<p>St. Peter&#39;s Church is a historic Episcopal church near Talleysville, Virginia, United States. Built in 1703, the church was designated as "The First Church of the First First-Lady" by the Virginia General Assembly in 1960 and added to the National Register of Historic Places in 1969. It was designated a National Historic Landmark on March 2, 2012, as an exceptionally well-preserved colonial-era church.</p><br>
<h2>History</h2><br>
<p>St. Peters Church was established in New Kent County, Virginia, on April 29, 1679. Construction began in 1701 (at a cost of 146,000 weight of tobacco) and was complete by 1703. The steeple was erected 12 years later. The builder of nearby Fosters Castle, Colonel Joseph Foster, was a vestryman and supervised construction at St. Peter&#39;s Church.</p><br>
<p>Another vestryman, Colonel Daniel Parke Custis, married Martha Dandridge in June 1749. She became a widow after only eight years of marriage. On January 6, 1759, the Rector of St. Peter&#39;s, Rev. David Mossom, united Martha Custis and Colonel George Washington in marriage. Debate ensues over the exact location of the marriage; some believe it occurred within the church while others believe it took place a few miles away at the White House Plantation on the Pamunkey River.</p><br>
<p>Following the American Revolution and disestablishment of what had become the Episcopal Church and confiscation of vacant glebes in 1802 legislation, this church was abandoned and fell into disrepair. Sometime around 1820, Presbyterians started worshiping at the church. Episcopalian services began again in 1843. Both denominations shared the church, alternating weeks, until 1865.</p><br>
<p>Because of its central location in New Kent County about 30 miles from Richmond, the church suffered greatly during the Civil War, and most of its records predating the conflict were lost. Union soldiers stabled their horses in the pews and carved their names in the brick exterior. On October 23, 1869 General Robert E. Lee wrote "St. Peters is the church where General Washington was married and attended in early life. It would be a shame to America if allowed to go to destruction." His son, General William Henry Fitzhugh Lee oversaw the partial restoration in 1872.</p><br>
<p>After being designated as "The First Church of the First First-Lady" by the Virginia General Assembly in 1960, restoration again began on the church with the assistance of architectural and ecclesiastic experts. The renovation included structural improvements to the church which required completely gutting the interior.</p><br>
<h2>Architecture</h2><br>
<p>Constructed of brick laid in Flemish bond, St. Peter&#39;s measures 64 ft by 28 ft and is one story high. The gable roof has curvilinear gable ends; segmental arches appear over the windows of the church and the open arches of the tower which was added in the mid-eighteenth century replacing an earlier wooden belfry. The two-story brick tower is of Flemish bond with some glazing and has a pyramidal roof. The top of the tower is also decorated by four original stuccoed brick urns. A wing was added sometime before the Revolution but was removed in the middle of the nineteenth century.</p><br>
<p>The original south doorway and several windows had been bricked up but have been restored as have the curvilinear gable ends for which evidence was found in the fabric of the building during the 1940s and again during the restoration work of 1951-52. Much of the interior and exterior has been restored or replaced in what is thought to be its original condition.</p><br>
<p>The Palmer Woods Historic District is a neighborhood located in Detroit, Michigan, bounded by Seven Mile Road, Woodward Avenue, and Strathcona Drive. There are approximately 295 homes in the 188 acre district, which is between the City of Highland Park in Wayne County and the City of Ferndale in Oakland County. It was listed on the National Register of Historic Places in 1983. The Detroit Golf Club is nearby.</p><br>
<p>As of 2015, many of the wealthiest professionals in the city of Detroit live in Palmer Woods.</p><br>
<h2>History</h2><br>
<p>The Palmer Woods Historic District is named after Thomas W. Palmer, a prominent citizen of nineteenth-century Detroit and a United States Senator. Palmer&#39;s estate included land on both sides of Woodward Avenue, stretching from Six Mile Road to Eight Mile Road. During his lifetime, Palmer donated some of his land to the city of Detroit to establish Palmer Park, and he gave additional land to the state of Michigan to build the Michigan State Fairgrounds.</p><br>
<p>Palmer died in 1913; two years later, Detroit real-estate developer Charles W. Burton purchased the section of Palmers estate that now encompasses the Palmer Woods Historic District. Burton envisioned an exclusive neighborhood catering to Detroits richest citizens, with room for spacious and elegant homes. He hired the landscape architect Ossian Cole Simonds to design the layout of the development. Cole laid out a subdivision with gently curving streets, capitalizing on the natural beauty of the area and creating a park-like atmosphere in the neighborhood. Curbs are nonexistent, minimizing the transition from street to lawn and discouraging pedestrian traffic, and every lot in the neighborhood had a unique shape.</p><br>
<p>Many Colonial Revival and Tudor Revival style homes were constructed between about 1917 and 1929. After World War II, additional mansions were constructed.</p><br>
<p>In 2007 and 2008, there were around 24 residential properties that were vacant. By 2011, the community established its own private security service. By 2014, housing prices, which had previously declined, began to rebound.</p><br>
<h2>Demographics</h2><br>
<p>As of 2020, the neighborhood had a median household income of $155,917. Ethnically, Palmer Woods is 74.8% African American, 17.1% European American, and 6.2% Hispanic.</p><br>
<h2>Architecture</h2><br>
<p>Palmer Woods is known for its elm-lined streets with large brick and stone homes in Tudor Revival architecture, set back from the street behind contiguous uninterrupted lawn. Lots are large, with ample room for trees, play equipment, and a good expanse of grass. There may be coats of arms, leaded or stained glass windows, and other features (such as elevators) in some of the homes. Various properties boast more than one structure, such as a house and guest house, or maids&#39; quarters. Streets gently curve through the forested neighborhood.</p><br>
<p>Palmer Woods has its own security service and an active voluntary neighborhood association. The home of physicians, politicians, business owners, artists, executives and their families, the Palmer Woods neighborhood has attracted some of Detroit&#39;s most prominent citizens. Charles W. Burton himself made his home in the neighborhood.</p><br>
<p>Two of the seven Fisher Brothers (owners of Fisher Body), Alfred and William, also lived in the neighborhood. William Fisher&#39;s former house, at 1791 Wellesley Drive, is 35,000 ft&sup2, one of the largest in Detroit. John H. Kunsky, the founder of United Artists theatres, also lived in the area.</p><br>
<p>Almost every house in Palmer Woods has unique architectural features, but a number are particularly important. At the southern edge of the district is the Dorothy H. Turkel House, the only house in Detroit designed by Frank Lloyd Wright. C. Howard Crane, the noted theater architect, designed the home of John H. Kunsky, incorporating many theater elements into the design. Minoru Yamasaki and Leonard B. Willeke also designed houses in the district.</p><br>
<h3>Bishop Gallagher residence</h3><br>
<p>Probably the most significant house in the district is the 62-room Bishop Gallagher residence at 19366 Lucerne Drive (also known as 1880 Wellesley Drive). The mansion was built in 1925 for the Fisher brothers, who hired the Boston firm of McGinnis and Walsh, specialists in ecclesiastical architecture, to design the Tudor Revival structure. Upon completion, the Fisher brothers gave the property to Bishop Michael Gallagher, of the Roman Catholic Archdiocese of Detroit. The 40,000 ft&sup2; home is the largest within the city of Detroit.</p><br>
<p>The two-story brick building consists of a large central structure flanked by diagonal wings. There are numerous exterior bays, each topped with a parapet capped with masonry and a finial. Religious themes are included throughout the house, both on the exterior and the interior. On the exterior, medallions, shields and crests are set into the brickwork, and a copper statue of the Archangel Michael defeating Satan is prominent. The interior is finished with oak, stone and masonry. The residence had, at one time, the largest collection of Pewabic glazed pottery tile in Michigan.</p><br>
<p>Bishop Gallagher lived in this house until his death in 1937. Subsequent archbishops of Detroit (Cardinals Edward Mooney and John Dearden) also lived in the home. Upon Cardinal Dearden&#39;s death in 1988, the archdiocese sold the mansion in 1989 to John Salley of the Detroit Pistons for $500,000.</p><br>
<p>In 1995, the property was sold by Salley to Bishop Wayne T. Jackson of Great Faith Ministries International, who used it as a home and as offices for his ministry. In 2017, the mansion was sold by Jackson for more than $2.5 million to a real estate developer from California who collects historic houses.</p><br>
<p>Forbidden Fruits (2006), a movie produced by Marc Cayce, was filmed inside the Bishop Gallagher residence.</p><br>
<h2>Schools</h2><br>
<p>Palmer Woods is within the Detroit Public Schools district. Residents are zoned to Palmer Park Preparatory Academy, formerly the Barbara Jordan School, for elementary and middle school. All residents are zoned to Mumford High School. Palmer Park is operated by teachers and not by a principal administrator.</p><br>
<h2>Notable residents</h2><br>
<p>Mike Duggan</p><br>
<p>Mitt Romney (resided in the community until he was five years old)</p><br>
<p>The Lewis House is a historic house at 276 Woburn Street in Reading, Massachusetts. The -story wood-frame house was built in the late 1870s by John Lewis, a successful shoe dealer. The house is three bays wide, with a hipped roof with a single gable dormer. The roof has extended eaves with false rafter ends that are actually lengthened modillion blocks; these features give the house a Colonial Revival feel. The corner boards are pilastered, and the front entry is flanked by half-length sidelight windows and topped by a pedimented lintel, above which is a round fanlight window.</p><br>
