<p>The Dr. Harrison A. Tucker Cottage is a historic summer cottage at 61 Ocean Avenue in Oak Bluffs, Massachusetts. The cottage took shape in the 1870s as a combination of several smaller structures that were joined by an addition. Doctor Tucker was a resident of Cottage City, as Oak Bluffs was then known, and invited Ulysses S. Grant during his time there. Tucker was also a leading figure in the Oak Bluffs Land and Wharf Company, which spearheaded development of the town outside the Methodist meeting camp known as Wesleyan Grove. The house was listed on the National Register of Historic Places in 1990,</p><br>
<h2>Description</h2><br>
<p>The Tucker Cottage is set on Ocean Avenue, a curving street which overlooks Ocean Park and Nantucket Sound. It is part of a neighborhood of large 19th-century summer cottages which are laid out on concentric roads arrayed around Ocean Park, a seven-acre park. Ocean Avenue is the innermost of these roads, directly abutting the park.</p><br>
<p>Dr. Tucker was a Massachusetts native who made his fortune in the production and sale of patent medicines, and had been vacationing at Oak Bluffs for several years before he built his cottage in 1872. He was a major social force in the summer life of Oak Bluffs, was a cofounder of its Trinity Episcopal Church, and may have paid for the bandstand visible from his cottage. The cottage was originally in Stick style, and was designed by Hartwell and Swasey, but little is known of the original design, for the cottage was extensively remodeled in 1877 to designs by John Hammond, giving it its present Queen Anne styling.</p><br>
<p>The cottage has an asymmetrical T shape with irregular massing. It is predominantly plank-framed, and has a variety of porches and belvederes; its most prominent feature is the tower at its northwest corner, which is 46 ft high. Each of the tower&#39;s three levels has a porch with Stick-style balustrade, and the tower is topped by an open gabled roof with more Stick decoration. The central portion of the main facade is recessed from the tower, with a porch on the second floor above a first floor with a truncated overhanging roof line. The left (south) side of the main facade has a projecting gable section with porches above and below, and a small turret-topped side projection immediately behind it. The tower was destroyed during the New England Hurricane of 1938, and rebuilt in the 1980s. The exterior decorations include numerous wood carvings, including depictions of lion heads, doves, dragons, and falcons.</p><br>
<p>The Ritter House  is an historic house on Beach Street in Vineyard Haven, Massachusetts, USA, and is listed on the National Register of Historic Places. It has had a succession of occupants and uses, and as of 2007 served as a retail establishment.</p><br>
<h2>History</h2><br>
<p>The house was built in 1796 on what was then known as “Quality Street“, next to the Mansion House hotel in Vineyard Haven, Massachusetts, the main port of the island of Martha&#39;s Vineyard. Originally built by Jirah Luce, it was occupied early by the highly respected Connecticut physician Dr. Rufus Spaulding (1760–1830) until about 1812, when he returned to his home state.</p><br>
<p>Dr. Spaulding ran the house as an inn, and Spaulding himself was described by historian Charles Banks as "doctor, postmaster, justice, village librarian, inn-keeper, and Master of the lodge of Masons." Other sources note that this house was at one time a tavern, and later became the first post office and library in the town of Tisbury. The house was inherited by Dr. Spaulding&#39;s daughter Sophronia and her husband, Thomas West.</p><br>
<p>Another early resident was Stephen deNeuville (1778–1816), aka "Stephen New", a young French sea-captain.</p><br>
<p>The house was inherited by his daughter Hannah Chase DeNeuville and her husband Orrick Peck Branscomb (1809–1859), a shoemaker and general store owner who moved to the island from Maine in the early 1830s. This house is often referred to as the “Branscomb House” in many older references. The house barely survived a major fire in 1883, which destroyed the entire downtown portion of Vineyard Haven right to the edge of this property.</p><br>
<p>Retired whaling captain Gilbert L. Smith (1832–1928) bought the house in 1902. Mr. & Mrs. Henry A. Ritter purchased the house in the early 1900s. Henry Ritter was principal of the Tisbury School for many years and was remembered as an excellent teacher but a stern schoolmaster. By the 1920s the home was owned by Mrs. Evangeline Merrill Ritter, known to many as "the Vineyard Weaver."</p><br>
<p>The Ritter House was purchased by the Martha&#39;s Vineyard Historical Preservation Society in 1976, and was listed on the National Register of Historic Places in 1977. From 1981 to 1988 the Society rented the house out to the Tisbury Museum. The Museum merged with the Dukes County Historical Society in that year, and the Society undertook a restoration of the property. It has since been converted to a retail property.</p><br>
<p>The Congregational Church of West Stockbridge is an historic Congregational church building at 45 Main Street in West Stockbridge, Massachusetts. Completed in 1882 for a congregation founded in 1774, it is the town&#39;s best example of Stick style architecture. It was listed on the National Register of Historic Places in 1996, and continues in use by the original congregation.</p><br>
<h2>Architecture and history</h2><br>
<p>The Congregational Church of West Stockbridge is located in the village of West Center, on the east side of Main Street (Massachusetts Route 102) at its junction with Old Barrington Road. It is a single-story wood-frame structure, with a gable-roofed cruciform plan. A single-stage belfry rises above one of the wings, capped by a pyramidal roof. The gable ends and tower have applied woodwork characteristic of the Stick style, and there are fields of decorative shingles beneath the stained glass windows that adorn the larger gable ends.</p><br>
<p>The towns early Congregationalists were its first settlers, and both the town and congregation were organized in 1774. The Congregationalists met in private homes until 1789, when the towns meeting house was complete enough for use. This building was used by the town for civic purposes, and was shared with a local Baptist congregation until 1793. By the 1830s, the present town center had outstripped the village of West Center in importance, but a new congregation was organized in 1833 to serve the latter area. Its first building, constructed in 1843, was destroyed by fire in 1881. This church its second, was dedicated in February 1882, and was built by local contractor B. H. Hatch of Great Barrington. It was built in the then-fashionable Stick style, to a design by Pittsfield architect Charles T. Rathbun.</p><br>
<p>The Montville Baptist Church, now known as the Sandisfield Arts Center, is an historic former Baptist church and Orthodox Jewish synagogue at 5 Hammertown Road in Sandisfield, Massachusetts. The Greek Revival building was constructed in 1839 as a Baptist church. After 83 years as a Baptist church meeting house, the building was converted into use as an Orthodox synagogue for 75 years. In 1995 the Sandisfield Arts Center formed as a non-profit to preserve the building. The building was added to the National Register of Historic Places in 2006.</p><br>
<h2>Description and history</h2><br>
<p>The former Montville Baptist Church stands in a rural area of central Sandisfield, just east of the junction of Hammertown Road with Sandisfield Road (Massachusetts Route 57). It is a single-story wood frame structure, set on a granite foundation and covered by a gabled roof. Its exterior is finished in wooden clapboards. The front facade has corner pilasters rising to an entablature and fully pedimented gable, with a two-stage square tower rising above the roof ridge. The basement is fully exposed in the front, with the main entrance now consisting of four doors at the center of the basement level. Above this, a pair of pilasters flank a sign labeled "Sandisfield Arts Center", and rise to an entablature and cornice just below the main entablature. The interior provides a multifunction space in the basement level, with kitchen and dining area, while the upper area is a large open two-story space. A cabinet previously used as a Torah ark is set against the rear wall.</p><br>
<p>The building was erected in 1839-42 by the local Baptist society, formed in 1829 through the merger of two older Baptist societies (founded 1779 and 1790). The Baptist congregation declined, and the church was turned over to county Baptist organization in 1894. It stood vacant and in declining condition until 1921, when it was acquired by a local Jewish congregation, established in the area after an influx of immigrants over the previous ten years. Under the auspices of the B&#39;nai Abraham Orthodox Jewish congregation, the building was raised and the present foundation was installed. Corner stairs were added, allowing for separate access to the gender-segregated parts of the sanctuary. The synagogue closed in the 1940s due to declining participation. It was briefly revived in the 1980s, but failed due to insufficient numbers to meet Jewish laws. The building was formally turned over by the remnant congregation to the Sandisfield Arts Center in 1996.</p><br>
<p>Pilgrim Memorial Church and Parish House is an historic church and parsonage at 249 Wahconah Street in Pittsfield, Massachusetts. The church was designed by H. Neill Wilson, and was completed in 1897. It is a good local example of Gothic and Romanesque architecture, and was the first church built to serve the mill workers in the city&#39;s north end. The property was listed on the National Register of Historic Places in 2005. The present church congregation is Presbyterian.</p><br>
<h2>Architecture and history</h2><br>
<p>Pilgrim Memorial Church stands in a mixed-use area north of downtown Pittsfield, on the west side of Wahconah Street south of its junction with Pecks Road and Pontoosuc Avenue. It is a modestly scaled stone structure, built out of local fieldstone and covered by a steeply pitched gable roof. The gable ends are slightly parapeted, and there are projecting gable sections at the northern end. The east-facing projection houses the main entrance, and has projecting stone buttresses. The south-facing sanctuary facade has three tall Gothic windows, the center one rising into the gable.</p><br>
<p>The churchs construction was an outgrowth of planning by local church leaders to provide services closer to where the citys workers lived. Plans for this site were drawn by local architect H. Neill Wilson, which included a chapel (seating about 300), and a larger sanctuary seating 450. Of the two, only the smaller chapel was ever built. The parish house was built in 1927, and was also designed by Wilson. Unlike the church, which was built in granite, the parish house is a single story tan brick building in a more utilitarian style.</p><br>
<p>Pittsfield Cemetery is a historic cemetery at 203 Wahconah Street in Pittsfield, Massachusetts. Established in 1850, it is good example of a rural cemetery and is the resting ground of many prominent Pittsfield residents with a number of architecturally significant elements. It also houses a number of Pittsfield&#39;s earliest burials which were relocated here from a cemetery near the city center. The cemetery was listed on the National Register of Historic Places in 2007.</p><br>
<h2>Description</h2><br>
<p>Pittsfield Cemetery is located north of downtown Pittsfield, on 142 acre west of Wahconah Street. This land includes a largely undeveloped tract between Onota Street and Valentine Road. The area between Wahconah Street and Onota Street is about 83 acre, and is the area that was laid out in 1850. Laid out in the fashionable rural cemetery style, the cemetery features winding lanes for circulation, and plantings of specimen trees.</p><br>
<p>The easternmost area of the cemetery, between Onota Brook and Wahconah Street, is an entry area with no burial sites. It includes the entrance arch, a two-story superintendent&#39;s house, and the Calvin Memorial Chapel. A structure originally built as a receiving tomb has been converted into a crematorium.</p><br>
<h2>History</h2><br>
<p>The cemetery was initially laid out in 1850 prompted by the citys growing population and because Pittsields principal burying ground at North and East Streets was full. Although the cemetery started without much fanfare or styling in 1850, over the next 100 years it acquired a number of interesting elements. Funds for the Allen Memorial Arch and Main Gate were donated in 1885 by Thomas Allen Jr., and provide an imposing entry to the facility. A memorial to Allen elsewhere in the cemetery is believed to be the largest piece of red granite in the world. In 1900 the chapel was dedicated. In the 1930s cemetery officials added the Superintendent&#39;s Cottage and a Maintenance Garage. As the cemetery grew in the 1910s, the noted Olmsted Brothers landscape firm was retained to plan the layout of new sections of the cemetery.</p><br>
<p>The Los Angeles Fire Department Museum and Memorial is located at Old Engine Co. No. 27, also known as Fire Station No. 27, on Cahuenga Boulevard in Hollywood. The museum houses old fire engines and fire apparatus, some dating from the 1880s. The museum also houses a reference library and fire safety learning center. The building was named a Los Angeles Cultural-Heritage Monument in 1976 and was listed in the National Register of Historic Places in 1985. The Fallen Firefighters Memorial in front of the station consists of a memorial wall listing all of the Los Angeles firefighters who have died in the line of duty and five life-size statues of firefighters.</p><br>
<h2>History of Engine Co. No. 27</h2><br>
<p>At 20,000 ft&sup2, the Italian Renaissance revival building housing Engine Co. No. 27 was the largest fire station west of the Mississippi River when it opened in July 1930. For more than 60 years, the old fire station served the Hollywood community, including the motion picture studios and the stars who lived in the Hollywood Hills. It was also used a movie location by, among others, The Three Stooges and Buster Keaton. The use of the building as both a movie location and a working fire station sometimes led to difficulties. In 1937, a real fire broke out while a Hollywood studio was filming the motion picture, Two Platoons, at Fire Station No. 27. The Los Angeles Times reported on the incident this way:</p><br>
<p>The entire crew was on hand as atmosphere and the equipment served as a background. Dick Foran and Robert Armstrong were in the middle of a scene when the alarm sounded. Moviemaking meant nothing in the life of Battalion Chief Rothermel at that moment. Before (director John) Farrow could finish the sequence, the fire engines were speeding on their way to a brush fire in the Hollywood Hills. The movie company had to wait an hour before action could be resumed.</p><br>
<p>In 1950, the captain of Engine Co. No. 27, Michael J. Carter, died in the line of duty while supervising a firefighting effort at a recordmaking facility in Hollywood. Capt. Carter is one of the fallen firefighters now honored by the memorial located in front of Engine Co. No. 27.</p><br>
<p>One firefighter, Lawrence T. ONeill, served at Station 27 for 34 years starting in 1929. At the time of his retirement in 1963, ONeill recalled the company&#39;s efforts in fighting the Paramount sound stage fire in 1929, the Consolidated Laboratories fire the same year, and dozens of other fires over the years.</p><br>
