northwest, Washington, D.C., in the Embassy Row neighborhood.</p><br>
<h2>Consulates</h2><br>
<p>Portugal maintains a consular presence in the following places:</p><br>
<p>Boston, Massachusetts (Consulate-General)</p><br>
<p>Newark, New Jersey (Consulate-General)</p><br>
<p>New York City, New York (Consulate-General)</p><br>
<p>San Francisco, California (Consulate-General)</p><br>
<p>New Bedford, Massachusetts</p><br>
<p>Providence, Rhode Island</p><br>
<p>Los Angeles, California</p><br>
<p>San Diego, California</p><br>
<p>Miami, Florida</p><br>
<p>Chicago, Illinois</p><br>
<p>Houston, Texas</p><br>
<p>San Juan, Puerto Rico</p><br>
<p>Phoenix, Arizona</p><br>
<p>Honolulu, Hawaii</p><br>
<p>Palm Coast, Florida</p><br>
<p>New Orleans, Louisiana</p><br>
<p>Indianapolis, Indiana</p><br>
<p>Tulare, California</p><br>
<p>Waterbury-Naugatuck, Connecticut</p><br>
<p>Athenæum Press is an historic building located at 215 First Street in Cambridge, Massachusetts. The structure occupies the entire block between First Street, Second Street, Athenæum Street, and Linskey Way, which was formerly known as Munroe Street. Topped by a statue of Athena sculpted by Adio diBiccari, the building is visible from the nearby Charles River and the Longfellow Bridge.</p><br>
<h2>History</h2><br>
<p>The Athenæum Press was designed by the architecture firm, Lockwood, Greene, and Company, with tile vaults designed by the Guastavino Company. The building was completed in 1895. The structure was built for Edwin Ginn and Ginn & Company, owners of The Athenæum Press, to house its printing operations, and was built using principles of late nineteenth-century textile mill construction. Due to its highly visible location, the building was given a number of stylistic embellishments, including a large sculpture of Athena designed by Adio diBiccari. The front of the building resembles an Ancient Greek temple implemented in brick, patinated copper, and glass. The building was listed on the National Register of Historic Places in 1982. The building was the third major printing house built in Cambridge (after those of Harvard University Press and Riverside Press), and one of the first major industrial sites on Cambridge&#39;s riverfront.</p><br>
<p>The building has 380,000 ft&sup2; of floor space and was renovated circa 2005. The facility was used for many years to print textbooks. Ginn & Company later became part of Pearson Education.</p><br>
<p>As of 2019, occupants include the Cambridge Athletic Club, Partners HealthCare Innovation, the Lean Enterprise Institute, SAGE Therapeutics, Constellation Pharmaceuticals and several other small businesses.</p><br>
<p>The Ephraim Atwood House is an historic house at 110 Hancock Street in Cambridge, Massachusetts. Built in 1839, it is a significant local example of transitional Greek Revival/Gothic Revival architecture, and one of the earliest houses built after the subdivision of Dana Hill. It was listed on the National Register of Historic Places on June 30, 1983.</p><br>
<h2>Description and history</h2><br>
<p>The Ephraim Atwood House stands in the Dana Hill area of Cambridge, between Central Square and Harvard Square north of Massachusetts Avenue. It is set on the east side of Harvard Street, opposite its junction with Centre Street, and is oriented facing south. It is a -story wood-frame structure, with a gabled roof and clapboarded exterior. The roof extends over a shallow front porch for its full five-bay width, supported by Doric columns which have trellis lattices between some pairs. The main entrance is at the center of the main block, which is extended to the east by an enclosed porch. The gable rake edges are adorned with jigsawn bargeboard, a detail repeated on the gabled dormers piercing the roof.</p><br>
<p>The area was historically the estate of jurist Francis Dana, which was divided among his heirs after his death. The main mansion was sold out of the family at that time, and burned down in 1839, spurring family members to sell buildable lots from their holdings. This house and the nearly identical house next door were both built in 1839. They exhibit fairly typical modest Greek Revival elements, but also include early examples of Gothic detailing in the bargeboard, and in an applied-wood Gothic arch over the window in the street-facing gable end.</p><br>
<p>The Avon Hill Historic District is a residential historic district near Porter Square in Cambridge, Massachusetts. Set atop Avon Hill southwest of Porter Square, this subdivision, laid out about 1870, contains a concentration of the finest Victorian and Second Empire residential buildings in the city. The district was listed on the National Register of Historic Places in 1983.</p><br>
<h2>Description and history</h2><br>