<p>The house was listed on the National Register of Historic Places in 1984.</p><br>
<p>The Candler Building is a skyscraper at the southern end of Times Square in the Midtown Manhattan neighborhood of New York City. Located at 220 West 42nd Street, with a secondary address of 221 West 41st Street, the 24-story building was designed by the firm of Willauer, Shape and Bready in the Spanish Renaissance style. It was constructed between 1912 and 1913 for Coca-Cola Company owner Asa Griggs Candler. The Candler Building was one of the last skyscrapers built in New York City before the 1916 Zoning Resolution, which required setbacks. It is listed on the National Register of Historic Places .</p><br>
<p>The building consists of two sections: a 24-story rectangular tower to the north, facing 42nd Street, and a shorter 17-story rear wing to the south, facing 41st Street. The tower section was originally flanked by five-story wings and was designed with a marble and terracotta facade; the terracotta has since been replaced with cast stone. The rear wing contains a brick facade. On 42nd Street, the facade is divided vertically into five bays; a loggia spans the three central bays. The building contains an emergency-exit staircase to the south, which is structurally separate from the rest of the building. The rear wing originally contained the Candler Theatre (later Sam H. Harris Theatre). The remainder of the building contained showrooms and offices.</p><br>
<p>The site of the Candler Building was cleared beginning in February 1912 and the building opened the next year. For several decades, the Candler Building largely housed entertainment firms. The Candler family owned the building until 1947, when it began to go through a series of sales. Charles F. Noyes acquired the building in 1965 and renovated it, then marketed the rear wing to garment firms. The buildings upper floors were sealed in the 1970s due to a lack of tenants. Former New York City government official Michael J. Lazar acquired the Candler Building at a foreclosure proceeding in 1980 and leased the space to city agencies, prompting a corruption investigation. The building was renovated again in the late 1990s following a second foreclosure, and its space was leased to SFX Entertainment and McDonalds until 2020. The buildings commercial spaces have been used as a shelter for asylum seekers since 2023, and the structures owner proposed converting it into a hotel in 2024.</p><br>
<h2>Site</h2><br>
<p>The Candler Building is on 220 West 42nd Street, between Seventh Avenue and Eighth Avenue near the southern end of Times Square, in the Midtown Manhattan neighborhood of New York City. The land lot is irregularly shaped and covers 10,109 ft2, extending 200 ft between its two frontages on 41st and 42nd Streets. In the mid-20th century, the lot was rectangular and measured 125 ft on both streets, with a total area of 25,000 ft2. The larger area accommodated the Sam H. Harris Theatre on 41st Street, as well as a pair of five-story wings on 42nd Street.</p><br>
<p>The city block includes 5 Times Square and the New Amsterdam Theatre to the east, as well as Madame Tussauds New York, Empire Theatre, and Eleven Times Square to the west. The Todd Haimes Theatre, Times Square Theater, Lyric Theatre, New Victory Theater, and 3 Times Square are across 42nd Street to the north.</p><br>
<h2>Architecture</h2><br>
<p>The Candler Building was developed for Coca-Cola Company owner Asa Griggs Candler. It was designed by the firm of Willauer, Shape & Bready, which was composed of Arthur E. Willauer, George Lee Bready, According to architectural historian Christopher Gray, the Candler Building may have been the first high-rise building in New York City with a fireproof emergency staircase. The Candler Building was one of the last high-rises in New York City to be built before the passage of the 1916 Zoning Resolution, which influenced the development of "stepped-tower" skyscrapers with setbacks.</p><br>
<h3>Form</h3><br>
<p>The building consists of two sections: a 24-story rectangular tower to the north, facing 42nd Street, and a shorter 17-story wing to the south, facing 41st Street. measuring 78 by. It was originally flanked by five-story wings, which architectural writer Eric Nash likened to a "finned 1950s rocket ship".</p><br>
<p>The tower had a copper cross-hip roof, which formerly also contained skylights. Varying measurements are given for the building&#39;s height. According to Christopher Gray, the building measured 352 ft tall to the top of the hip roof, above which rose a 36 ft flagpole. Emporis cites the bottom of the hip roof as being 328 ft high, increasing to 341 ft at its peak. According to Emporis, the building measured 387 ft high if the flagpole was included. A 1928 New York Times article also cited the Candler Building as being 341 ft tall. Another publication cited the hip roof as ranging from 342 to 356 ft high.</p><br>
<p>The American Architect wrote in 1913 that the cross-hipped roof of the Candler Building&#39;s tower seemed to befit "the entire building though it covers a smaller area than the stories below." The Craftsman magazine wrote that the Candler Building "is of note among skyscrapers not only for its simplicity of design, its upright lines and beautiful top placed as if crowning a monument, but because of its placid appearance as it stretches skyward above a locality of seething, intense life."</p><br>
<h3>Facade</h3><br>
<h4>Main tower</h4><br>
<p>The tower originally had a marble and terracotta facade on all four of its elevations; the terracotta was replaced in the 1990s with cast stone. The 42nd Street (northern) elevation of the tower section&#39;s facade is divided vertically into five bays (excluding the wings). The base spans the first through third stories, with storefronts on the first story. These storefronts are the only parts of the building that have been significantly altered. The center three bays initially contained a pair of engaged marble columns, measuring 2 ft wide and 30 ft tall. On the second and third stories, the outermost bays are flanked by pilasters, which rise to the 16th story. The center three bays form a double-height arcade. There are roundels in the spandrels diagonally above each arch. Additionally, a plain cornice runs above the entire arcade; at the center is a panel with the name "Candler".</p><br>
<p>The 4th through 17th stories comprise the buildings midsection. On all of the towers elevations, the outermost bays contain one rectangular window on each story. Each of the central bays contains two windows per story. The spandrel panels above the fourth-story windows contain lunettes with roundels inside. On the remaining stories, the spandrel panels above each window are made of metal. At the 17th story, each of the central bays on 42nd Street contains a round-arched window, while the outer bays are wider than on the lower stories. The 17th story is topped by a cornice with putti and friezes, which wraps around all four elevations.</p><br>
<p>The western and eastern elevations contain a higher proportion of masonry to windows. On the 4th through 17th stories of either elevation are two central bays, each with two windows per floor. The southern elevation is more plainly designed and contains an emergency-exit tower near its west end. The emergency stair is within a shaft enclosed by brick walls on all sides. The shaft is structurally separate from the rest of the building, connected only to the balconies outside each floor.</p><br>
<p>The uppermost portion of the building is split into the 18th to 20th stories, the 21st to 23rd stories, and the roof.</p><br>
<h4>Rear wing</h4><br>
<p>The rear wing on 41st Street has a simple brick design and is three bays wide. Along the 41st Street elevation of the rear wing, The first story contains a modern-style entrance, while the second- and third-story windows were surrounded by a limestone frame. There are also limestone cornices, which project from the facade above the 3rd, 14th, and 15th stories. Each story contains several double hung windows; those at the top story are topped by keystones. The western and eastern elevations of this wing are made of plain brick with numerous horizontal string courses made of terracotta.</p><br>
<h3>Features</h3><br>
<p>Ceiling heights were generally high; the first floor alone was 18 ft tall. The remaining stories had ceiling heights ranging from 12 to 15 ft, though the majority of the office stories had ceiling heights of 12.5 ft.</p><br>
<h4>Ground level</h4><br>
<p>The rear wing originally contained the Candler Theatre (later Harris Theatre), The auditorium was on 41st Street, but it was entered through the Candler Buildings western five-story wing on 42nd Street. The entrance contained a marble vestibule with a gold-stenciled ceiling, which led to a foyer. There was a "tapestry hall" with six murals by Albert Herter, depicting scenes from Shakespeares comedies. The auditorium was decorated in the Italian Renaissance style and had two levels: an orchestra and a balcony. The orchestra level had 625 seats while the balcony had 500 seats, including four boxes. At the rear of the orchestra level was an oil mural by Herter, which measured 35 by and depicted a fête champêtre. There was ornate plasterwork around the proscenium arch, as well as an elaborate saucer dome on the ceiling surrounded by twelve metal lighting fixtures.</p><br>
<p>From 2002 to 2020, the first three stories of the Candler Building operated as a McDonalds fast food restaurant. The restaurant contained 300 seats and covered about 17,000 ft2. There was a marquee in front of the McDonalds, with 7,500 light bulbs. A section of the second story was removed to create a 40 ft staircase hall. When the McDonald&#39;s restaurant was in operation, promotional launches and special events were frequently hosted there.</p><br>
<h4>Upper stories</h4><br>
<p>The remaining stories are served by four passenger and three freight elevators. Four of the elevators are accessed from the 42nd Street wing, while the remaining three elevators are accessed from 41st Street. At each corner of the main tower is an interior staircase and a bank of elevators, thereby providing four means of egress. The lowest two-thirds of the building was intended as both industrial loft space and offices. The lowest floors contained loft spaces measuring 10,000 ft2 per story, while the middle floors contained showrooms and offices. Consequently, each of these stories was designed with a largely open plan, except for several structural columns. The top eight floors were intended for offices and suites.</p><br>