<p>In 1976, an interagency dispute arose, as the Fire Department Board of Commissioners voted unanimously to oppose the designation of Station No. 27 as a Historic-Cultural Monument by the Citys Cultural Heritage Commission. Fire Chief Kenneth Long expressed concerns that the designation would make it impossible for the city to rebuild the station or to sell it to build a new station elsewhere. Despite the fire departments opposition, Fire Station No. 27 was disengaged as the city&#39;s Cultural-Historical Monument #165 in October 1976. The historic designation saved Engine Co. No. 27 when the Los Angeles Fire Department announced plans in 1984 to demolish 16 old fire stations as part of the largest building program ever undertaken by the department.</p><br>
<p>The station was also listed in the National Register of Historic Places in 1985. Rather than demolishing the old firehouse, a new fire station was built next door. The building was damaged in the 1994 Northridge earthquake, but was restored to its earlier appearance for use as a museum honoring the Los Angeles Fire Department.</p><br>
<h2>Los Angeles Fire Department Museum</h2><br>
<p>The Los Angeles Fire Department Museum opened in October 2001—the month after the September 11 attacks on the World Trade Center in New York City, New York, and the Pentagon in Arlington County, Virginia. The walls of the museum are filled with historical photographs on the department&#39;s history. The museum houses several old fire engines, artifacts and historical firefighting equipment, some dating from the 1880s. There is also a research library and a learning center where fire and life safety lessons are taught. The benefactor of the museum is retired Los Angeles firefighter and Medal of Valor recipient, William Rolland. Rolland said of the museum: "I believe we must begin by educating our youth. A museum is not something you finish; museums are something you start. We will teach and educate children and their parents in fire safety awareness, emergency procedures and EMS technology of today."</p><br>
<p>When the Los Angeles Times published an article on the museum in 2003, it wrote: "With its high ceilings, six old-fashioned brass fire poles and nearly a dozen antique fire engines, the Los Angeles Fire Department Museum looks like a set from a Hollywood back lot.... But Fire Station 27 has a greater purpose: keeping the flame of L.A. Fire Department history."</p><br>
<p>The Los Angeles Fire Department Historical Society also operates three other museums—the Los Angeles Harbor Fire Museum, located at 638 Beacon St., San Pedro; the Plaza Fire House near Olvera Street in downtown Los Angeles; and the African American Fire Fighter Museum, located at 1401 S. Central Avenue.</p><br>
<h2>Fallen Firefighters Memorial</h2><br>
<p>In front of the museum is the Fallen Firefighter Memorial. It includes a memorial wall with the names of every known Los Angeles firefighter who has died while on active duty. The memorial also includes a series of life-size bronze statues depicting five firefighters. Two of the firefighters are depicted attacking a fire, while a fallen firefighter is attended to by a fourth figure. The fifth figure is the fire captain, shown making a command decision and also caring for the downed firefighter. The statues was based on a concept and designed by Los Angeles Fire Captain Harold Dwayne Golden and created in Minnesota by Honors for Excellence.</p><br>
<p>In 2005, firefighters staged a torch relay through the city to raise funds for the memorial that was then anticipated to cost $1.5 million. Each battalion in the Los Angeles Fire Department took turns running 13 mi with the torch. At the time, firefighter Dominic Pascal said, "You dont want to forget your family members, and we dont want to forget ours.... It&#39;s a significant, emotional event when you lose someone in a fire."</p><br>
<p>The East Hoosac Quaker Meetinghouse is a historic Quaker meeting house in Adams, Berkshire County, Massachusetts. The meetinghouses construction dates to the early 1780s. It now occupies a prominent position within the Maple Street Cemetery , the first burial ground in Adams. Unmarked graves of Adams early Quaker settlers lie near the meetinghouse, an area now marked by a plaque. The meetinghouse was listed on the National Register of Historic Places in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Quaker Meetinghouse occupies a prominent position overlooking the Maple Street Cemetery from a high point near its western end. It is a simple rectangular two story wood frame building measuring 28 ft by 36 ft. In typical Quaker fashion, both the interior and exterior lack any significant ornamentation. The exterior is finished in wooden clapboards, and has an asymmetrical main facade with two entrances, one for men and one for women. The doors and outside window shutters are made of simple wooden planking. A chimney pierces the roof ridge near the buildings western end. The interior was partitioned to separate the men from the women, although portions of the divider were movable. Seating consisted of benches, and there were fireplaces located on the womens side of both floors.</p><br>
<p>Adams was first settled by Quakers, mostly from the area of Smithfield, Rhode Island, in the 1760s, and was originally known as East Hoosac. The present meetinghouse dates to 1784, and remained in active use until 1842, when the local Quaker population was in decline. The area of the cemetery near the meetinghouse has archaeologically been determined to have unmarked graves of Quakers (a common practice of time) dating to the 1760s. Relatives of noted suffragette Susan B. Anthony, who was born in Adams, are buried here.</p><br>
<p>The Society of the Congregational Church of Great Barrington  is an historic church building and parish house located at 241 and 251 Main Street in Great Barrington, Massachusetts. It is the fourth church of a congregation whose first meetings were held in 1743.</p><br>
<h2>History</h2><br>
<p>In 1743 the congregation was founded by Samuel Hopkins, an early proponent of the theology of New Divinity. In 1883 the current stone church building was completed after a fire destroyed most of the previous structure, which had been built of locally quarried stone in 1859. In 1883 the congregation also accepted the donation by the Hopkins family of a house to be used as a parish hall. This building, also faced in local stone, was designed by Peabody & Stearns, and was previously located across the street from the church before being moved to its present location next to the church.</p><br>
<p>In the 1880s the church sponsored congregant W. E. B. Du Bois as he attended Fisk University. In 1992 the church building was added to the National Register of Historic Places.</p><br>
<h2>Architecture</h2><br>
<p>The church is set in the heart of downtown Great Barrington, facing west toward Main Street. The church, along with its manse and carriage house, are all built of locally quarried limestone. The church is two stories in height, with a longitudinal nave whose walls are supported by buttresses. Its roof is steeply pitched, and covered in slate. A five-story tower, 116 ft in height, rises at the southwest corner, and is topped by a pyramidal roof with flared edges. The church was built in 1883, using parts of the previous (1859) structure, which was built from stone sourced at the same quarry, and was destroyed by fire in 1882. The church was designed by William C. Brocklesby, an architect practicing in Hartford, Connecticut. The manse and carriage barn, added in 1884, were designed by Peabody and Stearns of Boston.</p><br>
<h2>Notable congregants</h2><br>
<p>David Leavitt</p><br>
<p>W. E. B. Du Bois</p><br>
<p>Mary Silvina Burghardt Du Bois</p><br>
<p>Trinity Episcopal Church is an historic Episcopal church building at 88 Walker Street in Lenox, Massachusetts. Built in 1888 for a congregation organized in 1793, it is a prominent local example of Romanesque architecture, funded by Gilded Age summer congregants. The church was listed on the National Register of Historic Places in 1996.</p><br>
<h2>History</h2><br>
<p>The first known Episcopalian church services to take place in Lenox were in 1763; it was not until 1793 that a congregation was organized. Its first building, similar to a typical colonial meeting house, was built in 1818, and survives in somewhat altered form as a commercial building on Church Street. The congregation remained small until after the American Civil War, when wealthy residents of large cities began summering in Lenox. The church was enlarged in 1873, but by 1882 it was again judged too small.</p><br>
<p>Robert Auchmuty, a congregant who had apprenticed with architect James Renwick Jr., headed the committee that oversaw design and construction of the replacement. Auchmuty worked with Charles Follen McKim of McKim, Mead & White to develop plans for the church, and supervised its construction.</p><br>
<h2>Notable people</h2><br>
<p>Robert Shaw Sturgis Whitman, rector</p><br>
<p>Al Mac&#39;s Diner-Restaurant is an historic restaurant building at 135 President Avenue in Fall River, Massachusetts. It is an example of the stainless steel diners in Massachusetts, with rectangular massing, a flat roof, a projecting center entry vestibule, and rear kitchen wing.</p><br>
<p>The diner was built in 1953 and added to the National Register of Historic Places in 1999.</p><br>
<h2>History</h2><br>
<p>Al McDermott (the Al Mac of the diners name) started his business providing food and drink to Fall River mill workers from a horse-drawn wagon in 1910. McDermott opened several diners along the Northeast, including this one in 1953. The diners original location was where Brightman Street Bridge sits currently. Then it was moved to the current site of Bicentennial Park; later it was moved directly across Davol Street.</p><br>
<p>The diner was closed in July 2012, due to the tough economic climate. After extensive cleaning and repair, the diner re-opened early 2013 under new management, with owner Robert Dunse as the chef, and Zachary Tenen as sous chef.</p><br>
<p>In 2019, The Dunse family sold the business to Cliff Ponte, current president of the Fall River City Council/former acting mayor, and his family. The local businessman and politician hired his father, Cliff Ponte Sr., to run the business. Ponte has cleaned up and refurbished the diner.</p><br>
<h2>Campaign stop</h2><br>
<p>Al Macs is a favorite stop for politicians on and off the campaign trail. This list includes Gov. Deval Patrick, Senate President William Bulger, Massachusetts Attorney General Martha Coakley, and the late Senator Ted Kennedy. Kennedy in particular paid many visits to the diner over his long service as a USA senator from Massachusetts. Coakley stopped at Al Macs on Election Day during the 2010 Senate special election in Massachusetts. Footage showing her visit was broadcast on CNN and other major news networks covering the election.</p><br>
<p>The Neck of Land Cemetery is a small historic cemetery on Summer Street in Taunton, Massachusetts. Established in 1687 near the confluence of the Mill and Taunton Rivers, it was the city&#39;s first cemetery. Most of its graves predate 1800; there are four burials before 1700, including two children. The cemetery is a roughly rectangular plot, about 0.5 acre in size, on the south side of Summer Street, between Prospect and West Summer Streets. The most significant individual buried in the cemetery is Taunton founder and first female colonial land claimer Elizabeth Poole.</p><br>
<p>The cemetery was listed on the National Register of Historic Places in 1985.</p><br>
<p>The Nara Visa School is a historic school building in Nara Visa, New Mexico. The school was built in 1921 during the settlement of eastern New Mexico. Architect Joseph Champ Berry, noted for his work in the Texas Panhandle, designed the Mission Revival building. While the building&#39;s plain facade and red tile roof are typical of the Mission Revival style, the wood corbel brackets along the roof reflect local vernacular designs and American Craftsman influences. A gymnasium built by the Works Progress Administration and several contributing outbuildings are also on the property. The school closed in 1968 and the building is now a community center. The site was added to the National Register of Historic Places in 1983.</p><br>
<p>The United States Post Office in Hollywood, Los Angeles, California, also known as Hollywood Station, is an active USA post office located at 1615 Wilcox, between Sunset and Hollywood Boulevards. It is on the National Register of Historic Places.</p><br>
<h2>Design</h2><br>
<p>In 1937, renowned Art Deco architect Claud Beelman, a partner at Curlett + Beelman, was commissioned by the Works Progress Administration (WPA) to design the Hollywood Post Office Building. He worked with the Los Angeles architectural firm Allison & Allison. Beelman also designed the Los Angeles County Fair Gallery, also commissioned by the WPA in 1937, now known as the Millard Sheets Center for the Arts at Fairplex.</p><br>
<p>A wooden bas-relief for interior lobby, titled The Horseman, was carved by artist Gordon Newell as a Treasury Relief Art Project commission. It is still in the building, located over a doorway.</p><br>
<p>Using a steam shovel, the ground breaking was done by Will H. Hays of the Motion Picture Production Code. The post office is one of the few historic government buildings remaining relatively unchanged in Hollywood.</p><br>
<p>The Don Gaspar Historic District is a historic district in Santa Fe, New Mexico. It was listed on the National Register of Historic Places in 1983. The listing included 278 contributing buildings.</p><br>
<h2>History</h2><br>
<p>The district is primarily residential, and was largely built up in the early-20th century, although it was apparently subdivided in the late 19th century, and at least a few of the buildings date from this earlier period.</p><br>
<p>The historic district is named for Don Gaspar Ortiz y Alarid, who was a "merchant prince" who traveled on wagon trains between Santa Fe, New Mexico and Chihuahua, Mexico. He traveled later to Saint Louis, Missouri for trading. Ortiz y Alarid donated the property around the present location of Don Gaspar Avenue which forms the heart of the Don Gaspar Historic District. It is unclear how Ortiz y Alarid obtained possession of the land grant property.</p><br>
<h2>Architecture</h2><br>
<p>The oldest houses are one-story adobe structures. The district expands south from the State Capitol, and is a segment of the Santa Fe South Capitol area. To the north it is bounded by Paseo de Peralta, and to the east, it is bounded by the Old Santa Fe Trail. The southern boundary is Houghton Street marks the southern boundary, and Don Cubero marks the western boundary.</p><br>
<p>The historic district includes a mixture of architectural styles such as Pueblo Revival, California Bungalow, and late-period Victorian homes. Some of the structures are partially constructed from structural tiles manufactured by the inmates of the New Mexico Penitentiary, known locally as "pen tile". The penitentiary was formerly located in the southwestern quadrant of the district. The area is transected by Don Gaspar Avenue and Galisteo Street, both of which run in a north–south direction.</p><br>
<p>Blue Mountain School is an historic school located at 1986 Blue Mountain Road, about 8.7 mile southeast of Port Angeles, Washington. It has been moved shortly east of its original location in the early 20th century. The school operated from 1903 to the date of its closure in 1935 as the only educational facility in the Blue Mountain district. After closure, the Blue Mountain Cemetery Association continued to maintain and preserve the property.</p><br>
<p>Blue Mountain School was added to the National Historic Register in 1987.</p><br>