<p>Avon Hill was originally known as Jones Hill, and was used agriculturally from the mid-17th to mid-19th centuries. The five acres at the top of the hill were sold for development in 1869 to Henry Melendez and Gilbert Dexter, two prominent local businessmen. Each built a fine Second Empire house on Washington Street; that of Melendez survives, while Dexter&#39;s burned down in 1939. The area was built out by 1890 with architecturally distinguished houses on large landscaped lots, mainly for the owners of local businesses. Four of the houses were designed by the prominent firm of Hartwell & Richardson, while a number of the others were designed by other local architects. Only two houses in the district were built after 1900.</p><br>
<p>The historic district extends along Washington Street between Upland and Lancaster Streets, and along Lancaster Street most of the way east to Massachusetts Avenue. It also includes all of Walnut Street, most of Arlington Streets, and a few houses on Agassiz and Humboldt Streets, and on Hillside Avenue, all of which abut one of the other streets. There are 44 properties, all residential. Most of them are large -story wood-frame buildings; one building has brick walls, while another has a combination of brick and wooden finishes. All were originally built as single-family dwellings, but some have since been divided internally into multiple living units.</p><br>
<p>The B B Chemical Company is an historic office and industrial building at 784 Memorial Drive in Cambridge, Massachusetts. It was built in 1937 for the Boston Blacking Company, an adhesive manufacturer whose most famous brand name was Bostik, to a design by Coolidge, Shepley, Bulfinch & Abbott, and is a prominent local example of Streamline Moderne architecture. From 1979 to 1996, it served as the headquarters of the Polaroid Corporation. The building was added to the National Register of Historic Places in 1982 under the incorrect name "B and B Chemical Company". It is now owned by The Bulfinch Companies of Needham, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The former B B Chemical Company building is located in the Cambridgeport neighborhood of Cambridge, on the east side of Memorial Drive between River Street and Pleasant Street Extension. It is a basically rectangular structure, with a four-story central section flanked by three-storey wings. It has a frame of steel and concrete, and is mainly faced in buff brick. The central section is recessed from the wings, but a projecting cornice on the wings extends over the recess area to provide a curved canopy over the entrance. The central part of the center section is even taller, with a projecting rounded window bay topped by a clock face. The wings are symmetrical, with the ground floor composed mainly of glass blocks interspersed with regularly spaced horizontal windows. The upper floors are defined by long bands of horizontal windows.</p><br>
<p>The building was designed by Coolidge, Shepley, Bulfinch & Abbott and built in 1937 for the B B Chemical Company, a subsidiary of the United Shoe Machinery Corporation since 1929. In 1946, it described itself as supplying "adhesives and related compounds for the shoe leather, aircraft, rubber clothing and shipbuilding industries". The facility, which include a more simply designed second building behind this one, produced adhesives used in the shoe manufacturing process at other plants. It served as the headquarters for the Polaroid Corporation starting in 1979. (HUIT).</p><br>
<p>The James B. Barnes House is an historic house at 109 Hampshire Street, Cambridge, Massachusetts. Built in 1824 and moved to its present location in 1984, it is one of the only brick Federal-style houses left in Cambridge, and is a rare survivor of the early period of development in East Cambridge. It was listed on the National Register of Historic Places in 1982.</p><br>
<h2>Description and history</h2><br>
<p>The James Barnes House now stands in Cambridge&#39;s Wellington-Harrington neighborhood, set facing west on the north side of Hampshire Street between Columbia and Union Streets. It is a -story brick structure, with a side gable roof. It is five bays wide and two deep, with a center entrance set in an opening with a Federal style fanlight.</p><br>
<p>The house was built in 1824 for an English glassmaker employed at the New England Glass Company. In 1910 it was moved within its original lot facing Monsignor OBrien Highway to accommodate a road widening project. It was moved to its present location in 1984. The house is distinctive in Cambridge as a rare example Federal period brick architecture, the only such example with a fanlight above the entrance. It is also one of the few residential buildings to survive from the early years of East Cambridges development.</p><br>