<p>On each of the 2nd through 17th stories, the tower and rear wing were separated only by a masonry partition with a metal door. This allowed tenants to easily contain any fires. The entire building also contained a fire sprinkler system. These fireproofing measures were included in the aftermath of the Triangle Shirtwaist Factory fire, which had occurred in 1911, the year before the Candler Building&#39;s construction commenced.</p><br>
<h2>History</h2><br>
<p>The Candler Building was one of several structures developed by Asa Griggs Candler in the early 20th century. Prior to constructing the structure at 220 West 42nd Street, Candler had developed the Candler Building in Atlanta, as well as other structures in Baltimore and Kansas City. Furthermore, in the first two decades of the 20th century, eleven legitimate theaters were built within one block of West 42nd Street between Seventh and Eighth Avenues.</p><br>
<h3>Development</h3><br>
<p>In December 1911, Candler acquired the old Baptist Church building on 220–226 West 42nd Street from Harry Frazee and P. Chauncey Anderson for $425,000. In addition, Candler bought a 25 ft lot on 41st Street. The proposed structure would be the tallest building on that section of 42nd Street. The A. A. Volk Demolishing and Excavating Company began clearing the site at the beginning of February 1912. The same month, the Cauldwell-Wingate Company received the general contract for the building&#39;s construction. The firm of Willauer, Shape and Bready filed plans for the building that March. The New York Times said in March 1912 that, as a result of the construction of the Candler Building and other structures on 42nd Street, the thoroughfare "will present a totally different appearance in respect to business development than has characterized it in the past".</p><br>
<p>Candler named the building after himself, and he planned to lease out the offices to companies from the Southern United States.</p><br>
<h3>1910s to 1930s</h3><br>
<p>The Candler Building&#39;s architects, builders, and real-estate agents hosted a party in February 1913 to celebrate its completion. At the time, the structure was the tallest in Manhattan north of the Metropolitan Life Insurance Company Tower on 24th Street, Other office buildings around Times Square had similar restrictions to prevent them from "falling into the factory list of structures", which were commonplace along the southernmost sections of Fifth Avenue and Madison Avenue. and the partnership of theatrical operators George M. Cohan and Sam H. Harris. Additionally, in 1915, publishing company Alfred A. Knopf had its first office at the Candler Building.</p><br>
<p>Meanwhile, Blooms syndicate had completed plans for the adjacent theater in August 1913, and the Candler Theatre opened in May 1914 as a movie theater. The theater switched to hosting legitimate shows within several months, and it became the Cohan and Harris Theatre in 1916. Brooks & Momand placed a $600,000 first mortgage loan on the Candler Building in July 1920. This was superseded in May 1925 by a $1.4 million first mortgage loan given by Oscar D. and Herbert V. Dike. The buildings tenants in the 1920s included the New York State Motion Picture Commission and the Radio Artists&#39; Association of America. Despite increasing real-estate values, the Candler Building remained the only skyscraper on the block at the end of the decade.</p><br>
<p>At the onset of the Great Depression, many Broadway theaters were impacted by declining attendance. As a result, several theaters on the block were converted into burlesque houses, prompting complaints from many of the Candler Buildings tenants, who had generally negative perceptions of the burlesque theaters. According to the buildings manager, Oscar D. Dike, three large tenants moved out during 1932 because the burlesque theaters were driving customers away. According to Enklewitz, the buildings valuation had declined by $1 million just in the preceding year. The Candler family acquired the Harris Theatre in 1936. The building was occupied by Coca-Colas New York City offices, as well as doctors and lawyers, in the 1930s. Other tenants included a shoe store, a bungalow developer, and a research laboratory.</p><br>
<h3>1940s to 1970s</h3><br>
<p>The building continued to host a variety of tenants in the 1940s, such as a clubhouse and a dental laboratory, as well as a magic trick shop operated by magician Max Holden. In 1947, the Candler family transferred the Candler Building and Harris Theatre to Emory University, which held both structures in its endowment fund. Emory University sold the Candler Building and Harris Theatre to Thomas Moffa in December 1949, including a mortgage of $1.6 million; the structures had an assessed value of $2.3 million. Moffa quickly resold the building to Irving Maidman, who finalized his purchase in March 1950.</p><br>
<p>The surrounding block had decayed by the early 1960s, but many of the old theater buildings from the blocks heyday remained, as did the Candler Building. Kestenberg sold the building in 1966 to a group led by Charles F. Noyes; the sale was subject to a first mortgage of $1.35 million. Noyess syndicate planned to spend $600,000 to clean the facade, renovate the lobby, and add new elevators as part of a six-month project. Newmark & Company was hired as the buildings leasing agent. Newmark began advertising the rear wing at 221 West 41st Street to garment firms in 1968, attracting firms such as the Ellen Tracy Blouse Corporation. By the late 1960s, the main tower at 220 West 42nd Street primarily housed entertainment tenants such as Allied Artists International and the Jewish Broadcasting Service. The buildings tenants also included detective firms, dental-equipment manufacturers, and publishers&#39; representatives.</p><br>
<p>By the late 1970s, there were so few office tenants that the buildings upper floors were sealed. The basement was inundated with 6 ft of water. The office stories stood completely empty for three years, and the buildings owner ultimately forfeited the building to the Empire Savings Bank in a foreclosure proceeding. The 42nd Street Development Corporation had been formed in 1976 to discuss plans for redeveloping Times Square. One plan, in 1978, called for restoring several theaters for legitimate productions and for opera and dance. Other nearby buildings would have been razed to create a park. The City at 42nd Street was announced in late 1979 as part of a proposal to restore West 42nd Street around Times Square. The Candler Building would have been preserved under this plan. Mayor Ed Koch wavered in his support of the plan, referring to it as a "Disneyland on 42nd Street".</p><br>
<h3>Times Square redevelopment</h3><br>
<h4>1980s</h4><br>
<p>The eastern five-story wing on 42nd Street was sold in early 1980 to businessman Leonard Cohen, who renovated the facade. The western wing was intact but remained in use as an entrance to the Harris Theatre. That February, New York City Taxi and Limousine Commission (TLC) commissioner Michael J. Lazar and a limited partnership led by real-estate investor David I. Burley paid $1.3 million for the Candler Building. Walter & Samuels started leasing out the office space in late 1980. An adult training center for electronics company RCA occupied 30,000 ft2,</p><br>
<p>The Urban Development Corporation (UDC), an agency of the New York state government, had proposed redeveloping the area around a portion of West 42nd Street in 1981. The Candler Building was excluded from the project. About three-quarters of the building was occupied by 1984; for $14.75 million. Several property owners in Times Square cited the sale as an example of the neighborhood&#39;s increasing property values. Government officials expressed concerns that the sale would lead to lawsuits from owners whose properties were being condemned through eminent domain, since these owners would be motivated to seek higher prices for their buildings.</p><br>
<p>In 1986, a federal grand jury issued a subpoena for documents relating to the TLCs lease in the Candler Building, as well as the buildings exclusion from the 42nd Street Redevelopment. The director of the citys Parking Violations Bureau, Lester N. Shafran, had been a limited partner in the building and thus profited from the TLCs lease. Federal officials charged Shafran and Lazar with bribery. Both men were acquitted on charges relating to the Candler Building, even though they were found guilty of other corruption charges. Meanwhile, seven performing-arts organizations leased space in the Candler Building between 1985 and 1987, including the Big Apple Circus, the New York Theatre Workshop, and the Women&#39;s Project.</p><br>
<h4>1990s to present</h4><br>
<p>Another plan for redeveloping the surrounding area was proposed in the early 1990s. Herbert Muschamp wrote in 1993 that the Candler Building&#39;s 1950s-era "ditsy paneling" would remain in place "as an integral part of the urban collage". Approximately three-quarters of the terracotta mortar and about half of the brick mortar had degraded by then. Massachusetts Mutual Life Insurance Company took over the building following a foreclosure proceeding the same year. The cast stone was fabricated on-site and glazed to match the appearance of the original. Other decorative details were rebuilt in glass fiber reinforced concrete, and the windows were replaced with replicas of the originals. In addition, the interior was gutted and rehabilitated. Since the building was on the NRHP, the renovation qualified for a tax credit.</p><br>