<p>Forsimilarly named historic farms in New HampshireEmery Farm </p><br>
<p>Emery Farmstead, also known as Chancellor-Emery Farmstead, is a historic farm located at the junction of Emery Road and Emery Lane, about 8.5 mile southeast of Port Angeles, Washington. The farm is composed of five well preserved historic buildings on a 5 acre area. The log cabin ({{coord|48.06974|-123.26283|format=dms|display=inline,source:ProprioMeOW|name=Log Cabin}}) is the newest building in the farmstead and was built in 1889. Shortly after its construction, and before 1900, the two-story log house ({{coord|48.06989|-123.2631|format=dms|display=inline,source:ProprioMeOW|name=Log House}}) was built nearby. The granary ({{coord|48.06982|-123.26258|format=dms|display=inline,source:ProprioMeOW|name=Granary}}) and root cellar ({{coord|48.06982|-123.2627|format=dms|display=inline,source:ProprioMeOW|name=Root Cellar}}) are two log structures located shortly east of the buildings. A log shed ({{coord|48.06981|-123.26284|format=dms|display=inline,source:ProprioMeOW|name=Shed}}) is the original living quarters, built in 1885.</p><br>
<p>The farm was added to the National Register of Historic Places in 1988.</p><br>
<p>The Joseph Paris House, also known as the Airplane House and the Peace House is a historic wood frame bungalow built in 1920 and located at 101 East 5th Street in Port Angeles, Washington. Although being substantially a one-story building, an upper sleeping room rises from the center of the main roof, forming an airplane like configuration, whence the name of "Airplane House". The first owner of the house, Joseph Paris, was the owner of the Paris Motor Company in the city. Paris sold the house in 1923 to Petrus Pearson, General Manager of the Crescent Logging Company and the Port Angeles Western Railroad Company, who lived there until the 1940s. In 1975 the house was converted into a rental property, and became a center for local peace activists, whence the name of "Peace House".</p><br>
<p>The house was added to the National Register of Historic Places in 1987.</p><br>
<p>Rosemary Inn is a historic resort located at Barnes Point, on south shore of Lake Crescent, about 17.2 mile southwest of Port Angeles, in Olympic National Park. The Rosemary Inn historic district comprises a 4.5 acre area and encompasses several historical structures built between 1914 and the mid-1930s.</p><br>
<p>The main property of the district is the Rosemary inn lodge, a big frame structure located to the south of the meadow built by John Daum and opened in 1914 by Rose E. Littleton. Twelve guest log and wood-frame cabins, each one unique in design, and several other outbuildings, built between the 1920s and the 1930s, occupy the area north of the lodge.</p><br>
<p>The property was sold to the National Park Service in 1943. In 1946 the dedication of Olympic National Park was conducted at the lodge at Rosemary Inn. The National Park Concessions operated the restaurant until 1951. From 1951 until 1986, Rosemary Inn and its surrounding cabins were used by NPC as employee housing. From 1988, Rosemary Inn was operated by Olympic Park Institute, as an environmental education center. Olympic Park Institute was rebranded as NatureBridge.</p><br>
<p>The historical district was added to the National Register of Historic Places in 1979.</p><br>
<h2>Contributing Properties</h2><br>
<p>The district comprises 16 contributing properties, built between 1914 and 1936:</p><br>
<p>The Rosemary Inn Lodge, 48.05956&deg; latitude, -123.79405&deg; longitude, built c. 1914.</p><br>
<p>The Manager&#39;s Residence, 48.05965&deg; latitude, -123.79316&deg; longitude, built early 1930s.</p><br>
<p>The "Dreamerie" Cabin, 48.05936&deg; latitude, -123.79358&deg; longitude, built early 1930s.</p><br>
<p>The "Indiana" Cabin, 48.05965&deg; latitude, -123.79337&deg; longitude, built c. 1933.</p><br>
<p>The "Alabam" Cabin, 48.05965&deg; latitude, -123.79337&deg; longitude, built mid 1920s.</p><br>
<p>The "Honeysuckle" Cabin, 48.05973&deg; latitude, -123.79362&deg; longitude, built late 1920s.</p><br>
<p>The "Wren" Cabin, 48.05981&deg; latitude, -123.79348&deg; longitude, built c. 1920.</p><br>
<p>The "Red Wing" Cabin, 48.06006&deg; latitude, -123.79355&deg; longitude, built late 1920s.</p><br>
<p>The "Silver Moon" Cabin, 48.06018&deg; latitude, -123.79345&deg; longitude, built late 1920s.</p><br>
<p>The "Cara Mia" Cabin, 48.06034&deg; latitude, -123.79334&deg; longitude, built mid 1920s.</p><br>
<p>The "Dixie" Cabin, 48.06046&deg; latitude, -123.79334&deg; longitude, built mid 1920s.</p><br>
<p>The "Summerie" Cabin, 48.06019&deg; latitude, -123.79375&deg; longitude, built c. 1920.</p><br>
<p>The "Rock-A-Bye" Cabin, 48.06021&deg; latitude, -123.79443&deg; longitude, built late 1920s.</p><br>
<p>The "Dardanella" Cabin, 48.06&deg; latitude, -123.79444&deg; longitude, built 1932.</p><br>
<p>The Fireplace Shelter, 48.06038&deg; latitude, -123.79409&deg; longitude, built 1933.</p><br>
<p>The Boathouse/Lumber Storage, 48.06041&deg; latitude, -123.79452&deg; longitude, built 1936.</p><br>
<p>Jonesborough United Methodist Church is a church in Jonesborough, Tennessee. Its building is listed on the National Register of Historic Places as a contributing property in the Jonesborough Historic District.</p><br>
<h2>History</h2><br>
<p>The church was formed in 1822 under the leadership of a layman from Nashville, H. R. W. Hill. The church&#39;s first building was located behind the town courthouse, on the public square. Later, due to the planned coming of the railroad, land was purchased at the present location, in 1847, for the construction of the current building, which was opened late that year.</p><br>
<p>Notable members of the congregation in the early years were Elbert F. Sevier, a grandson of Governor John Sevier; Parson William Gannaway Brownlow (later governor of Tennessee during Reconstruction); and Elijah Embree Hoss (who became a bishop of the Methodist Episcopal Church, South). The building was tied up in a legal battle immediately following the Civil War, as members loyal to either side of that political battle tried to gain control of the property. The property issue was settled in 1869, as recorded in the Washington County Court records. Major renovations were made in 1945 and 1959. The exterior of the church building is much like it was originally.</p><br>
<h2>Architecture</h2><br>
<p>The church was built in a Greek Revival style. A balcony along the back wall was at one time set aside for people of color.</p><br>
<p>The Dunbar Hotel, originally known as the Hotel Somerville, was the focal point of the Central Avenue African-American community in Los Angeles, California, during the 1930s and 1940s. Built in 1928 by John Alexander Somerville, it was known for its first year as the Hotel Somerville. Upon its opening, it hosted the first national convention of the National Association for the Advancement of Colored People  to be held in the western United States. In 1930, the hotel was renamed the Dunbar, and it became the most prestigious hotel in LA&#39;s African-American community. In the early 1930s, a nightclub opened at the Dunbar, and it became the center of the Central Avenue jazz scene in the 1930s and 1940s. The Dunbar hosted Duke Ellington, Cab Calloway, Billie Holiday, Louis Armstrong, Lionel Hampton, Count Basie, Lena Horne, and many other jazz legends. Other noteworthy people who stayed at the Dunbar include W. E. B. Du Bois, Joe Louis, Ray Charles, and Thurgood Marshall. Former heavyweight champion Jack Johnson also ran a nightclub at the Dunbar in the 1930s.</p><br>
<p>No longer a hotel, the building was renovated in the 2010s and is now part of a larger residential community named Dunbar Village.</p><br>
<h2>Hotel Somerville opens in 1928</h2><br>
<p>The hotel was built in 1928 by John and Vada Somerville, socially and politically prominent black Angelenos. Vada Somerville was the first African-American woman in California to receive a Doctor of Dental Surgery degree at University of Southern California. John Alexander Somerville was the first black person to graduate from the University of Southern California.</p><br>
<p>For many years, the Somerville was the only major hotel in Los Angeles that welcomed blacks, and it quickly became the place to stay for visiting black dignitaries. In 1928, the Somerville housed delegates to the first NAACP convention held in the western United States. In 1929, when Oscar De Priest (the first African American to serve in Congress in the 20th century) visited Los Angeles, he was met at the station "by a large delegation of colored people, who formed a parade and escorted him to the Dunbar Hotel."</p><br>
<p>The hotel was known for its physical amenities. Its Art Deco lobby had a spectacular chandelier (also in the Art Deco style), Spanish arcade-like windows, tiled walls and a flagstone floor. The lobby was said to look like "a regal Spanish arcade, with open balconies and steel grillwork, as opulent as the Granada Building at Lafayette Park." One person who was present at the hotel&#39;s groundbreaking ceremony recalled it was "a palace compared to what we had been used to."</p><br>
<p>The hotel came to represent a level of achievement among the black community. Historian Lonnie G. Bunch III said, "On the one hand, blacks were not allowed to stay at major hotels. But with enough financial wherewithal and a strong sense of community a black man could build a large hotel."</p><br>
<p>The Somerville/Dunbar also played an important role in anchoring the new Central Avenue community. Prior to 1928, the black community in Los Angeles had been centered around 12th Street and Central Avenue, near Downtown Los Angeles. Somerville was the first to build a major structure so far south in the 42nd Street neighborhood, and soon other businesses followed.</p><br>
<p>After the stock market crash in 1929, Somerville was forced to sell the hotel to a syndicate of white investors. The passing of the hotel from its original black ownership was a disappointment for a community that viewed the hotel as a symbol of black achievement. The hotel was renamed the Dunbar in 1929, in honor of poet Paul Laurence Dunbar.</p><br>
<p>In 1930, the hotel was purchased for $100,000 by Lucius W. Lomax, Sr. (1879-1961). With ownership being restored to an African-American, the "debilitating impact of John Somerville&#39;s loss was reversed, and the hotel once again became the gem of black Los Angeles."</p><br>
<p>During Somerville&#39;s ownership, there was no nightclub or live music at the hotel. It was not until February 1931 that the Dunbar was issued a permit "to conduct a cabaret in the dining room." Though he had sold the hotel, Somerville and others in the neighborhood opposed the establishment of a cabaret in his hotel, stating that such a use "would cast a lasting stigma on it."</p><br>
<h2>Hub of the Central Avenue scene</h2><br>
<p>The Dunbar became known in the 1930s and 1940s as "the hub of Los Angeles black culture," and "the heart of Saturday night Los Angeles." In its heyday, it was known as "a West Coast mixture of the Waldorf-Astoria and the Cotton Club." The Los Angeles Herald-Examiner described the Dunbar this way:</p><br>
<p>It was once the most glorious place on the Avenue. At the Dunbar Hotel... you could dance to the sounds of Cab Calloway, laugh till your stomach hurt with Redd Foxx and maybe, just maybe, get a room near Billie Holiday or Duke Ellington.</p><br>
<p>The Dunbar hosted prominent African Americans traveling to Los Angeles, including Duke Ellington, Joe Louis, Louis Armstrong, Lena Horne, Paul Robeson, Marian Anderson, and Josephine Baker. In 1940, radio comedian Eddie "Rochester" Anderson used the Dunbar as his headquarters while "campaigning" for the honorary seat of "Mayor of Central Avenue."</p><br>
<p>The Dunbar also became the place where African American political and intellectual leaders and writers, including Langston Hughes, W. E. B. Du Bois, Ralph Bunche, Thurgood Marshall and James Weldon Johnson, gathered. It has been described as "a place where the future of black America was discussed every night of the week in the lobby." Celes King III, whose family owned the Dunbar in its heyday, said, "They were very serious discussions between people like W. E. B. Du Bois (founder of the NAACP), doctors, lawyers, educators and other professionals. This was the place where many of them put together the plans to improve the life style of their people."</p><br>
<p>One of the regulars at the Dunbar in its heyday was future mayor Tom Bradley, then a young police officer. Bradley would stop in for coffee and conversation. Bradley later recalled, "I remember, from the days of my childhood, walking down the avenue, just to get a look at some of those famous superstars."</p><br>
<p>More than anything, the Dunbar is remembered for its role in the Central Avenue jazz scene. The nightclub at the Dunbar was the home-away-from-home for, and the stage for performances by, artists including Duke Ellington, Louis Armstrong, Louis Jordan, Count Basie, Lionel Hampton, Lena Horne, Ella Fitzgerald, Billie Holiday, Cab Calloway, and Nat King Cole. Even Ray Charles stayed at the Dunbar when he first moved to Los Angeles.</p><br>
<p>In addition to the main nightclub, former heavyweight champion Jack Johnson opened his Showboat nightclub at the Dunbar in the 1930s. "Jack Johnson... ran his Showboat nightclub in one corner, and black bands practiced on the mezzanine for acts across town later that night."</p><br>
<p>The hotel was also popular with the white community, and many from Hollywood spent their Saturday nights at the Dunbar and surrounding clubs. Celes King recalled once when Bing Crosby bounced a check at the hotel, and her father (the hotels owner) kept Crosbys check. "It was a big joke between them."</p><br>
<p>The neighborhood was also the home of other famous jazz clubs, including Club Alabam (next door), the Last Word (across the street), and the Downbeat (nearby). Even local musicians who were playing at other Central Avenue clubs would gather at the Dunbar. Lee Young, the drummer who led a band at the Club Alabam, recalled: "The fellows in the band – Charles Mingus, Art Pepper, all of us – would hang out between sets next door at the Dunbar... Between the club and the hotel you&#39;d see movie stars and all the big show business names of the day."</p><br>
<p>Musician Jack Kelson recalled the sidewalk in front of the Dunbar as the most desirable place to hang out on the citys coolest street. He said, "Thats my favorite spot on Central Avenue, that spot in the front of the Dunbar Hotel, because that to me was the hippest, most intimate, key spot of all the activity. Thats where all the night people hung out: the sportsmen, the businessmen, the dancers, everybody in show business, people who were somebody stayed at the hotel.... y far that block, that Dunbar Hotel, for me was it. And it was it for, it seemed to me, everybody else. Sooner or later you walked in front of that hotel, and thats where everybody congregated."</p><br>
<p>Another writer recalled the area around the Dunbar as "a place where people love to congregate and have a good time, check out the new models and pick up on the latest lingo." The Dunbar built a reputation in the 1930s as "the symbol of L.A.s black nightlife," as "regular jamming sessions and meetings in the hotel lobby elevated the structure to a practically mythical status." Lionel Hampton had fond memories of jam sessions and practices on the Dunbars mezzanine. Hampton recalled, "Everybody that was anybody showed up at the Dunbar. I remember a chauffeur would drive Stepin Fetchit, the movie star, up to the curb in a big Packard, and he&#39;d look out the window at all the folks."</p><br>