<p>The Harris Theatre at the buildings base was demolished in 1997, and its former entrance was converted to an exit from Madame Tussauds. Massachusetts Mutual planned to lease the base to an entertainment company and rent out the upper stories as offices. At the end of 1999, SFX Entertainment leased all of the buildings office space as a headquarters, paying $12 million annually. SFX anticipated that 500 to 600 of its employees would be able to work in the building, and it moved into the building in November 2000. SFX was acquired by Clear Channel Entertainment, which retained offices on 42nd Street. McDonald&#39;s signed a lease in early 2001 for the sole retail space in the building. Following a renovation designed by Beyer Blinder Belle, the fast-food restaurant opened at the base of the Candler Building in September 2002. Although the building was not an official city landmark, the New York City Landmarks Preservation Commission determined in 2003 that the Candler Building was eligible for designation as a city landmark.</p><br>
<p>EPIC Real Estate acquired the building from the Paramount Group in 2012, and Landesbank Baden-Württemberg provided a $150 million loan for the building at that time. In late 2017, EPIC Real Estate refinanced the building $150 million loan from M&T Bank. The McDonald&#39;s closed in June 2020 after being replaced by another location nearby. The following year, Yellowstone filed plans to convert the Candler Building into a 265-room hotel; by then, many of the office floors had been vacant for several years.</p><br>
<p>The Park Avenue Viaduct, also known as the Pershing Square Viaduct, is a roadway in Manhattan, New York City. It carries vehicular traffic on Park Avenue from 40th to 46th Streets. The viaduct is composed of two sections: a steel viaduct with two roadways from 40th to 42nd Streets, as well as a pair of roadways between 42nd and 46th Streets. The section from 40th to 42nd Streets was designated a New York City landmark in 1980 and was listed on the National Register of Historic Places in 1983. The street-level service roads of Park Avenue, which flank the viaduct between 40th and 42nd Streets, are called Pershing Square. The section of the viaduct between 42nd and 46th Streets travels around Grand Central Terminal and the MetLife Building, then through the Helmsley Building; all three buildings lie across the north–south axis of the avenue.</p><br>
<p>The viaduct was first proposed by New York Central Railroad president William J. Wilgus in 1900 as part of the construction of Grand Central Terminal. Construction on the viaduct&#39;s western leg began in 1917, after the terminal had opened, and was completed in 1919. The western leg initially carried two-way traffic, so the eastern leg was completed for northbound traffic in 1928, and the western leg was reconfigured to carry southbound traffic only. An information booth was established in 1939 beneath the viaduct, and the city renovated the viaduct in the early 1990s.</p><br>
<h2>Description</h2><br>
<p>The viaduct is used by automobile traffic between 40th Street to the south and 46th Street to the north. It is composed of two sections: the steel viaduct between 40th and 42nd Streets, and the pair of roadways between 42nd and 46th Streets. Immediately to the south of 40th Street is the portal of the Park Avenue Tunnel, which carries northbound traffic from 33rd Street directly onto the viaduct. except during "Summer Streets", when Park Avenue is closed to vehicular traffic on selected summer weekends.</p><br>
<h3>Route</h3><br>
<h4>Southern section</h4><br>
<p>From the south, traffic from Park Avenue, 40th Street, or the Park Avenue Tunnel enters the steel viaduct. The viaduct rises to a T-intersection just north of 42nd Street, over the street-level entrance to Grand Central Terminal below. This segment of the viaduct is 600 ft long and consists of a granite approach ramp with stone balustrades, as well as three steel arches, which are separated by granite piers with foliate friezes. The central arch has been infilled to create a restaurant space. The arches were included because of "aesthetic considerations", but are actually cantilever beams, because true arches would have required excessively large abutments.</p><br>
<p>The deck of the viaduct, above the steel arches, contains railings with plain and foliate panels, as well as lampposts atop each granite pier. The arches of the Pershing Square Viaduct are based on the Pont Alexandre III in Paris, and contain plaques with the words "Pershing Square" at their centers.</p><br>
<h4>Northern section</h4><br>
<p>At the T-intersection north of 42nd Street, the viaduct splits into two legs. The legs of the viaduct surround the terminal building and the MetLife Building to the north before passing through a pair of portals under the Helmsley Building between 45th and 46th Streets. Northbound traffic uses the eastern leg, which runs above a private road called Depew Place, while southbound traffic uses the western leg, which runs above the eastern sidewalk of Vanderbilt Avenue. Both roadways pass above 45th Street without intersection. The roadways then take sharp S-curves into the Helmsley Building, where they descend into triple-story arches that exit onto 46th Street.</p><br>
<p>The western leg is 35 ft wide; the eastern leg is 33 ft wide between 42nd and 44th Streets, widening to 53 ft north of 44th Street. The roadway above 42nd Street, which connects the two legs, is 40 ft wide. The portion of the viaduct immediately surrounding the terminal&#39;s building has a masonry balustrade with an additional metal guardrail. There is a cast-iron eagle atop the balustrade where the western leg curves onto the connecting roadway above 42nd Street. A sidewalk, accessible from the Grand Hyatt hotel, runs along the section of the viaduct that is parallel to 42nd Street.</p><br>
<h3>Pershing Square</h3><br>
<p>The street-level service roads of Park Avenue between 40th and 42nd Streets are called Pershing Square. The service roads between 41st and 42nd Streets are open only to bicycles and pedestrians. The square is named after General John J. Pershing. Consequently, the southern portion of the viaduct between 40th and 42nd Streets is also known as the Pershing Square Viaduct.</p><br>
<h2>History</h2><br>
<p>The New York Central Railroad built the Grand Central Depot in 1869 as the southern terminus of the Park Avenue main line. The depot was located along the axis of Fourth Avenue (later Park Avenue), splitting the avenue into two parts: a section south of 42nd Street and another north of 45th Street. The southern section of Park Avenue was a quiet road running through the upscale enclave of Murray Hill, while the northern section contained an open cut (later covered over), which carried the Park Avenue main line.</p><br>
<h3>Early plans</h3><br>
<p>The Park Avenue Viaduct was first proposed by New York Central president William J. Wilgus in 1900, when he suggested replacing Grand Central Depot with Grand Central Terminal. During a design competition for the terminal in 1903, Reed and Stem proposed vehicular viaducts around the terminal building. New York Central ultimately selected Reed and Stem, as well as Warren and Wetmore, to construct Grand Central Terminal. The two architectural firms had a tense relationship. Over Wilguss objections, Warren and Wetmore modified Reed and Stems plan, eliminating a proposed 12-story tower and vehicular viaducts. The elevated viaducts were restored, as were several of Reed and Stems other design elements, as part of an agreement between the two firms in 1909. The railroad also bought Depew Place, over which the eastern leg of the viaduct would run. Two years later, the New York City Board of Estimate approved New York Centrals plans for a viaduct carrying Park Avenue over 42nd Street.</p><br>
<p>The present plans for the Park Avenue Viaduct were devised in 1912 by Warren and Wetmore. The terminals construction already provided for roadways to either side of the terminal building, in preparation for the viaducts eventual completion. The terminal was opened in 1913, but the viaduct could not be built yet because the Interborough Rapid Transit Company, one of the operators of the citys subway system, had not even decided whether to build the Grand Central–42nd Street station under the viaducts site. The IRT ultimately decided to build the station diagonally under 42nd Street, connecting its new Lexington Avenue Line to the north with the existing subway under Park Avenue to the south, and by mid-1917, subway construction had progressed to the extent that work on the viaduct could commence. Bidding for the viaduct&#39;s construction was opened in August 1917. At that time, Fifth Avenue and Madison Avenue (which ran parallel to Park Avenue) were heavily congested, and the viaduct was expected to alleviate some of that traffic.</p><br>
<h3>Construction</h3><br>
<p>Construction on the viaduct began in November 1917. However, further progress was hindered due to the difficulty in securing ornamental steel during World War I. The driveway served the Grand Central post office at 450 Lexington Avenue, as well as a since-demolished baggage building north of the terminal.</p><br>
<p>Shortly after the viaduct&#39;s opening, the area at the bottom of the viaduct was renamed Pershing Square in 1919 to honor World War I General John J. Pershing. The lot immediately to the east had been occupied by Grand Union Hotel, which was condemned via eminent domain in 1914 and subsequently demolished. That space was proposed for use as an open plaza with a three-story memorial called "Victory Hall". In July 1920, a realty consortium headed by investor Henry Mandel bought the site. Mandel gave the Bowery Savings Bank the eastern portion of the site, which would be developed into an office building at 110 East 42nd Street, completed in 1923. The western portion of the site became the Pershing Square Building, also completed in 1923. The "Pershing Square" name subsequently applied to the service roads of the Park Avenue Viaduct between 40th and 42nd Streets.</p><br>
<h3>Expansion</h3><br>
<p>Soon after the viaducts opening, traffic at 45th Street and Vanderbilt Avenue started to accumulate, causing gridlock at that intersection, since thirteen lanes of traffic converged there. By 1920, business associations were advocating for the eastern leg of the viaduct to be opened to public use. The city started negotiating with New York Central to open the eastern leg of the viaduct, although the railroad was holding out unless it was granted property on Park Avenue. The city proposed building a ramp from the viaduct that would descend to ground level at 46th Street, while keeping Park Avenue open to traffic between 45th and 46th Streets; however, New York Centrals proposal would altogether close off that block of Park Avenue. The Manhattan borough president, Julius Miller, proposed giving New York Central the right to erect a building over Park Avenue, in exchange for the railroad giving Depew Place back to the city so that the eastern leg of the viaduct could be built. By November 1922, Miller and the New York Central reached an agreement to submit a proposal for the viaduct to city authorities, and the Board of Estimate approved the proposal in January 1923.</p><br>
<p>New York Central had made a revised agreement by the city by 1924, which gave the railroad the right to erect a building over Park Avenue. As part of the project, the section of Park Avenue between 45th and 46th Streets would be closed, the eastern leg of the viaduct would be completed, and traffic would be carried around both sides of the terminal and through the New York Central Building before being deposited at Park Avenue and 46th Street. The plans also called for a roadway running above 45th Streets southern sidewalk, connecting the two directions of traffic, as well as the extension of Vanderbilt Avenue north to 47th Street and the widening of Park Avenue. Initial plans called for the viaduct to run across 46th Street so that viaduct traffic did not interfere with traffic on 45th and 46th Streets. This was later changed to allow the viaducts roadways to descend to street level between 45th and 46th Streets. The roadways were placed on S-curves supported by stanchions that did not touch the New York Central Building&#39;s frame.</p><br>
<p>In April 1924, the revised plan was sent to the Board of Estimate, which approved the project. Work could start upon the approval of Charles L. Craig, the city controller. The next year, work on the New York Central Building&#39;s foundations commenced, and the block of Park Avenue between 45th and 46th Streets was closed. The eastern leg along Depew Place was opened in February 1928, and northbound traffic was diverted there. Construction was complete by September of that year, with the completion of the western leg, which had been extended to Park Avenue and 46th Street with an overpass over 45th Street. In November 1928, the Vanderbilt statue was installed at the T-intersection above 42nd Street.</p><br>
<h3>Later history</h3><br>
<p>The space under the viaduct between 41st and 42nd Streets was originally used as a trolley barn. In 1938, the city announced that it would build a tourist information center within that space in advance of the 1939 New York World&#39;s Fair. The city subsequently built a steel and glass-brick structure under the center arch of the viaduct. The structure, located at 90 East 42nd Street, opened in December 1939 and was initially used to provide tourist information. During World War II, the space was used by United Service Organizations, and after the war, became an outpost of the New York Convention and Visitors Bureau. By 1960, leaks from the viaduct had damaged the information center. That year, a reconstruction project for the viaduct was announced, which involved repairing trusses as well as installing drainage and a nonskid deck.</p><br>
<p>The former tourist-information center had become an unemployment office by the 1980s. so the city government undertook the first major renovations in the viaduct&#39;s history. The southbound roadway was closed in July 1984, An $8 million restoration of the viaduct was announced three years later. As part of the renovation, the Grand Central Partnership would turn the space between 41st and 42nd Streets into a restaurant. Seven of the original lamps were also restored in 1992.</p><br>
<p>In 1995, the city and the Grand Central Partnership unveiled plans to restore the space under the viaduct at a cost of $2 million, then lease it as a restaurant. The restaurant space would be located in the former site of the Worlds Fair information center. The Pershing Square Cafe signed a lease at the space in 1997. The owner of the renovated space, Michael OKeeffe, placed so much attention to the renovation of the space that the projects costs increased to $5 million, and the cafes opening date was pushed back by several months.</p><br>
<h2>Critical reception and landmark designations</h2><br>
<p>When the Park Avenue Viaduct opened, it was praised as a solution to the traffic congestion around Grand Central Terminal. In 1922, the New-York Tribune called it one of several works of "engineering magic". Christopher Gray, architecture critic at The New York Times, wrote that "the completion of the viaduct suddenly changed Park Avenue from an inconvenient local street to the most modern highway in New York." The building&#39;s design in relation to Grand Central Terminal was also lauded. Architecture magazine said that the design "has produced a beautiful and satisfying work of truly monumental character."</p><br>
<p>The Park Avenue Viaduct was designated a New York City landmark in 1980. In its report, the New York City Landmarks Preservation Commission wrote that the viaduct "is an integral part of the complex circulation system of Grand Central Terminal". The viaduct was listed on the National Register of Historic Places in 1983, technically as a "boundary increase" to the Grand Central Terminal&#39;s listing, but carrying a separate reference number. Both designations apply only to the section of the viaduct between 40th and 42nd Streets.</p><br>
<p>The James A. Garfield School was a former school building located at 840 Waterman Street in Detroit, Michigan. It is also known as the Frank H. Beard School. It was one of the oldest existing schools in the city of Detroit, as well as one of the least altered. The school was listed on the National Register of Historic Places and designated a Michigan State Historic Site in 1984, but caught fire and was demolished in 2022.</p><br>
<h2>History</h2><br>
<p>In 1885, a section of Springwells Township was annexed to the city of Detroit. This section included two elementary schools, requiring the township to construct a new school for the remaining population. In 1886 a four-room schoolhouse was constructed at this site and named for president James A. Garfield. The surrounding area was booming, however, and by 1895 the original school was overcrowded. In 1896 it was torn down, and a new Garfield School, designed by Malcomson and Higginbotham, was constructed. An addition was constructed in 1900. In 1907, the Springwells School District merged with the schools of Detroit. After the merger, the city found that there were now two James A. Garfield Schools in the district, and name of the building was changed to honor Frank H. Beard, the director of the Springwells school board for 17 years. Beard Elementary School moved to a different address and by 2004 became Roberto Clemente Learning Academy.</p><br>
<p>As the neighborhood changed, enrollment declined. By 2008, the building housed the Beard Early Childhood Center. The school closed permanently in 2014.</p><br>
<p>In the early morning hours of July 27, 2022, the building caught fire and sustained considerable damage. The remainder of the school was demolished in October.</p><br>
<h2>Description</h2><br>
<p>The brick school was built in the Victorian Romanesque style. The symmetrical front façade was organized into five bays, with the central and end bays projecting outward and the other two receding. The entrances were topped with semi-circular arches, and the structure boasted a variety of window shapes and sizes. The elaborate brickwork, multi-planed roofline, and the red brick tower conveyed the importance the community attached to public education. An addition to the original school was built in 1900.</p><br>
<p>The Nellie Leland School is a school building, originally built to serve handicapped children, located at 1395 Antietam Avenue in Detroit, Michigan . It was listed on the National Register of Historic Places in 2002. The building has been renovated into loft space.</p><br>
<h2>History</h2><br>
<p>Henry M. Leland was a Detroit automotive pioneer who founded both the Cadillac and Lincoln automotive companies. His wife, Nellie Leland, was active in the philanthropic community, focusing on the hardships of poor citizens with tuberculosis and promoting the scientific search for a cure. Nellie Leland died in 1910, but two years later, Henry built an open air school to serve children in the early stages of tuberculosis, naming the structure after his wife.</p><br>
<p>At the time, there was no requirement for school systems to adapt to the needs of handicapped children. Leland encouraged Detroit school officials to build a school to serve the special needs of physically handicapped children, and in 1917 the Detroit School Board built the current structure at a cost of $111,495, transferring the name, Nellie Leland, from the earlier school.</p><br>
<p>The Detroit school board operated the Leland school until 1981, when it was sold to a developer. In the mid-1990s, it was planned to use the building as a charter school, but it has instead been turned into loft space.</p><br>
<p>The Marquette Building, also known as the Boatmen&#39;s Bank Building, is a historical building in downtown St. Louis.</p><br>
<p>It was completed in 1914 at Broadway and Olive Streets, at 19 stories, designed by the St. Louis architecture partnership of Eames & Young. The building stands at 20 stories with a 2-story penthouse atop the 20th floor. A 1915 Annex, also designed by Eames & Young, was razed in 1998. The Marquette Building was added to the National Register of Historic Places the same year, and was redeveloped for condos in 2007. The building roof sports a small pool atop the eastern wing and a dog park/ relief area on the western wing, that are available to building residents.</p><br>
<p>The Hustis House is located on Main Street  in Nelsonville, New York, United States. It is a small home built sometime in the middle of the 19th century, likely as housing for workers at the West Point Foundry in nearby Cold Spring. It has remained nearly intact since then, and was listed on the National Register of Historic Places in 1982.</p><br>
<p>The house is a simple one-and-a-half-story frame clapboard-sided structure with a stone basement, its gabled roof sloping saltbox-style to create an extended rear first floor. Its doors and windows are trimmed with plain wooden sills and lintels. The only decorative touch are the pillars on the covered porch, which was added sometime after the house was built. A cellar door and shed addition on the rear also seem to have come later.</p><br>