<p>In his autobiography, Buck Clayton shared some of his memories of the Dunbar. He recalled the Dunbar as "jumping" with loads of people trying to get a glimpse of the celebrities, and parties thrown by Duke Ellington and his guys with "chicks and champagne everywhere."</p><br>
<p>The Dunbar was also known for its food. One musician recalled they "had good old southern-fried everything."</p><br>
<h2>The Peace Mission years</h2><br>
<p>For a brief period during the Great Depression, the Dunbar was converted into a hostel for members of the Peace Mission Movement of Father Divine. In 1934, Lucius Lomax sold the hotel to the Peace Mission. The hotel staff was discharged, and the building was renovated as lodging for the mission&#39;s members. The Peace Mission Movement, run by Father Divine, operated a multi-racial religious colony at the Dunbar, with members using the dining room (formerly the site of a cabaret) for Holy Communion ceremonies. The Dunbar was sold to the Nelson family in the late 1930s, and it resumed its role as the cultural center of the Los Angeles black community.</p><br>
<h2>Deterioration and redevelopment</h2><br>
<p>Just as racial segregation had created a need for the Dunbar, racial integration in the 1950s eliminated the need. Duke Ellington, who had previously kept a suite at the Dunbar, began staying at the Chateau Marmont in Hollywood, and others followed. As one writer put it: "When the barriers against integration began to crumble in the late 1950s, so did the Dunbar Hotel."</p><br>
<p>Bernard Johnson bought the Dunbar in 1968, but the hotel continued to lose money, and Johnson closed the hotel&#39;s doors in 1974. Owner Bernard Johnson also opened a museum of black culture for a time. But for most of the years from 1974 to 1987, the building was vacant and declined drastically, as transients began using it for shelter, and the building suffered from graffiti, broken windows and litter.</p><br>
<p>A renovation effort was started in 1979, but stopped when city funding ceased. The 115 hotel rooms on the top three floors were gutted and replaced with 72 apartments. The mezzanine, lobby and basement retained their original décor and were converted into a museum and cultural center. The project was funded in large part with city redevelopment funds at a cost of $4.2 million.</p><br>
<p>In 1990, the Dunbar re-opened as a 73-unit apartment building for low-income senior citizens and museum of black history. Delegates from the NAACP national convention helped rededicate the Dunbar in July 1990 following its renovation. Los Angeles Mayor Tom Bradley attended the rededication ceremony and praised the efforts to "breathe new life and vigor into this magnificent hotel."</p><br>
<p>The Dunbar hosted a jazz show in 1991, attended by noted music journalist Leonard Feather. Feather wrote that the event was like "a visit to a haunted house." When one of the musicians played a Duke Ellington theme, Feather said "you could look up at the balcony and see, in your minds eye, Duke himself at a piano on the mezzanine, working out an arrangement for tomorrows show."</p><br>
<p>By 1997, the neighborhood around the Dunbar was 75% Latino, and by 2006 the neighborhood was predominantly Latino and poor, with most of the nearby storefronts having their signs written in Spanish.</p><br>
<h2>Designation as historic site</h2><br>
<p>In 1974, the Dunbar was designated as an Historic-Cultural Landmark (no. 131) by the city&#39;s Cultural Heritage Commission. The plaque called the hotel "an edifice dedicated to the memory and dignity of black achievement." It was also added to the National Register of Historic Places in 1976. The Dunbar was also listed in the Green Book, a guide to African American travelers, from 1940-1956. shows the location.</p><br>
<h2>Extensive renovation</h2><br>
<p>The Dunbar was in such disrepair pigeons and rats were living in the vacated apartments and drug dealing was prevalent in the area some time after that.</p><br>
<p>After the city foreclosed on the property, in partnership with Coalition for Responsible Community Development was selected through a competitive bidding process to redevelop the Dunbar Hotel.</p><br>
<p>In approximately 2005 Blues entertainer Roy Gaines performed at the annual Jazz Festival and along with Deborah Dixon of the Southern California Blues Society they were interviewed and photographed in the hotel by the Los Angeles Times. It had been refurbished and was being occupied by then.</p><br>
<p>In 2011, Dunbar Village L.P. was formed and purchased the buildings. The project included transforming the three existing buildings, the Dunbar Hotel, Somerville I and Somerville II, into one cohesive, activated, mixed-use, intergenerational community that honors South Los Angeles and the historic Dunbar Hotel.The new community is called Dunbar Village.</p><br>
<p>Along with the physical renovation of the property was the community transformation. The first step in this transformation was securing the building from the gangs and drug dealers. The new owner installed a state-of-the-art camera system to help deter the rampant criminal activity occurring in the buildings. In a short time, this along with other security measures, helped to eliminate the frequent police visits to the property. Dunbar went from being one of the most visited properties by the police to a safe and secure community.</p><br>
<p>Preserving Dunbar Hotel&#39;s historic brick facade, grand entry and lobby, the new design provides 41 residential units of affordable housing for seniors with amenities that include a community room, communal kitchen, media lounge, billiard table, library area and fitness room.</p><br>
<p>In 2013, Councilwoman Jan Perry with many others attended the re-opening ceremony.</p><br>
<p>"Central Avenue and the Dunbar Hotel have long been an important part of our Los Angeles history. It is wonderful to see the Avenue come alive again and know that this historic landmark will be restored for people to enjoy for generations to come," said Councilwoman Perry, who led efforts to ensure that the Dunbar Hotel was redeveloped as part of an overall plan to revitalize the Central Avenue community. "Dunbar Village will preserve our shared history, create quality jobs for local youth, and offer much-needed affordable housing for families and seniors."</p><br>
<p>Together, Dunbar Village will have 83 units, including 41 senior units in the Dunbar Hotel and 42 affordable family units.</p><br>
<p>The Bellingham National Bank Building is an historic commercial/office building located in downtown Bellingham, Washington. It was originally built from 1912 to 1913 in a restrained Beaux Arts commercial style with reinforced concrete. Even though this particular style was common for cities in the midwest and east coast, the building style was a stark contrast for Bellingham&#39;s sandstone and rounded arch buildings. The Bellingham National Bank occupied the building starting on December 1, 1913.</p><br>
<p>Key Bank of Washington occupied the first floor until May 8, 2009.</p><br>
<p>Starting in February 2011, The Stamp & Coin Place, a local bullion and coin trading shop, will occupy the space. The upper-offices are leased to various businesses and government offices, including the Washington State Board of Industrial Insurance Appeals and the Washington State Attorney General&#39;s Office.</p><br>
<h2>History</h2><br>
<h3>The bank</h3><br>
<p>The Bellingham National Bank was formed in 1904 by a group of local capitalists led by Victor Roeder. It opened for business on January 3, 1905, in the corner store-room of the Clover Block on the corner of Holly and Commercial Streets. The small bank soon grew to become one of the most prominent banks in Bellingham and began searching for larger quarters by the end of the decade.</p><br>
<p>In March 1912, the bank purchased the Southeast corner of Dock and Holly Streets for $175,000. The site was occupied by several wooden buildings dating to the late 19th century including the Beck Hotel, built on the corner in 1888 by David Beck who would later build the adjoining theater. The parameters of the property were described in the local paper:</p><br>
<p>The bank announced their plans to build a $200,000, 6 story brick and concrete building on the lot that would be one of the finest in the Northwest. The bank would occupy the ground floor corner of the building, a frontage of about 50 feet on Holly, while the rest of the building would contain offices above and retail stores on the ground floor. Demolition and then construction would begin by June of the same year.</p><br>
<h3>Design and construction</h3><br>
<p>The bank hired Bellingham architect F. Stanley Piper to design the building who in turn hired C.H. Beattie of Seattle as the general contractor. Work began at a quick pace and by February 1913, the concrete structure of the building was complete with laying of the brick facing about to begin. Each of the buildings 124 rooms was to be equipped with hot and cold running water as well as access to the buildings vacuum system. Other modern features would include two high-speed elevators and a mail chute.</p><br>
<p>The first two stories were clad with Wilkeson sandstone, with the upper four clad in light buff-colored pressed brick. From the top of the fourth-floor windows to the parapet line was clad with terra cotta.</p><br>
<p>The interior corridors featured terrazzo floors with panels and borders of Alaskan marble. The vestibule was adorned with an 11 foot high marble dado of Colorado Yeul while the columns in the vestibule were of genuine Italian Pavonazzo marble. Materials used in the banking room included Alaskan and Kasota marble, Honduran mahogany, and Calamine brass for doors.</p><br>
<p>By August 1913, the building was complete and tenants began to move including doctors, dentists and other professionals. The bank officially opened on December 1, 1913.</p><br>
<p>The Culver Randel House and Mill is located along Randall Avenue  and Browns Creek at the northern edge of the village of Florida, New York, United States. Culver built the mill around 1830 and the house 20 years later. The latter is an excellent example of the Picturesque aesthetic as applied to an Italianate house. Both buildings were added to the National Register of Historic Places in 1998.</p><br>
<h2>Buildings</h2><br>
<p>The house and mill are the only buildings on the lot. A concrete slab bridge between them is not considered a contributing resource since it is relatively new compared to the house and mill.</p><br>
<h3>House</h3><br>
<p>The house is located on the slope across the creek from the road, and thus in the Town of Goshen. It is a two-story, three-by-four-bay frame house on a rubblestone foundation, with a low hipped roof. It appears to be three stories from the road because the basement is exposed on the south and east sides. A porch wraps around three sides, save the north. The clapboard siding is original.</p><br>
<p>The roofline is distinguished by a finely-molded cornice with brackets and wide eaves. The corners are trimmed with broad pilasters. Smaller pilasters and a cornice surround the entrance, where a wide door is divided into four arched Gothic panels.</p><br>
<p>Inside, the two parlors on either side of the main hall have marble fireplaces, plaster cornices, wooden architraves and wide plank flooring. Ornamentation continues in the upstairs bedrooms with wood molding in a lyre motif and other intricately detailed woodwork.</p><br>
<h3>Mill</h3><br>
<p>The mill is located to the southeast of the house, closer to the highway on the Florida side of the creek. It is a four-story, six-by-four bay frame building in a local rural vernacular style on a stone foundation. It has red wood clapboard siding and a gabled roof. The remnants of a chimney on the north side, facing the creek, are still visible. The original plank flooring and some of the machinery are still inside.</p><br>
<h2>History</h2><br>
<p>The Randel family had been milling on the property since at least 1790. Records show that many local commodities were milled at the site: wood, wool and flour, as well as millwork for home furniture.</p><br>
<p>Culver Randel took over the property around the middle of the 19th century. He had spent some time apprenticing with a piano manufacturer in New York City as a younger man, and decided to give that business a try in his hometown. The mill produced pianos through his retirement in 1870. The new house he built for his own family reflected the tastes of the time found in pattern books by Andrew Jackson Downing and Calvert Vaux. Their designs were for country houses that would harmonize with nature. Randel&#39;s is considered an outstanding example of the contemporary Picturesque movement to a popular style of the day.</p><br>
<p>There have been very few additions or alterations to either property. East and west additions to the mill were removed in the mid-20th century, and both it and the house were extensively restored in the 1990s prior to its nomination for the NRHP.</p><br>
<p>The Cass Motor Sales is a commercial building located at 5800 Cass Avenue in Detroit, Michigan, USA. It was listed on the National Register of Historic Places in 1986.</p><br>
<h2>History</h2><br>
<p>The Cass Motor Sales Company was established in 1925 as a Chrysler car dealership by Richard A. Cott, an immigrant from England. In 1928, Cott paid approximately $146,000 to have this building constructed. Architect Charles N. Agree designed the building. From 1928 - 1933, Cass Motor Sales sold Marmon Motor Car Company vehicles. After 1933, when Marmon went out of business, Cass again sold Chryslers. Richard A. Cott died in 1965, and in 1969 Cass Motor Sales ceased operations. The building was sold to Dalgleish Cadillac, who operated it until the dealership closed in 2010.</p><br>
<p>In 2015 the building was renovated into first floor retail space now occupied by Carhartt&#39;s flagship store and office space above.</p><br>
<h2>Architecture</h2><br>
<p>The Cass Motor Sales is a three-story rectangular structure, typifying Art Deco architecture as applied to commercial buildings. The building contains 51.000 square feet over 3 floors.</p><br>
<p>The building is four bays wide, with each bay separated by engaged columns. Three bays are of equal size; the fourth, smaller bay contains a vehicle entrance. with the marble running across the base of the bay sections, and black colored metal panels providing a decorative separation between the first and second stories.</p><br>
<p>Noticeable Art Deco features include the stepped arch above the entrance and second story windows and the geometric pattern in the string course between the second and third floors and over the front entrance.</p><br>
<p>The Barrio de Analco Historic District is a National Historic Landmark District centered at the junction of East De Vargas Street and Old Santa Fe Trail in Santa Fe, New Mexico. The seven buildings of the district represent one of the oldest clusters of what were basically working-class or lower-class residences in North America, and are in a cross-section of pre-statehood architectural styles. It includes two of the oldest colonial-era buildings in the southwest, the San Miguel Mission church , and the "Oldest House", built in 1620 and now a museum. The district was declared a National Historic Landmark in 1968.</p><br>
<h2>Description and history</h2><br>
<p>The Barrio de Analco is located on the south side of the Santa Fe River, across the river from the main downtown area that includes the Santa Fe Plaza and the Palace of the Governors. The district is anchored at the junction of Old Santa Fe Trail and East De Vargas Street, and extends a short way (partial blocks) to the south, east and west. The San Miguel Mission church, on a site occupied by a church since the 1610s, is at the southeast corner, and the 1620 "Oldest House", a two-story adobe construction, is at the northeast corner. South of the mission is the Lamy Building, also known as St. Michael&#39;s Dormitory, an 1878 school building that exemplifies the Territorial style that was common in the pre-statehood era.</p><br>