<p>It is unknown exactly when the house was built. It first appears on an 1867 map of the region as the property of an E. Hustis but with an earlier construction date indicated. It is typical of the kind of vernacular homes found in Nelsonville, a community that was home to many workers at the foundry.</p><br>
<p>Linden Hills Library is a public library in the Linden Hills neighborhood of southwest Minneapolis, Minnesota, United States. The branch library originally opened in 1911 on the first floor of the Lake Harriet Commercial Club building. In 1931, under the leadership of Minneapolis Public Librarys chief librarian Gratia Countryman, the library moved into its own building on 2900 West 43rd Street. Area resident Joseph Victor Vanderbilt designed the library in the Tudor Revival style. Head librarian Edith Frost served for over thirty years. The library has also hosted community groups such as childrens clubs, neighborhood groups, and women&#39;s organizations. The library was listed on the National Register of Historic Places in 2000 and renovated in 2002.</p><br>
<p>The building has leaded glass windows, including a panel above the entrance that pays tribute to past generations and their legacy for the future. It also has outdoor terraces and two historic fireplaces. These features make it a favorite among neighborhood residents.</p><br>
<p>In 1911 the Linden Hills Community Library opened on the ground floor of the Lake Harriet Commercial Club Building at 2720 43rd Street West. Previously, there had been a small deposit collection housed in a neighborhood store since 1905. In October 1911 the deposit collection was moved to the first floor of the Commercial Club and the Library Board designated Linden Hills a branch library and approved the purchase of furnishings and 1,000 new books. A three-year lease was signed at $1,000 a year. In 1923 the Commercial Club raised the lease to $1,200 a year and the Library Board considered either renting or purchasing the old telephone building nearby but finally decided to stay. In March 1928 the Library Board was notified after its lease expired in the fall, the first floor space would be leased to the USA Post Office (which stayed until 1964).</p><br>
<p>Circulation was brisk until 1928 when the library lost its lease on the ground floor and moved upstairs. Elderly patrons had trouble getting upstairs to the new location. "A very touching story was told of seeing an old lady looking into the old room," wrote one of the branchs librarians. "She was shown the removal sign, for she was deaf, shook her head and moved away." The new upstairs location of the library was the reason for the push for a new library. The library board asked the Board of Estimate and Taxation for $50,000 for a new branch building. Linden Hills residents appeared at a city meeting, but the request was turned down. Not until April 1930, after a $50,000 bond issue was passed, did Linden Hills get its own branch building. The original site chosen in 1928 at Lake Harriet Boulevard and 43rd Street was no longer available so a new location was purchased for $6,000 in June 1930. The city purchased three lots on what used to be an old Indian trail to Minnetonka (in 1930 the lots were being used as a baseball field) owned by the Townsend family. Located at 2900 West 43rd Street, the colonial-style brick edifice opened on February 5, 1931. It had a stock of 10,000 books. Linden Hills resident Joseph V. Vanderbilts firm of Bard and Vanderbilt designed the building. Pike and Cook was the contractor on the project. The basement included the children&#39;s library, staff room and kitchen. The main floor featured the adult library and a sun parlor. The building cost approximately $42,000. The building was opened just before drastic Depression-era budget cuts hit Minneapolis Public Library. In reaction to the budget cuts, Linden Hills Library hours were 9–9 pm Mondays, 9–6 pm Tuesday through Friday and 9–1 pm on Saturdays in June 1931. Linden Hills Community Library was the last newly constructed library until Nokomis library opened in 1968.</p><br>
<p>Edith Frost was the first Linden Hills Librarian from 1911 to 1946. She moved to Minneapolis with her father and sister Celia in 1911 and initially lived at 4632 Upton Avenue South. In addition to Edith, Celia also became a librarian in the Minneapolis Public Library system. In the 1915 annual library report, Ediths comments foreshadowed a separate branch library, “Separated as this community is from the rest of the city, one cannot but feel that the library might be much more of a community center. With clubrooms and an auditorium and close cooperation with the schools and commercial club, an ideal community center might be developed with an interest for everyone in Linden Hills.” In her April 1936 report Edith overheard some boys say, "Lets go into the library, Im tired of that movie stuff," signifying results from Ediths efforts to promote childrens reading. In March 1937 she reports, "we have decided that Linden Hills is a young mans library. They use the reading rooms more than any other group."</p><br>
<p>Edith was also known as an authority on local history and encouraged reading by holding contests. She set up a "fish pond" in which the children used a pole and line equipped with a magnet which allowed them to catch tissue paper fish on paperclips. The fish would furnish the weekly category of books to read. Edith was a personal friend of Joseph V. Vanderbilt and highly recommended him to be architect of the Linden Hills Community Library. Vanderbilt had lived in Minnesota since 1904 and started his own architecture firm in 1927. The talent of Vanderbilt along with the suggestions and designs of Edith and Library Director Gratia Countryman contributed to a beautiful final product. Edith and Celia later lived at 4625 Washburn Avenue. With the exception of service abroad in a Red Cross Canteen during World War I, Edith was at Linden Hills Library until she retired in 1946. Dorothy Nickels, her assistant, succeeded her and was at Linden Hills until 1970.</p><br>
<p>In the June 3, 1957 Daily Happenings, Dorothy Nickels noted that there had been a wave of heavy book losses. The latest Southwest High School locker check brought back 24 of Linden Hills Library books, 20 of which hadn’t been checked out. Nickels wondered if “some method of door checkout is becoming more and more necessary.” Overheard between two teenagers later in the year: “Have you read this book?” Indignant reply: “Is that a compliment or an insultment?” February 1958: Reference work was heavy due in large part by the “free” use by the Edina High School students.</p><br>
<p>Linden Hills had some very busy summers: on June 19, 1961 the library set a circulation record. It checked out 1500 books, averaging 3 books per minute. On June 26 it neared the record again with 1,486 books checked out. In 1980–1981 the building was refurbished with tuck pointing, slate room restoration, attic insulation, releading of windows, new combination storm windows, glass enclosures for the fireplaces, rewiring, new lighting, new heating plant, repainting and new floor for the children&#39;s area and adjacent hall. This work was also paid for in capital funds, $43,000.</p><br>
<p>As Linden Hills Library celebrated its 50th anniversary in 1981, it had approximately 25,000 hardcover books for adults and children and its hours were 1–9 pm on Monday and Thursday and 10–5:30 on Tuesday, Wednesday, Friday and Saturday (closed on Saturday in the summer).</p><br>
<p>A community survey was undertaken in 1995. Here are some interesting statistics from the study: 53% of the respondents arrived by foot, 45% by car. The most important reason the patrons used the library: a popular materials library (for 58% of patrons without children) and a children&#39;s door to learning (for 50% of patrons with children).</p><br>
<p>Also in 1995 a community advisory committee had these recommendations: The renovation should be done within the property limits (no additional land should be acquired). The renovation should be done in a manner that preserves the historic character of the library, focusing on updating the mechanical systems, technology and library service areas and make accessibility a goal. A minority report from the group was issued as well. The minority saw expansion could be impeded without further land acquisition because it would be more expensive to expand on the existing footprint and within the tight constraints prescribed by the majority of the committee.</p><br>
<p>In 1997 the library was designated locally as a historically significant building and in 2000 it was put on the National Register of Historic Places. The Library Board fought the designation as it said it worked to preserve its buildings already and historic designation could limit the type of renovations and expansions that could be done to the building.</p><br>
<p>Linden Hills Librarian Sandy Purdue was named the best Childrens Librarian in the July 1998 issue of Minnesota Parent. Both the childrens area environment and Sandy&#39;s story times and special events were praised by the magazine.</p><br>
<p>In 2001 another renovation was undertaken with an addition to the building as well. The project added 1200 square feet and provided a better layout for customer service. The library closed on March 24, 2001 and reopened on May 18, 2002. While the library was closed, the neighborhood was served by the bookmobile which Linden Hills staff member Teresa Mercier worked on. The reopened library&#39;s hours were 1–9 pm Monday and Thursday and 10–6 pm Tuesday, Wednesday, Friday and Saturday. The renovation was designed by Leonard Parker Associates and built by Meisinger Construction Company. The project cost $2.3 million: $2 million from the City of Minneapolis Capital Improvement Program, $150,000 Minnesota State Accessibility Grant and $133,000 Linden Hills Neighborhood Revitalization Program. The collection included 32,000 books and 19 public computer workstations. A big highlight of the renovation was the installation of stained glass over the front entrance by Phil Daniel, a Minneapolis artist.</p><br>
<p>Also in 2001 a Linden Hills oral history project was undertaken with NRP funds. Transcripts, tapes, CDs and some videos of the interviews are available in Special Collections at Minneapolis Central Library. They can be found in an author search for “Linden Hills Oral History Project” in the Hennepin County Library Catalog http://catalog.hclib.org.</p><br>