<p>West of the main junction, separated from it by the Santa Fe Playhouse, are the Gregorio Crespin House and the Roque Tudesqui House, both built in the Spanish Pueblo style. The Crespin House was built in the mid-18th century; the construction date of the Tudesqui House is unknown, but probably 18th century. Separated from the rest of the district near the junction of East De Vargas and Paseo de Peralta are the Boyle House, also a mid-18th century Spanish Pueblo building, and the Bandelier House, an 1867 Territorial style house that is further notable as a home of archaeologist Adolph Bandelier.</p><br>
<p>The name "Analco" comes from the Nahuatl language spoken by the Tlaxcaltec people who accompanied the Spanish. "A"=water + "nal"=next to + "co" place of=next to the water (in this case a stream, the Santa Fe River). The barrio was established not long after Santa Fe&#39;s founding in 1609-10, as a district for artists, laborers, and servants, while the area north of the river was occupied by the wealthy and powerful. The buildings in this district, largely built to serve that type of community through several centuries, document the changes in architecture from a nearly pure native adobe construction (the "Oldest House"), to the Spanish Pueblo style, and then the Territorial.</p><br>
<p>Big Bead Mesa  is a historic Navajo habitation site near Grants, New Mexico, within Cibola National Forest. Occupied from the mid-18th to early 19th century, the site gives an important window into the relations between the Navajo and the Puebloans of that time. First explored archaeologically in 1939, it was declared a National Historic Landmark in 1964.</p><br>
<h2>Description</h2><br>
<p>The Big Bead Mesa site is located in a remote area between Grants, New Mexico and the Jemez Pueblo northwest of Albuquerque. The main areas of the site are located along the northeastern edge of a large mesa, which extends northeast from Grants and includes Mount Taylor. The name of the site is derived from fossilized beads found at the base of the mesa in significant numbers by the local Navajo.</p><br>
<p>The site consists of a large fortified village, with about 90 hogan sites identified. It extends along two tongues of the mesa, split by a wide complex of arroyo ravines. The hogans are clustered in small groups, each of which is accompanied by secondary structures such as sweat lodges, food cache areas, and fortifications. In two places there are open formations that are interpreted as dance grounds used for ceremonial purposes. Fortifications include an extensive wall that nearly cuts off one portion of the settlement. Access to the area below the mesa rim was possible, but likely required the use of ladders.</p><br>
<p>The site was occupied by the Navajo from about 1745 to 1812. At the time, they were allied to the Apache, and the site presented a threatening posture to the nearby Jemez and Acoma Puebloan settlements. The site is an important window into the movements of the Navajo and their relationships to the surrounding tribes.</p><br>
<p>The Ernest L. Blumenschein House is a historic house museum and art gallery at 222 Ledoux Street in Taos, New Mexico. It was a home of painter Ernest L. Blumenschein ,</p><br>
<h2>Description and history</h2><br>
<p>The Blumenschein House is located on the south side of Ledoux Street, 1-1/2 blocks south of central plaza in Taos. It is a single-story adobe structure, with eleven rooms, built in the Spanish Pueblo style with a central courtyard. A low wall with central opening separate the courtyard from the street. The houses construction date is uncertain, but its oldest sections probably predate the 1820s. The interior is furnished to appear as it might have been when the Blumenschein family lived there. It features family possessions, a collection of the familys art, works by other famous Taos artists, and fine European and Spanish Colonial style antiques. The museum is owned and operated by Taos Historic Museums.</p><br>
<p>Ernest Blumenschein, a native of Pittsburgh, Pennsylvania, was schooled in art in Cincinnati, New York City, and Paris. While in Paris he met Joseph Henry Sharp, who described a visit he made to Taos in 1883. Blumenschein and Bert Phillips traveled to Taos in 1898, where they established the Taos Art Colony. He used this house as a home and studio from 1919 until 1960. The house itself had previously been used as a home and studio by Herbert Dunton, and was already well known as a gathering point for artists. The colony formed by these people was broadly influential in exposing the art world to Taos and the desert southwest. The house remained in the Blumenschein family until 1962, when his heirs donated it to the organization that is now Taos Historic Museums. After a period as a multiunit residence, it was converted into a museum and gallery space.</p><br>
<p>The Georgia OKeeffe Home and Studio is a historic house museum in Abiquiú, New Mexico. From 1943 until her death, it was the principal residence and studio of artist Georgia OKeeffe . It is now part of the Georgia O&#39;Keeffe Museum, which has sites in Santa Fe and Abiquiú. Public tours are available March–November, with advance tickets required. The Home and Studio became a National Historic Landmark in 1998,</p><br>
<h2>Description and history</h2><br>
<p>The Georgia OKeeffe Home and Studio is located in the small unincorporated village of Abiquiú, near the St. Thomas Church. The building is a single-story adobe structure, largely built in the traditional style. It has thick adobe walls, and a flat roof supported by a network of vigas and latillas (smaller wooden elements crossing the larger viga beams). The house is organized in wings a single room deep, which surround a central patio/plaza. The house has a number of modernist elements, including skylights and large picture windows that provide expansive views of the surrounding landscape and brought natural light into areas that such houses traditionally did not have. OKeeffe was insistent on these types of deviations from the traditional form, stating in an interview that "I didnt want a Spanish house; I didnt want an Indian house, a Mexican house; I wanted my house!"</p><br>
<p>Portions of the house are believed to date to the 1730s, and it was in deteriorating condition when Georgia OKeeffe first spotted it in the 1930s. At the time, it was owned by the Roman Catholic church, which did not want to sell it. It eventually relented, and OKeeffe was able to purchase it in 1943. She undertook to rehabilitate and modernize the property, work that was a collaborative effort with her friend Maria Chabot. This work was completed in 1946, at which time O&#39;Keeffe made it her permanent home. Included in the compound is a smaller outbuilding which was her principal studio space.</p><br>
<p>The house remained OKeeffes primary residence until 1984, when she moved to Santa Fe two years prior to her death at age 98. In 1989, the Georgia OKeeffe Foundation became owner and manager of the Abiquiú property. It is now owned and managed by the Georgia OKeeffe Museum.</p><br>
<p>The property was declared a National Historic Landmark in 1998.</p><br>
<p>The Apthorp is a condominium building at 2211 Broadway on the Upper West Side of Manhattan in New York City, United States. The 12-story structure was designed by Clinton & Russell in the Italian Renaissance Revival style and occupies the full block between Broadway, West End Avenue, and West 78th and 79th Streets. It was built between 1905 and 1908 as a residential hotel by William Waldorf Astor, who named it after the Apthorp Farm, of which the site used to be part. The Apthorp is a New York City designated landmark and is listed on the National Register of Historic Places.</p><br>
<p>The building occupies a nearly rectangular site and has a limestone facade, which is divided horizontally into three sections. On West End Avenue and Broadway, three-story arches at the center of the facade lead to an internal courtyard with a garden, driveway, and entrances to the apartments. The Apthorp is divided into four sections, each with its own lobby, and originally had a mechanical plant in the basement. The building originally had 104 apartments, which were largely arranged as duplexes and designed in a variety of styles; the apartments had large rooms and high ceilings. By the 1940s, the building had 165 units, although some of these apartments have since been combined.</p><br>
<p>Astor announced plans for an apartment building on the site in 1901, although the project was delayed for four years due to uncertainty over the plans. Workers began clearing the site in October 1905, and the building was completed in August 1908. The Astor family operated the building for over four decades, adding storefronts in the late 1920s. Many of the units were divided during the 1930s and 1940s. The Astor family ultimately sold the building in 1950, and the building changed ownership several times through the late 20th century. The owner 390 West End Associates sold the building in 2006 to Maurice Mann, who partnered with Africa Israel Investments to convert the building into condos. After numerous delays and disagreements, the condominium-offering plan went into effect in 2010, and a subsidiary of the Feil Organization took over the buildings management. Area Property Partners took over as the condo projects sponsor in 2012.</p><br>
<h2>Site</h2><br>
<p>The Apthorp is located at 2201–2219 Broadway on the Upper West Side of Manhattan in New York City. It occupies the entirety of a rectangular city block bounded by Broadway to the east, 79th Street to the north, West End Avenue to the west, and 78th Street to the south. The land lot covers and has frontage of approximately on Broadway and West End Avenue and on 78th and 79th Streets. The Belleclaire Hotel, Collegiate School, and West End Collegiate Church are to the south, while the First Baptist Church in the City of New York is directly to the north. An entrance to the New York City Subway&#39;s 79th Street station, serving the, is directly outside the northeastern corner of the building.</p><br>
<p>Before European colonization of modern-day New York City, the site was part of the hunting grounds of the Wecquaesgeek Native American tribe. After the British established the Province of New York, the area became part of the "Thousand Acre Tract", owned by several English and Dutch settlers, in 1667. Stephen De Lancey acquired the land from modern-day 78th to 89th Streets before 1729 and used it as his countryside estate. He died in 1741 and left the estate to his son Oliver De Lancey. Charles Ward Apthorp acquired the southern portion of De Lanceys estate in 1763 and developed the Apthorp Farm there. By the 19th century, Apthorps daughter Charlotte married John C. Vanden Heuvel, and the couple occupied the site. The Vanden Heuvels only used the estate until the 1850s, and the house had deteriorated into a venue for "prizefights, cockfights, and all kinds of illegal practices" by the 1880s.</p><br>
<h2>Architecture</h2><br>
<p>The Apthorp was designed in the Italian Renaissance Revival style by the architectural firm of Clinton and Russell. It is twelve stories high. The building&#39;s design is partially based on that of the Palazzo Pitti in Florence. John Downey was the general contractor for the structure.</p><br>
<h3>Form and facade</h3><br>
<p>The facade was designed as a variation of a three-story Renaissance palazzo. As such, the facade is divided horizontally into three sections: a three-story base, a seven-story shaft, and a two-story upper portion. The corners of the building, as well as the central sections of each elevation, contain vertically arranged quoins. The outermost bays are wider than the others on the facade and are flanked by the quoins. These outer bays, as well as horizontal string moldings, both articulate the otherwise rectangular mass. Most of the windows on the facade are rectangular, but there are arched windows on the third, tenth, and twelfth stories. The facade retains many of its original design elements, but objects such as grilles, air-conditioner openings, and lights have been installed over the years.</p><br>
<p>On the western and eastern elevations of the facade (respectively facing West End Avenue and Broadway), there is a three-story, arched porte-cochère at the center, The entrances contain elaborate wrought-iron gates with scrolled trellises, topped by gilded deer heads and stylized variations of the name "Apthorp". There are Corinthian-style pilasters on either side of each arch, which in turn are topped by oversized sculpted representations of women at the fourth story. In addition, the keystone of each arch contains a hooded head, while the spandrels on either side contain bas-reliefs of women. The entrances are also decorated with garlands. The ground-story facade has largely been converted to storefronts.</p><br>
<p>The fourth through tenth stories are largely clad with smooth limestone, except at the corners, which contain quoins. The rooftop pavilions were originally used as roof gardens during the summer and enclosed lounges during the winter. Next to the pavilion was a children&#39;s playroom.</p><br>
<h4>Courtyard</h4><br>
<p>The two arches on West End Avenue and Broadway lead to a courtyard. The courtyard provides entry to all apartments and doubles as a light court for the interiors of each apartment.</p><br>
<p>The courttard has an oval driveway, an octagonal garden, and two fountains. Passageways on the north and south sides of the courtyard descend to a staff basement. The awnings, carriage driveway, and fountain were intended to give the courtyard the appearance of a European town square or a royal mansion&#39;s courtyard. In addition, the courtyard provided tenants with a private, open-air communal space.</p><br>
<h3>Features</h3><br>
<p>The building is divided into four sections designated A–D and arranged around the central cobblestoned driveway and courtyard. The basement originally contained a mechanical plant that supplied heat, electricity, and ice to each apartment. The plant contained two sets of refrigerators and eight boilers. Because the plant was placed beneath the courtyard rather than beneath the building itself, this reduced vibrations in the apartments.</p><br>
<p>Six service elevators lead from the basement to all stories, while four passenger elevators run between the lobby and the top story. Marble, glass, onyx, and light stone were only used for decorative purposes, and the Apthorp originally did not contain any wood decorations, except for furniture. As a further fireproofing measure, the building also contained kalamein doors and a system of standpipes. In addition, each corner of the building contained a mail chute.</p><br>
<h4>Ground story and basement</h4><br>
<p>Each of the buildings four sections has its own lobby with elevators and staircases; the doors of each lobby had marble frames, and the lobbies walls were made of Caen stone. in addition to a drugstore and bank on Broadway at the corners with 78th and 79th Streets. One of the ground-level duplex apartments was a physicians office, where the bedroom was on the upper level. At the time of the Apthorps completion, large apartment buildings in New York City did not typically have ground-story storefronts, since the public generally considered such buildings to be entirely residential. The ground-level offices were converted to storefronts at some point between 1910 and 1939.</p><br>
<p>In 2011, a amenity area with a gym, playroom, and entertainment center was built in the basement. The space contains cork and oak floors, gilded plaster columns, and marble-covered tables.</p><br>
<h4>Apartments</h4><br>
<p>When the Apthorp was completed, it was marketed as the worlds largest apartment building. There were originally 104 apartments in total. The 12th story contained guestrooms, with their own bathrooms, at three of the buildings corners. Also on this story were additional servants&#39; bedrooms and bathrooms; two laundry rooms with 140 or 150 tubs; and ironing and drying rooms.</p><br>
<p>The typical floor contained ten apartments, each with several rooms; The typical apartment included a marble-tiled foyer, at least two bathrooms, and six to twelve additional rooms. The lower level of each apartment typically contained the foyer, kitchen, billiards room, dining room, and servants&#39; quarters, while the upper level contained a parlor, library, bedrooms, and bathrooms. The hallways measured wide, much wider than in comparable residences on Park Avenue, and the apartments also had windows and ceilings.</p><br>
<p>The apartments were designed in a variety of styles, including the Adam, Colonial, Elizabethan, Francis I, Louis XIV, Louis XV, and Louis XVI styles. in addition to marble staircases. The salons had carved fireplace mantels made of marble, and the French doors had glass paneling. Other design features included radiators concealed beneath windowsills, in addition to gas pipes with rectangular "breaks" to prevent gas explosions.</p><br>
<p>During the 1930s and 1940s, the original apartments were divided. Following these modifications, the Apthorp was split into 165 units., the largest condo in the Apthorp is a unit with five bedrooms and seven bathrooms. The servants&#39; quarters on the top story were also converted to penthouse condominiums. In addition, in 2014, the New York City Landmarks Preservation Commission (LPC) approved plans for a two-story penthouse recessed from the roof.</p><br>
<h2>History</h2><br>
<p>During the early 19th century, apartment developments in the city were generally associated with the working class. By the late 19th century, apartments were also becoming desirable among the middle and upper classes. Between 1880 and 1885, more than ninety apartment buildings were developed in the city. Meanwhile, William Waldorf Astor had built the Waldorf Hotel in 1893 on the future site of the Empire State Building. Following the success of the Waldorf Hotel, Astor decided to develop Graham Court, an apartment building on Seventh Avenue in Harlem, and then the Apthorp on the Upper West Side. Astor had owned the properties for several years without having developed them. He employed Clinton and Russell, who had worked on Graham Court, to design the Apthorp.</p><br>
<h3>Astor ownership</h3><br>
<h4>Construction and opening</h4><br>
<p>In November 1901, Astor announced that he would spend $2.5 million to erect an apartment building on the city block bounded by Broadway, West End Avenue, and 78th and 79th Streets. At the time, the citys first subway line was being constructed under Broadway, with a station at 79th Street, and Astor planned to build an entrance from his buildings basement directly to the subway. Astor did not plan to start construction immediately, as the leases of the sites existing occupants had not expired, and the subway had not opened; Clinton and Russell had drawn up plans for the building by mid-1905. At the time, the edifice was planned to be 20 stories tall and was to contain apartments with between four and eighteen rooms. Nonetheless, Astor continued to defer the buildings construction. The delay was caused by Astor&#39;s dissatisfaction with the labor unions who were building the Hotel Astor on Times Square, as well as the fact that Astor could not decide whether the building on 79th Street should be 14 or 16 stories.</p><br>
<p>Workers began clearing the site in October 1905. John Downey, who had built both the Waldorf and Astor hotels, By the end of 1905, workers were excavating the site 24 hours a day, but Astor had not filed plans with the New York City Department of Buildings. At the time, the structure was to be called the "Apthorpe", Work took nearly three years because of the Apthorp&#39;s advanced mechanical systems and fireproof frame. The Apthorp was completed in August 1908. The structure had cost $2 million to construct, and the land had cost another $1 million.</p><br>
<h4>1910s to 1940s</h4><br>
<p>The Apthorp was nearly fully occupied at the time of its opening, despite charging rents of up to $6,500 per year. though this did not happen.</p><br>
<p>The Astor family hired Clinton & Russell in 1928 to convert the ground story into bronze and marble storefronts. By the next year, the Apthorp was recorded as having nine stores. As a result, several of the original apartments were divided into smaller units. The buildings facade was steam-cleaned in mid-1933, around the same time that the apartments were being divided. By the 1940s, the buildings residents were largely involved in businesses such as medicine, finance, banking, and real-estate brokerage.</p><br>
<h3>Mid- and late 20th century</h3><br>
<p>In June 1950, the Astor estate entered a contract to sell the Apthorp to Alexander Gross, president of Apthorp Estates Inc., at a price close to the buildings assessed value of $2.45 million. The sale was finalized that July, marking the first change of ownership in the buildings history. The City Bank-Farmers Trust Company sold the buildings $1.5 million mortgage to an unidentified universitys endowment fund shortly afterward. Gross sold the building in 1953 to the Fox-Long Realty Corp. for $3 million; the buyer paid $800,000 in cash and assumed the building&#39;s $2.2 million mortgage. Fox-Long immediately resold the building to Apthorp Realty Associates, a firm based in the Bronx. Apthorp Realty Associates sold the building once again in mid-1957 to a syndicate of investors. At the time, the Apthorp was cited as containing 158 apartments, 13 stores, and a 140-space parking garage in the basement.</p><br>
<p>The building&#39;s original storefronts had been replaced with plastic signage by the 1960s. The LPC designated the building as an official city landmark in 1969. A lawyer named Milton Kestenberg owned the Apthorp by then, and its tenants were advocating converting the building into a housing cooperative. At the time, many buildings on the Upper West Side had been converted to co-ops or were in the process of doing so.</p><br>
<h4>390 West End Associates ownership</h4><br>
<p>A group called 390 West End Associates owned the Apthorp by the late 1980s.</p><br>
<p>In the late 1990s, to attract tenants such as bankers and company executives, 390 West End Associates renovated the building for $10 million. The facade was cleaned, and a gatehouse was added. The apartments plumbing, wiring, electrical appliances, and air-conditioning were also renovated. They also installed a large marble statue in 1998, but many existing tenants considered the statue to be an extravagant expense, especially as their rents were rising. The New York Times wrote that "it struck some tenants not as an oddity but as a metaphor, a sign of how surreal life in the Apthorp had become". Joe Winogradoff, a longtime tenant, said in an interview that the Apthorp was "beautiful on the outside, but on the inside, its a corpse".</p><br>
<p>The Times wrote in 2002 that the Apthorp "was evolving from comfortable West Side icon to gilded palace for the very, very rich". In addition, the New York Court of Appeals found in 2005 that the owners had rented the apartments to a man who agreed not to use the units as his primary residence, then subleased the apartments to people who did primarily live at the Apthorp. By then, market-rate tenants were regularly paying $8,000 to $20,000 per month.</p><br>
<h3>Sale and condominium conversion</h3><br>
<p>Apartment-building developer Maurice Mann agreed to buy the building in November 2006 for between $425 million and $426 million. This amounted to about $2.4 million per apartment, the highest per-unit price ever paid for a rental apartment building in Manhattan. Although several other bidders such as The Related Companies proposed converting the Apthorp into condominiums, Mann said he would not convert the building into condos. At the time of the sale, 96 of the 163 rental units were rent stabilized or rent controlled. Of the units that were not protected by rent regulation, 40 were occupied by residents who paid market-rate rent, while 27 were vacant.</p><br>
<h4>Announcement and disputes</h4><br>
<p>Shortly before the sale was finalized in March 2007, one of the projects key financiers withdrew from the transaction, so Mann obtained $55 million from Lev Leviev of Africa Israel Investments. Leviev and Mann had not publicly confirmed the condo-conversion rumors until mid-2007, when many tenants rents were more than doubled, prompting some of the tenants to move out. Mann wished to market the Apthorp as a luxury condominium, but several former tenants said the building suffered from several issues, including lead paint, asbestos, brown water, and a lack of central air in some apartments. Leviev and Mann presented a red herring prospectus to tenants in August 2007, indicating that existing tenants would not be forcibly evicted when the condominium conversion started.</p><br>
<p>The Attorney General of New York approved Leviev and Mann&#39;s condo-offering plan in May 2008. The asking prices, nearly, made it "one of the most expensive condominium conversion projects" ever, according to The New York Times. Many tenants were either unable to afford increased rents or had not been offered compensation for their apartments. the parking garage had reopened by 2010.</p><br>
<p>In December 2008, Apollo issued a $22.7 million capital call and asked the sponsors to present a business plan for the Apthorp, prompting Mann to sue Apollo. Manns co-sponsors, the Feil Organization and Africa Israel, accused him of mismanaging the project; a judge gave the partners six days to resolve their dispute. Ultimately, Mann agreed to step down as the buildings manager while retaining his ownership stake. Broadwall Management, a subsidiary of the Feil Organization, took over as the building&#39;s manager. Mann sued in March 2009 to prevent Africa Israel and the Feil Organization from refinancing the Apthorp with a loan from Anglo Irish Bank; the lawsuit was settled the next month. Mann later resigned from the project altogether.</p><br>
<h4>Continued sales</h4><br>
<p>To attract buyers, Africa Israel and the Feil Organization reduced condominium prices by approximately one-third, to, in early 2009. at the time, 17 condos had gone into contract. This was because of a state law that required 15 percent of condos to be sold within 15 months of the condominium offering being approved. By then, the condo-conversion plan encountered so many problems that real-estate website Curbed published updates on the project under the headline "As the Apthorp Turns".</p><br>
<p>The attorney generals office declared the condominium offering effective in May 2010, allowing the sponsors to begin finalizing sales contracts. The Real Deal magazine reported that brokers expected to close about $100 million worth of contracts within six weeks; Several buyers reportedly rented out their apartments, prompting the attorney general to investigate these allegations. The buildings entire sales team resigned in September 2010, saying they had not been paid commission. Sales resumed after Corcoran Sunshine was hired as the buildings sales agent that November. The buildings retail condominium was sold in January 2011 for $37 million. By mid-2011, a quarter of the apartments had been sold, while about half of the total apartments remained under rent regulation. In addition, Stephen Sills Associates designed an amenity area in the basement the same year.</p><br>
<p>Even after the condo conversion, existing residents contended that the building still had significant issues. After Anglo Irish attempted to sell the buildings first-mortgage debt, Africa Israel sued in September 2011 to prevent the debt from being sold. At the time, Anglo Irish was selling all of its commercial real-estate holdings in the United States. Bank officials claimed that the Apthorps sponsors had forgone the right to sell the debt because they had failed to sell a certain number of condos and, thus, were in default on the loan. The attorney generals office also halted condominium sales at the Apthorp and ordered that the sponsors return buyers deposits. According to attorney general Eric Schneiderman, the sponsors had made contradictory statements; Africa Israel had known as early as February 2011 that Anglo Irish had wished to sell the loan but had testified at the time that the sale would not affect the building or its sponsors. Africa Israel withdrew its lawsuit in December 2011, and a judge gave Anglo Irish Bank permission to sell the debt on the mortgage loan to Arefin USA Investment, a subsidiary of Area Property Partners.</p><br>
<h4>Changes of sponsor</h4><br>
<p>Africa Israel relinquished the Apthorp to Area Property Partners in August 2012, shortly after Arefin acquired the debt. The building was refinanced with a $125 million first mortgage from Macquarie Bank and a $60 million mezzanine loan from Macquarie and Arefin. At the time, only 50 of the 163 condos had been sold. Richard J. Mack of Area Property Partners said that, although the previous sponsors had already renovated the common areas of the building, "upgrading the finishes and combining units is something that we continue to do." After the leases for the 40 apartments owned by JSR Capital had expired, these units were also renovated.</p><br>
<p>The new sponsors hired Goldstein, Hill & West Architects in July 2013 to design a two-story addition above the roof, with four penthouse apartments. The sponsors said the new penthouses would provide funding for repairs to the rest of the building. Amid opposition from condo owners and other local residents, Manhattan Community Board 7 vetoed these plans in September 2013, and the LPC demurred on whether to approve the penthouses. The following January, the LPC requested that Hill West redesign the penthouses. The plans required unanimous consent from condo owners, but many owners had indicated that they would not support any version of the penthouse plan. When the sponsors presented a new plan for the penthouses in June 2014, numerous residents expressed disapproval. A scaled-down version of the penthouses was finally approved in August 2014.</p><br>
<p>The parking garage in the Apthorps basement was sold in mid-2014 for $12.3 million. By 2024, the Apthorps cash flow had decreased significantly, and income from the building covered only 88% of its expense. There were concerns that one of the building&#39;s main tenants, Chase Bank, would move out.</p><br>
<h2>Notable residents</h2><br>
<p>Over the years, the Apthorp has attracted many media personalities, including writers, actors, and celebrities, as well as executives of NBC and Warner Brothers. Notable residents have included:</p><br>
<p>Bob Balaban, actor</p><br>
<p>George Balanchine, ballet choreographer</p><br>
<p>Jennet Conant, writer</p><br>
<p>Alber Elbaz, fashion designer</p><br>
<p>Nora Ephron, writer and filmmaker</p><br>
<p>Bertha Galland, actress</p><br>
<p>Joseph Heller, writer</p><br>
<p>Lena Horne, actress</p><br>
<p>Robert H. Ingersoll, watchmaker</p><br>
<p>Steve Kroft, journalist</p><br>
<p>Cyndi Lauper, singer</p><br>
<p>Conan O&#39;Brien, television host</p><br>
<p>Rosie O&#39;Donnell, comedian</p><br>
<p>Al Pacino, actor</p><br>