<p>In 2002 Eleanor Quirt donated one of her husbands paintings from his Lake Harriet series, "Four Figures" to the Linden Hills Library to celebrate what would have been Walter Quirts 100th birthday. Early in his career Quirts painting was influenced by Marxist theory but by the late 1930s he was more surrealistic and dream inspired. After World War II, the Quirts moved to Minnesota from New York and Peter taught at the University of Minnesota. Due to budget cuts in 2004, the librarys days open were reduced from 6 to 3 days a week. The Library was open Monday and Wednesday 12–8 pm and Friday 10–6 pm. A Friends of Linden Hills Library was formed to advocate for the library. Some plans floated to balance the budget included closing Linden Hills but a compromise plan kept all the branches open although many had part-time hours. The "Art in the Hill" group sold T-shirts to raise money and other local organizations raised money as well.</p><br>
<p>Linden Hills and the 14 other libraries of Minneapolis Public Library were merged into the combined urban/suburban Hennepin County Library in 2008.</p><br>
<p>Hosmer Library, originally known as the Thirty-Sixth Street Branch Library, is a branch library of the Hennepin County Library system serving the Central neighborhood of Minneapolis, Minnesota, United States. It was named the Hosmer Library in honor of James Kendall Hosmer and was listed on the National Register of Historic Places in 2000.</p><br>
<h2>History</h2><br>
<p>It was built in 1916 during a period of rapid immigration into Minneapolis. At the time it was built, the library was in a sparsely developed Scandinavian neighborhood and one block away from the since-demolished Central High School. The library was built under the leadership of librarian Gratia Countryman and financed with support from the Carnegie Corporation. The building is in the Collegiate Gothic style, with polygonal towers on either side of the main entrance, a crenellated parapet, and terra cotta trim.</p><br>
<p>Hosmer Library was Minneapolis fourth and final Carnegie branch. Following Gratia Countrymans research-based application to secure the funds from the Carnegie Corporation (she prepared a compelling summary of library circulation, and analyzed the citys residents, identifying demographic and ethnic patterns, resulting in tailored programming for each neighborhoods library), construction of the 90 by 54 foot building began in May 1914. Total costs ran to $27,700 for the plans designed by Henry D. Whitefield, a New York-based architect who was brother-in-law to Andrew Carnegie. The tenth library built in Minneapolis, the Thirty-sixth Street Branch Library opened on March 8, 1916. Honoring James Kendall Hosmer, Minneapolis&#39; second city librarian, the branch was renamed for him in 1926. The two granite lion-dogs outside the entrance were donated by family of Mrs. Lewis Gillette. Branch libraries were conveniently located near streetcars and Hosmer was no exception. It is one of nine Minneapolis libraries still in existence which is directly attributed to the important contributions of Gratia Countryman in building the library infrastructure for the city. When built, Hosmer was situated in a neighborhood without many residents, and those who lived there were primarily Scandinavian. In 1969, reflecting the changing composition of the neighborhood, an African American reading room was dedicated in Hosmer to serve patrons. Today, it is one of eight Minneapolis public libraries which are listed as historic landmarks with the National Register of Historic Places.</p><br>
<h2>Roy Woodstrom</h2><br>
<p>For many years, Hosmer Head Librarian Roy Woodstrom was at the vanguard of innovation in delivering services to patrons. Following significant budget cuts in 2004, the City of Minneapolis elected to reduce libraries hours of service. At Hosmer, open days dropped to four days a week. Neighbors rallied in 2004, when the Bancroft Neighborhood Association voted to give $7,000 to the Hosmer branch following a presentation by Woodstrom so that the library could be open five days a week. On behalf of Hosmer, Woodstrom explored becoming a 501(c)3 corporation, a non-profit, to raise the monies to grow the librarys open days from four to five. He successfully petitioned the Kingfield Neighborhood Association in October 2004 for a Social Services Grant in the amount of $5,000 towards for cultural and community programs.</p><br>
<p>Woodstrom launched the Hosmer World Music Concert Series in 2002 with weekly live music on Saturday afternoons. Funding comes from a variety of sources including the Minnesota Arts and Cultural Heritage Fund, Metropolitan Regional Arts Council with additional support from Friends of the Hosmer Library and KFAI Radio. Previously, Woodstrom developed the Hosmer Library Talent Show, a cherished annual event for the neighborhoods performers, which made its debut in 1998. He also started the Hosmer Library Friends Group, which helps the branch meet patrons needs through volunteerism, book sales, fundraising, and acting as liaisons between the library and the community. His legacy also includes the World Film Series, hosted at the Library. Woodstrom retired in 2014.</p><br>
<h2>Updating the building</h2><br>
<p>In 1951, an enclosure was added to the east side stairway for $900. Recognizing the limited access of the building, a ground level entry and an elevator were added in 1980. By 1996 it was determined that the building required a major overhaul to meet patrons needs, and the Minneapolis Library Board considered closing Hosmer. Faced with that possibility, neighbors from Central, Bryant, Powderhorn Park and Kingfield banded together, and contributed more than $157,000 in Neighborhood Revitalization Program funds to ensure that their treasured library would stay open and get the necessary upgrades. They were successful: circulation rates were triple what they were before the remodeling, and Hosmer had ten times as many daily visitors. In August 2019, Hosmer Library was once again remodelled, adding dedicated Teen and Childrens sections, as well as other improvements.</p><br>
<h2>Tailored programs</h2><br>
<p>K-12 Homework Help is a popular program for students in the neighborhood. Annually, the birthday of James Hosmer is celebrated at the branch with festivities and an exhibit about his important contributions to the city of Minneapolis libraries.</p><br>
<p>Today, Hosmer remains a vital hub, serving the information needs of its patrons and the community with innovative, thoughtful and valued programs. A STEAM-based program called Teen Tech Squad is also offered at Hosmer</p><br>
<p>Walker Library is a public library in the East Isles neighborhood of Minneapolis, Minnesota, United States. It is on Hennepin Avenue one block north of Lake Street, adjoining the Midtown Greenway.</p><br>
<p>Walker and the 14 other libraries of Minneapolis Public Library were merged into the combined urban/suburban Hennepin County Library in 2008.</p><br>
<h2>Original 1911 building</h2><br>
<p>The original building was built in 1911, when the Hennepin/Lake area was sparsely populated. T. B. Walker, the president of the library board at the time, donated some land for the site of the library. The opening of this library coincided with the opening of a streetcar line on Lake Street, and it helped fulfill head librarian Gratia Countryman&#39;s wishes to expand the library system and bring books closer to people. Local architect Jerome Paul Jackson designed the library in a Classical Revival design. The portico, with Ionic columns, shows Beaux-Arts characteristics.</p><br>
<p>Thomas Barlow Walker was involved in many aspects of Minneapolis art and culture. He was a member of the Minneapolis Athenaeum, the first lending library in Minneapolis, established in 1859. He led the progressive wing of Athenaeum members in advocating for a Public Library, established in 1885 with the main library opening in 1889.</p><br>
<p>In the 1870s Walker began collecting paintings and other works of art for his house on 8th and Hennepin Ave. In 1879 Walker built a gallery between his residence and his carriage house to display 20 paintings. This was the first public gallery in the Midwest. He collected landscapes, portraits, historical paintings and bronzes, miniatures, classical and Asian art. By 1892 Walker opened three more gallery rooms and also was contributing art to the public library&#39;s art gallery its location at 10th and Hennepin Ave.</p><br>
<p>In 1908 the Lyndale branch of the Minneapolis Public Library, was created. Thomas B. Walker wrote in the Minneapolis Public Library Board 1910 annual report that the city needed more branch libraries and reading rooms not only to provide a path for citizenship and education but, “To offset these temptations and demoralizing influences which to an ever-increasing extent afflict society.” In an effort to compete with the citys saloons, the Walker Branch was first envisioned in 1909, when Minneapolis Library Board member Thomas B. Walker donated two lots at 29th and Hennepin worth $42,700 to the Library Board. In 1910 Paul Jerome Jackson was selected as the projects architect. The Library&#39;s Building Committee also determined the two lots were not a sufficient of amount of land to build a branch library and Mr. Walker donated an additional 30 feet along Hennepin Avenue.</p><br>
<p>On June 13, 1911, the Walker Branch Library celebrated its grand opening. The first librarian was Lucy C. Dinsmore, who served from 1911 to 1925. By 1912 Walkers residence, art gallery and offices took up one-fourth of the block at 8th and Hennepin. Walker later moved his family and his art to the Thomas Lowry Mansion on Lowry Hill in 1916. In 1920 Walkers compound on 8th and Hennepin was torn down to make way for the State Theater. In the meantime the bulk of the collection was housed at the Minneapolis Public Library while Walker offered to donate land and his collection for a new library and art museum. The proposal was first accepted and then ultimately rejected by the city. Instead, Walker Art Center was built in the location that Walker and library director Gratia Countryman wanted a new main library. Minneapolis did not get a new main library until 35 years later when the new Minneapolis Central Library was opened at 300 Nicollet Mall in 1960.</p><br>