<p>Ferdinand Pecora, New York Supreme Court justice</p><br>
<p>Amanda Seyfried, actress, has an apartment on the top floor</p><br>
<p>David Thornton, actor</p><br>
<p>In addition, former USA representative Beto O&#39;Rourke once worked as a nanny for a family who lived in the Apthorp.</p><br>
<h2>Impact</h2><br>
<p>In the 1970s, architectural critic Paul Goldberger described the Apthorp as one of the citys 10 best apartment buildings, saying: "Detailing is skillful throughout, with elaborate Corinthian pilasters over the entry The three‐story‐high entrance arch is monumental yet welcoming, and the central court is splendid, a tranquil refuge from the clamor of adjacent Broadway." A reporter for The New York Times wrote in 1997 that the Apthorps name "hover alongside those of the Ansonia, the Dakota and the Belnord in the pantheon of luxurious residences on the Upper West Side".</p><br>
<p>By the late 1980s, the Apthorp was being used as a filming location for about 30 movies and shows every year. Although this often attracted complaints from residents, the building&#39;s owner at the time, 390 West End Associates, said that tenants arranged many of these film shoots.</p><br>
<p>The Thoreau–Alcott House is a historic house at 255 Main Street in Concord, Massachusetts, United States that was home to the writers Henry David Thoreau and Louisa May Alcott at different times.</p><br>
<h2>Description and history</h2><br>
<p>The house was built in 1849 by Josiah Davis and was added to the National Register of Historic Places on July 12, 1976.</p><br>
<p>Henry David Thoreau moved to this home in 1850 with his family; he stayed until his death on May 6, 1862. After the death of her mother Abby May, Louisa May Alcott purchased the home for her recently widowed sister Anna Alcott Pratt. Louisa also moved to the house, along with her father Amos Bronson Alcott. It was in this home that Louisa wrote her novel Jo&#39;s Boys (1886), a sequel to Little Women (1868).</p><br>
<p>Today, the home remains privately owned.</p><br>
<p>The Wheeler-Merriam House  is a historic house located at 477 Virginia Road in Concord, Massachusetts. With a construction history dating to about 1692, it is one of Concord&#39;s oldest buildings. It is also notable for having joinery by Abner Wheeler, a prominent local builder of the late 18th century, and for its long association with the locally prominent Wheeler and Merriam families. It was added to the National Register of Historic Places on November 26, 1982.</p><br>
<h2>Description and history</h2><br>
<p>The Wheeler-Merriam House stands in a rural residential-commercial area of eastern Concord. Property historically associated with the house is located on both sides of Virginia Road, east of its crossing of Elm Brook. The house stands north of the road, on about 18 acre of land, while a barn stands on 17 acre south of the road. The barn property has since been sold, and now houses the production offices of This Old House.</p><br>
<p>The house is a wood-frame structure, stories in height, with a side gable roof and a central brick chimney. Its rear roof extends to the first floor, giving the house a classic saltbox profile. The front facade is five bays wide, with a slightly asymmetrical organization: the center bay is skewed slightly to the right. The interior is organized in a traditional center-chimney plan, with chambers on either side of the chimney, and a long third chamber behind it. A narrow winding stair rises to the second floor in the entrance vestibule. The building&#39;s principal timber framing beams have been enclosed in finished wood.</p><br>
<p>The property was allocated to Thomas Wheeler in the mid-17th century, and this house was probably built by him in 1692 as a wedding present for his son Timothy. Both Wheelers were prominent in local affairs and were among the towns wealthier residents. Abner Wheeler, the fourth generation of Wheelers on the land, is credited with doing the woodwork finishes in the left parlor and upstairs chamber above. Wheeler was an important local builder, who was one of the leaders of the reconstruction of the towns meetinghouse in 1791. The property remained in agricultural use into the 1980s.</p><br>
<p>The Wheeler-Minot Farmhouse, also known as the Thoreau Farm or the Henry David Thoreau Birthplace, is a historic house at 341 Virginia Road in Concord, Massachusetts, United States. It is significant as the birthplace of writer Henry David Thoreau. The house was listed on the National Register of Historic Places in 2004. It currently serves as a historic house museum and is open to the public.</p><br>
<h2>History</h2><br>
<p>The Wheeler-Minot Farmhouse is set on a 20 acre property on the north side of Virginia Road in eastern Concord. The house is a -story wood-frame structure, five bays wide, with a side-gable roof, large central chimney, clapboard siding, and a fieldstone foundation. The center entrance is flanked by pilasters and topped by a dentillated cornice.</p><br>
<p>The farmhouse was originally built circa 1730 by John Wheeler. Later, the farm was purchased by Deacon Samuel Minot for his second son Jonas. Jonas Minot was the stepfather of Thoreau&#39;s mother, having become the second husband of his maternal grandmother.</p><br>
<p>Though the building has been extensively modified over the years, this house was the farmhouse of a prominent area farm for 200 years.</p><br>
<p>Unlike other writers and thinkers associated with Concord—including Ralph Waldo Emerson, Nathaniel Hawthorne, Amos Bronson Alcott, and Louisa May Alcott—Henry David Thoreau was the only one born in the town. He was born on the family farm on July 12, 1817. He lived in town for most of his life.</p><br>
<p>Shortly after Thoreaus death in 1862, scholars, disciples, and tourists began to seek out the authors birthplace.</p><br>
<h2>Restoration</h2><br>
<p>The house was acquired in 1995 by the Thoreau Farm Trust, a non-profit organization. The site underwent an extensive restoration and is now a museum open to the public on weekends between May and October.</p><br>
<p>The Hubbard-French District is a historic district at 324 and 342 Sudbury Road in Concord, Massachusetts. It consists of three parcels of land that are the center of the Hubbard family farm. It includes two houses: the 1787-88 Georgian style Thomas Hubbard House, and the Queen Anne style artist&#39;s studio of renowned sculptor Daniel Chester French, whose parents owned the Hubbard house. French, who had the house built to his specifications as a studio space, used it for that purpose until 1888, when he moved to New York City. The Hubbard was later owned by historian Samuel Eliot Morison.</p><br>
<p>The district was listed on the National Register of Historic Places in 2000.</p><br>
<p>The Joseph Hosmer House is a historic First Period house located in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The house is a -story timber-frame structure, with a large central chimney and an eastern ell. Its construction history is unclear: the halves of the main block (on either side of the chimney) may have been built at the same time, or the eastern half may have been built at the same time the eastern ell (originally a separate structure) was added c. 1757. Stylistic evidence suggests that the oldest portion of the main block was built c. 1672, with the rest of the house dating to around 1757, when it was assembled by Major Joseph Hosmer.</p><br>
<p>The house was added to the National Register of Historic Places on March 9, 1990.</p><br>
<p>The Hosmer Homestead  is a historic house located at 138 Baker Avenue in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The oldest portion of this -story wood-frame house was probably built c. 1710 by Stephen Hosmer, based on architectural evidence. The property has a long association with the Hosmer family, who were early settlers of Concord and who have played a significant role in the growth and civic life of the town. The house interior has well-preserved Georgian woodwork and plaster.</p><br>
<p>The house was listed on the National Register of Historic Places on June 3, 1999.</p><br>
<p>The Jonathan Hildreth House is a historic house in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>Built c. 1783–90 by local builder Reuben Duren, this large two-story house is one of the town&#39;s finest late Georgian/early Federal style houses. The Hildreth family operated a store in a separate building on the property until it burned down in 1909. The house is finished on three sides in brick laid in Flemish bond, with the rear of the house finished in wood clapboards. There are two pairs of chimneys set near the sides of the house, piercing the hip roof. The main entry has a dentilated triangular pediment, supported by pilasters, with the door recessed into the brick wall. The interior has lavish Georgian styling.</p><br>
<p>The house was listed on the National Register of Historic Places on April 3, 1991.</p><br>
<p>The Isaac Davis Trail, also known as the Acton Trail, is an historic 6 mi trail running east–west in the towns of Acton and Concord, Massachusetts. The trail was significant in 1775 when it was used by Captain Isaac Davis and the Acton Minutemen to march on Concord during the battles of Lexington and Concord. The trail was added to the National Register of Historic Places in 1972.</p><br>
<p>The trail begins at Isaac Davis house in Acton, and ends at western end of the North Bridge in the Minuteman National Historical Park in Concord. Most of the route is now paved roads, where in some cases the alignment no longer matches the exact route. Despite this, the trail route evokes the time of the march, with its roadways lined with stone walls, and houses generally set back from the street. The trail first runs northeast about 1.25 mi northeast, along Hayward Rd, Musket Dr, Minuteman Rd, Woodbury Ln, and Main St. It then turns more directly east for 1.5 mi, along a town-owned easement on private property, to Strawberry Hill Rd. It follows Strawberry Hill Rd southerly for 1.75 mi to Barretts Mill Rd, which runs easterly 0.75 mi to meet Lowell Rd in Concord. It crosses Lowell Rd, following Barnes Hill Rd and crossing Liberty Rd to reach the Muster Field above the North Bridge.</p><br>
<h2>Events</h2><br>
<p>The Isaac Davis Trailmarch is held each year on Patriots&#39; Day.</p><br>
<p>The Concord Monument Square–Lexington Road Historic District is an historic district in Concord, Massachusetts. Monument Square, at the center of the district, was laid out in 1635. The district includes a collection of well-preserved residential houses stretching along Lexington Street southeast from the square, and along Lowell northwest of the square. The square is prominently known as the site of British activities on April 19, 1775, the day of the Battles of Lexington and Concord which began the American Revolutionary War, and of earlier meetings by Massachusetts Patriots which were held in the First Parish Church and Wright&#39;s Tavern. The Tavern and the Ralph Waldo Emerson House, which stands near the eastern end of the district, are both National Historic Landmarks. The district was listed on the National Register of Historic Places in 1977.</p><br>
<p>The Dr. John Cuming House is a historic house located west of Concord, Massachusetts, at 998 Elm Street, at Barretts Mill Road and Reformatory Circle.</p><br>
<h2>Description and history</h2><br>
<p>The -story timber-framed house was built around 1754 by John Cuming, a prominent local doctor. In addition to his role as a leading physician in the town, Cuming presided over Concord&#39;s town meetings in the turbulent years of the American Revolution, and served as a delegate to the 1779 convention that drafted the Massachusetts State Constitution. He enslaved two men at his home, Brister Freeman and a man known only as "Jem." He left a bequest to Harvard College to be used for the establishment of its medical school. His house later served as the residence of the deputy superintendent of Concord State Prison, and is now owned by the state.</p><br>
<p>The house was listed on the National Register of Historic Places on November 11, 1977.</p><br>
<p>The Col. James Barrett Farm  is a historic American Revolutionary War site in Concord, Massachusetts, associated with the revolutions first battle, the 1775 battles of Lexington and Concord. His farm was the storage site of all the town of Concord&#39;s militia gunpowder, weapons and two pairs of prized bronze cannons.</p><br>
<h2>Background</h2><br>
<p>James Barrett was Colonel of the Concord, Massachusetts, militia during the Battles of Lexington and Concord that began the American Revolutionary War. His farm was the storage site of all the town of Concord&#39;s militia gunpowder, weapons and two pairs of prized bronze cannons, according to secret British intelligence.</p><br>
<p>On the morning of April 19, 1775, the British Regulars were ordered by General Thomas Gage to march from Boston to the town of Concord, about 20 miles inland, and seize the cannon and raid the arsenal at the provincial farm. The British met resistance at both Lexington, Massachusetts and Concord. Before the British arrived and searched, the stores had been concealed in a field nearby, and the British never found them.</p><br>
<p>The farm was built in 1705 and added to the National Register of Historic Places in 1973. The farmhouse was in disrepair and was restored over eight years by Save Our Heritage. The restoration was funded by local and private funding as well as a Department of the Interior grant.</p><br>
<p>In March 2009, Congress passed legislation to add Barretts Farm to Minute Man National Historical Park. In August 2012, the National Park Service obtained ownership of the Barrett House and surrounding 3.4 acres from Save Our Heritage. In October, 2012 Minute Man National Historical Park and Save Our Heritage hosted a celebration of completion of the restoration and transfer of ownership of the Col. James Barrett House to the Minute Man Park. Congresswoman Niki Tsongas helped make Barretts Farm part of the national park system and spoke at the event.</p><br>
<p>The Damon Mill is an historic mill complex on the Assabet River and located at 9 Pond Lane in Concord, Massachusetts. The site, which has an industrial history dating to the 17th century, was adapted for the production of textiles in the 19th century, with the surviving complex dating to 1862. It was listed on the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>Industrial works in the Assabet River area of western Concord date to about 1660, when there was a bog iron works established. The river was soon dammed, with grist and sawmills serving the surrounding agricultural community. The first textile mill was built in 1808 by John Brown, the son of a local clothier, and produced cotton goods. The mill changed hands several times before coming under the ownership of Calvin Carver Damon in 1834. Under his ownership, improvements were made to the dam and tail race, and a more efficient water wheel was installed. In 1854, Calvin&#39;s son, Edward Carver Damon, assumed control of the mill. Damon Mill produced a unique textile known as domett cloth, a light wool-cotton flannel invented by Calvin Damon, which became a mainstay fabric used in underwear. By the 1870s it was producing a diversified array of materials, and employed 175 workers.</p><br>
<p>On June 19, 1862, the wooden mill burnt to the ground. Edward Damon and architect Elbridge Boyden rebuilt the mill in the same year. The mill continued to produce textiles until the 1890s. It was mortgaged in 1893 and sold by 1898. In the early decades of the 20th century it was used by other textile firms for the production of worsteds, but its small size led to its eventual closure. From about 1930 to 1973 the plant was used for the cold storage of apples. Today, the mill has been rehabilitated, and is used as office space by various businesses.</p><br>
<p>The Concord Armory is an historic former armory at 51 Walden Street in Concord, Massachusetts. It now serves as the Performing Arts Center at 51 Walden, which is operated by the Friends of Performing Arts in Concord . Resident groups include The Concord Players, The Concord Band, and The Concord Orchestra. The armory was built in 1887 and added to the National Register of Historic Places in 2007,</p><br>
<p>The armory was built in several stages, between 1887 and 1927. The front portion, or headhouse, was built in 1887, and the drill shed added in 1888. In 1896 the drill shed was lengthened. When the building was converted for use by veterans organizations and the Concord Players in the 1920s, the area housing the stage was added, to a design drawn up by the noted theater architect Clarence Blackall. In 1927 the stage area was extended to the rear to provide additional space for scenery. The building interior was extensively altered in the 1970s when FOPAC took over the property.</p><br>
<p>The lower level of the head house now serves as a lobby area, which also extends into the former drill shed; its upper level serves as a dance studio. The drill shed has been converted into a theatrical auditorium, with its original ceiling trusses exposed, and acoustic treatments on the walls. The basement houses storage space and dressing rooms.</p><br>
<p>Historical uses of the building during the 20th century include the screening of films by the Red Cross in the 1920s, and for annual town meetings between 1933 and 1946. It was also used to house town offices, and to provide space for a youth center. Due to its deteriorating condition, the building was several times considered for demolition in the 1950s and 1960s, but public outcry was successful in preventing that fate. FOPAC was formed in 1972 to convert the building into a dedicated performing arts space.</p><br>
<p>The Colonel Roger Brown House is an historic house located at 1694 Main Street in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>It is a 2½-story, timber-frame structure, five bays wide, with a side gable roof, large central chimney, central main entrance and clapboard siding. The oldest portion of the house dates to about 1708, with a significant enlargement in 1775 by Roger Brown. During its construction, Brown was called to serve in the Battles of Lexington and Concord. The house was renovated in 1889 and added to the National Register of Historic Places in 1983.</p><br>
<p>The Thomas Mott Shaw Estate is a historic residential estate located at 317 Garfield Road in Concord, Massachusetts.</p><br>
<h2>Description and history</h2><br>
<p>The existing main house is the survivor of a pair of houses built in 1909–10 by architect T. Mott Shaw on property owned by his father, architect George R. Shaw. The surviving house was designed as the home of the elder Shaw and his wife, Emily (Mott) Shaw. The other house, designed by the younger Shaw for himself, his wife Caroline (Quinan) Shaw and their children, was destroyed by fire in 1931. After the fire George R. Shaw moved in with his daughter, Isabel P. (Shaw) Lowell and her husband, Frederick E. Lowell, in their neighboring home. T. Mott Shaw and his family then moved into his father&#39;s former home. Shaw lived in the house until his death in 1965.</p><br>
<p>The house is a -story L-shaped stucco-clad structure, basically vernacular English Revival in its styling, with some arts and crafts detailing. The house, along with the accompanying carriage house were designed by Shaw, who made the estate his home for most of his professional life. Shaw drew inspiration for the house from the architecture of the Cotswolds in England. The house&#39;s most prominent feature is a three-story octagonal tower that projects from the center of the L.</p><br>
<p>The estate was listed on the National Register of Historic Places on November 20, 1987.</p><br>
<p>The Parkman Tavern is an historic tavern  at 20 Powder Mill Road in Concord, Massachusetts. It is a -story timber-frame structure, built by ship&#39;s carpenters with wall frames wider at top of first story than base, five bays wide, with a side-gable roof, large central chimney with multiple ovens, and clapboard siding. It is estimated to have been built in the late 17th century , by a member of the locally prominent Wheeler family. In the late 18th century it was purchased by William Parkman, great-uncle to historian Francis Parkman, who operated a tavern on the premises.</p><br>
<p>The house was listed on the National Register of Historic Places in 1979.</p><br>
<p>The Ephraim Potter House, a historic house and former pest house at 158 Fairhaven Road in Concord, Massachusetts, is also known as the Pest House, a name used in the 18th century to describe a building in which to quarantine those afflicted with communicable diseases such as tuberculosis, cholera, or smallpox.</p><br>
<p>The house was built before 1792 and added to the National Register of Historic Places in 1977, where it is listed at 153 Fairhaven Road. John Fitzgerald, the current owner of this old property, describes that it is his "dream is to keep it standing."</p><br>
<p>The booklet, "Old Houses of Concord", by Mary R. Fenn contains the following information on the Ephraim Potter House:</p><br>
<p>"Deacon Luke Potter, one of the first settlers, lived on the corner of Heywood Street and Lexington Road. His son Judah was the only one to perpetuate the family name before Judah&#39;s death in that house when it burned to the ground (June 20, 1721). Deacon Luke had acquired a large tract of land in the south quarter, in the vicinity of Fairhaven Road. At the time of the second division, houses were built on the property."</p><br>
<p>"In 1752, Ephaim Potter married Sarah Taylor, which probably dates this house. Ephraim was one of the men who stored provincial supplies in his house prior to the Revolution - tents, tow cloth, canteens, etc."</p><br>
<p>"At the time of the smallpox epidemic, vaccination was a newfangled idea; many people thought it was dangerous. When Ephraim&#39;s wife died of smallpox in 1792, it was thought to be important to engrave on her headstone that she had taken the disease in the natural way. She was buried in the small cemetery diagonally across from the house (across Route 2). Although hers is the only gravestone, it is thought that there are other graves there as well. The Potter House was used at this time as a hospital for those who were recovering from their vaccination treatment. Dr. Barrett was in the house one day when a traveler knocked on the door and asked if this were the hospital. "Yes," replied the doctor, "and I am one of the patients."</p><br>
<p>"Elbridge Hayden bought the house in the early eighteen hundreds".</p><br>
<h2>Historical Ownership of the House</h2><br>
<p>Ownership records below with references were identified during a review of deeds at the Middlesex County Registry of Deeds.</p><br>
<p>Ephraim Potter, builder ca. 1752.</p><br>
<p>Darius Hubbard – sold the house to Elbridge Hayden for $1,000, “Potter Place” including “Potter Wood” 28 acres on July 18, 1846.</p><br>
<p>Elbridge Hayden sold the house to Laura J. Dwelley, July 31, 1894.</p><br>
<p>Laura J. Dwelley to George F. Wheeler, April 25, 1908.</p><br>
<p>Blanche E. Williams, Conservator of the Estate of George F. Wheeler to Leslie L. Keese, April 26, 1924.</p><br>
<p>Leslie L. Keese to Davis et el., December 19, 1941.</p><br>
<p>A.H. Elfner.</p><br>
<p>Robert Venuati, 1971</p><br>
<p>John MacDonald.</p><br>
<p>Ken Brown.</p><br>
<p>John and Maria Fitzgerald, April 1994 to Present (1.5 acres).</p><br>
<p>The Reeveston Place Historic District is a neighborhood of homes and national historic district located at Richmond, Wayne County, Indiana. It was platted in 1911 on land formerly owned by the family of Mark Reeves and the district encompasses 218 contributing buildings, 1 contributing site, and 2 contributing objects. The architecture is an eclectic mix of styles including Craftsman and English cottages, and impressive homes in the Colonial Revival, Tudor Revival, Georgian, French, Spanish and Ranch styles. The original Reeves home in the Second Empire style survives as well.</p><br>
<p>The proper borders of the Reeveston area are South B Street to the north, South 23rd Street to the east, South 16th Street to the west and South E Street to the south. However, the northeast corner of South E and South 16th is not a part of the original Reeves property - the house located there predates the Reeves home.</p><br>
<p>The district was added to the National Register of Historic Places in 2003.</p><br>
<p>The Starr Historic District is a neighborhood of historic buildings and national historic district located at Richmond, Wayne County, Indiana. The district encompasses 102 contributing buildings in a predominantly residential section of Richmond. It developed between about 1853 and 1915 and includes representative examples of Greek Revival, Italianate, Second Empire, and Queen Anne style architecture. Included in the district is a former Hicksite Quaker Meeting House, now the Wayne County Historical Museum and the Reid Memorial Presbyterian Church and Andrew F. Scott House. Other notable buildings include the Miller-Mendenhall House , Dickinson Log House , Starr-Cadwalader House , and Clem Gaar House .</p><br>
<p>Two houses in the District were the former residences of Orville and Wilbur Wright, during their childhood. A long-gone garage at the back of one of these houses was the location of their first bicycle repair shop. This info was reprinted from a Richmond Palladium-Item article.</p><br>
<p>The district was added to the National Register of Historic Places in 1974.</p><br>
<p>The Carlsbad Irrigation District, also known as Carlsbad Reclamation Project or Irrigation system of the Pecos Irrigation and Improvement Company, is a major early water reclamation project located near Carlsbad in southeastern New Mexico. Begun in the 1880s, it is now managed by the United States Bureau of Reclamation, and provides irrigation water to a large area around Carlsbad, diverted from the Pecos River and the Black River. The late 19th and early 20th-century elements of the project were designated a National Historic Landmark District in 1964.</p><br>
<h2>History and description</h2><br>
<p>The city of Carlsbad is located in the northern reaches of the Chihuahuan Desert. In order to work this area agriculturally settlers arriving in the late 19th century turned to irrigation to provide water for their crops. By the late 1880s, this resulted in a patchwork of private canals irrigating small patches of land. Charles B. Eddy and Pat Garrett, two local ranchers and businessmen, hatched the idea of a larger and more organized corporate-run irrigation system to serve the entire lower Pecos River valley. The project got underway in 1889, when construction began on the Avalon Dam, which now serves as a diversion and regulation point for the system. In 1893 the Avalon Dam had to be rebuilt after its destruction in a flash flood, and the McMillan Dam was built further upriver as a major storage facility. The Avalon Dam was once again destroyed by flooding in 1903, sending the system into effective bankruptcy. It was then taken over by the United States Bureau of Reclamation, which completed reconstruction of the Avalon Dam in 1907, and has overseen the project since. The Carlsbad Irrigation District was founded in 1932 and assumed operations of the project in 1949. The system has since then been augmented by the Brantley Dam, which now serves as its primary storage, and a dam on the Black River near Malaga that provides additional capacity in that area.</p><br>
<p>In addition to the two major dams, the district manages the major canals that distribute water to users, and the various gatehouses that control water flow. Its offices are located in the First Bank of Eddy building in downtown Carlsbad.</p><br>
<p>The Kit Carson House is a historic house museum at 113 Kit Carson Road in central Taos, New Mexico. Built in 1825, it was from 1843 until his death the home of frontiersman Kit Carson . An example of Spanish Colonial architecture, it is now owned by the local Masonic fraternity, and serves as a museum dedicated to Carson&#39;s life. It was designated a National Historic Landmark in 1963.</p><br>
<h2>Description and history</h2><br>
<p>The Kit Carson House stands a short way east of Taos&#39;s central plaza, on the north side of Kit Carson Road. It is a modest single-story adobe structure, built in 1825, that is an east-facing U shape with a central courtyard. The oldest portion of the house consists of the front three rooms, and the next room to the north.</p><br>
<p>Kit Carson grew up in the frontier west, and became renowned as a fur trapper and guide on numerous United States Army expeditions against Native Americans and also during the American Civil War. In 1843 he married Josefa Jaramillo, who was from a leading Taos family, and purchased this house. It remained the couple&#39;s principal home until 1868. They were away from it 1851-54 and 1866–67, when Carson was stationed elsewhere. In early 1868 the family moved to the Colorado Territory, where both died.</p><br>
<p>The Kit Carson house was passed through a string of owners between Kit Carson’s death in 1868 and the acquisition of the property by Bent Lodge #42 (a masonic lodge founded by Kit Carson) in 1910. The house had degraded and remained in a state of disrepair until 1952 when the Kit Carson Memorial Foundation Inc was established to restore and rehabilitate the property. The foundation now operates the property as a house-museum where visitors can take tours, purchase souvenirs, and learn about Carson’s exploits in life.</p><br>
<h2>Current State of the Kit Carson House</h2><br>
<p>The Kit Carson house is styled and furnished in the Spanish Colonial Style, and most of the houses rooms have been restored to fit within that style, matching their original condition as closely as possible. The restorations go so far as to include authentic recreations of furniture from the time. Additionally, several artifacts surrounding the life of Kit Carson and his family have been incorporated throughout the property, including a replica of his.50 caliber rifle, a United States Army sabre with its scabbard, and Josefas sewing box.</p><br>
<p>The museum constructed around the house includes a full guided tour which tells visitors about Carson&#39;s life, death, and other important details and achievements of his. One of the first stops in the tour includes a 20 minute video on the History Channel that is all about Kit Carson and what he accomplished. It culminates at the nearby Kit Carson Memorial State Park, where the graves of Carson and his wife, Josefa, can be found. The house has also undergone several additions, such as a gift shop and bookstore which supports the mission of the foundation and the museum itself.</p><br>
<h2>Awards & Achievements</h2><br>
<p>In July 1963, the National Park Service approved the Kit Carson House for National Historic Landmark Status</p><br>
<p>In October 1963, the Kit Carson Memorial Foundation Inc. was awarded an AASLH (American Association for State and Local History) Award of Merit for their efforts to preserve and restore the Kit Carson House</p><br>
<h2>Appearances in Academic Literature</h2><br>
<p>Prairie Schooner is a literary publication put out by the University of Nebraska since 1926. The Kit Carson House appears within Vol. 42 No. 2 (Summer 1968) during an expedition to find D. H. Lawrence&#39;s ranch in Taos detailed in an article called The Spinsters of Taos.</p><br>