<p>A city of Minneapolis report written soon after the Walker Library opened noted that West High School and three other schools were in “borrowers’ distance” but about half of the circulation was adult fiction.</p><br>
<p>On October 1, 1925, Lucy C. Dinsmore resigned, she was replaced by Alta I. Hansen who had previously worked at the Business Branch.</p><br>
<p>In 1926 the Lyndale branch and a deposit collection were merged to form the West Lake Branch at Pillsbury and Lyndale.</p><br>
<p>On October 4, 1928, Alta Hansen transferred back to business branch, she was replaced by Marion Crosby who had previously been librarian at East Lake Library.</p><br>
<p>Starting in May 1937 the Minnesota Mycological society had its regular meetings for the study of mushrooms at the Walker Library. The Minnesota Audubon Society also had regular meetings and film and slide programs at the library. The Audubon Society also had a display of birds in the basement Audubon room until 1959 when the birds were donated to the city schools science departments. In the late 1930s the library had some WPA workers to help with day-to-day operations. Dexter Goulston, a labor organizer and auxiliary member of Truck Drivers Local #544 attempted to get WPA and Library staff to rebel against management but Marion Crosby was so universally respected that his words fell on deaf ears and he was quite discouraged and was transferred. Crosby was a bit concerned that she may have done something to get the library involved with the very active truck drivers union but everything ended up working out for the best.</p><br>
<p>Another WPA worker, Patricia Cannon, received rave reviews from Crosby during her time there but afterwards, in 1938, Cannon was arrested for forging withdrawals from the library account assigned to Crosby. There were also many other WPA workers that did excellent work and provided great service to library patrons.</p><br>
<p>On September 14, 1939, Father Ryan of St. Stephens parish requested permission to use the meeting space at Walker Library for the purpose of weekday classes in religious instruction. Library director Carl Vitz informed the Library Board that under current library rules, meeting facilities cannot be used for religious or political meetings. The Library Board voted to change the rule allowing this type of use but only under strict conditions. In September 1940 the café at the Carling Hotel, the Librarys neighbor was raided for selling hard liquor (it only had a license for beer). Marion Crosby hoped, “if they fold up and fade from the scene we shall not have so many bottles to clear off our lawn in the mornings.”</p><br>
<p>In June 1942 Marion Phillips was appointed head librarian of Walker Library. Because of its close proximity to Walker Library, the West Lake Branch is closed in 1946 when it loses its lease.</p><br>
<p>In 1948 the Teen-Age Book Club was formed by teens in the Walker Library area, it met on Thursday mornings in the summer. Donna TerLouw, aged 14 was the president. The girls read books such as Roommates by Laura Cooper Rendenna, Seventeenth Summer by Maureen Daly and One Crowded Hour by Jenane Patterson Binder. The boys liked books such as All-Conference Tackle by C. Paul Jackson and Touchdown Twins by Phillip Harkins. Both boys and girls enjoyed Dostoevsky&#39;s Crime and Punishment and Sinclair Lewis’ Kingsblood Royal. It was the second teen book club in the city, Sumner Library formed a group a few years earlier.</p><br>
<p>Head librarian Mary Cracraft on October 26, 1953, noted feeling the effect of moving pictures in calls for The Robe, From Here to Eternity, Moulin Rouge, Shane and The Moon is Blue. On June 11, 1954, the reference load was noted and some of the unique requests: they helped a woman find something inspirational to write on a first wedding anniversary to her daughter and husband living in Spain; they got a frantic call from someone wondering approximately how much 13 pounds of pennies was worth.</p><br>
<p>On March 14, 1958, the Audubon Society gave a movie projector to the library. The population of the area served by the Walker library was about 26,000 in 1960: 21,000 adults and 5,000 children.</p><br>
<p>Walker Library heated up in the summer days, especially in August. After the new Central Library opened, Mary Cracraft noted on August 5, 1963, “I have never heard so many people say, as have this month that they have gone to the Main Library more, and I can’t blame them. Our little bailiwick has been damned hot compared with the wonderful air conditioning of Main.”</p><br>
<p>A plan emerged in 1968 to replace the Walker Library with a 15,000 square foot building at Humboldt Avenue South and Lake Street, it did not come to fruition. In 1971 Library Director Ervin Gaines wrote to the Lowry Hill Homeowner&#39;s Association, “We have been endeavoring for the last several years to persuade the city fathers that the Walker Library at 29th and Hennepin is too small and outmoded for the space age and for the desires of the neighborhood. So far, we have not been successful…Lowry Hill residents, once persuaded to take action, will be a compelling force to bring to reality our dream of a new library to replace the old and honored Walker Library that has served so well, but has grown obsolete.”</p><br>
<p>A 1973 Wedge article pointed towards the new Southdale library as a model for a new community oriented library for the Uptown neighborhood that would have a more dynamic role in the educational and information needs of the surrounding community.</p><br>
<p>In 1974 the Minneapolis Park Board denied the library the land across from the present library for a new library; it would have been at the end of the Mall. The library was also looking at the Calhoun School at 3016 Girard as a possible site.</p><br>
<p>By 1976 a joint library/park recreation center and new gym for West High School was floated. West High did later get a new gym, which became the YWCA when West was demolished. The Minneapolis Park Board rejected the joint use idea. The Minneapolis Library Board chose 2880 Hennepin as the site for the new Walker Library.</p><br>
<p>In October 1978 the land was purchased for the new Walker Library at Lagoon and Hennepin. The cost was $310,600.</p><br>
<p>The new Walker Community Library, 2880 Hennepin Avenue South opened in 1981, which was built out of concrete and earth at a cost of $2.3 million. It was designed by Myers & Bennett and built by George F. Cook Construction. The old library closed on February 7, 1981, and the new library opened on February 23. 1981. The library board sold old Walker Library to Laurence S. Zipkin for $400,000 in October 1980.</p><br>
<p>In 1985 a casual restaurant, “Walker’s” opened in the basement of the old library. Gourmet hamburgers were the signature fare.</p><br>
<p>In 1993 the Junior League bought the building and opened a used clothing store inside, called “The Clothesline.”</p><br>
<p>In October 2003 a posh spa and salon named Pagoda moved into the old library.</p><br>
<p>The building was sold in January 2015 to Ned Abdul, and is currently home to a reception venue called Mansion at Uptown that opened in 2016.</p><br>
<h2>1981 building</h2><br>
<p>In the 1970s, the Walker Library at 2901 Hennepin Avenue was deemed, “not to meet the standards of a modern facility…with many exterior steps and the interior is crowded.” It was replaced by the Walker Community Library, across the street at 2880 Hennepin Avenue South, in 1981, which was built out of concrete and earth at a cost of $2.3 million. It was designed by Myers & Bennett and built by George F. Cook Construction. The interior designer was Kalbac and Associates. It was the first earth-sheltered building constructed by the City of Minneapolis and one of the few underground public libraries in the country. It measured 18,500 square feet and had a 36 car metered parking lot. An article written by the East Calhoun News in April 1982 noted that the new Library was too busy to note its anniversary. Circulation at the library jumped 77% from 1980 to 1981. Walker Library moved from fifth place in circulation out of the 14 community libraries to second, ranking only behind Washburn Library.</p><br>
<p>The two main floors of the new building were located underground. There was a large "LIBRARY" sign on Hennepin Avenue with an entry pavilion to indicate the library&#39;s presence. A unique feature of this building was its book return. Books could be dropped off from a chute at the top of the building and would slide down a long spiraling metal playground slide to the bottom floor.</p><br>
<p>Although the building was built underground to conserve space and save energy, it was not easily visible and had problems with water seepage.</p><br>
<p>By 1993, several deficiencies in lighting, space, identity, water leakage and accessibility were noted for the building. When it was constructed, underground building technology was new and untested. Although built to conserve energy, many times these buildings ended up being expensive to maintain. The Walker Library was no exception. What was revolutionary in 1981 was considered ugly and prone to vandalism in 1993. By 1994, many in the neighborhood wanted to move back to the old library building instead of paying $900,000 in renovations for the new one. The renovation was still much cheaper compared to the estimated $5.4 million required to update the old Walker Building which had just been bought by the Junior League.</p><br>
<p>In 1995, renovations were done to address structural issues and make the library more inviting. Seven-foot-high brushed stainless steel block letters spelling out L-I-B-R-A-R-Y, designed by Leonard Park Associates Architects, were added to the exterior and an original mural of Cinderella based upon Beatrix Potters characters added charm to the childrens area. After initial rejection, a renovated parking deck was approved and undertaken to eliminate the cracks and leaks in the roof. A mixed-use library/apartment building was also proposed but a task force decided not to move forward with a building that could possibly cost $6.5 million.</p><br>
<p>In 2001, a children&#39;s book written by Susan Goldman Rubin titled There Goes the Neighborhood: Ten Buildings People Loved to Hate included chapters on the Eiffel Tower, the Guggenheim Museum and the Walker Library.</p><br>
<p>More renovations were done to the parking deck in 2005. By 2006, proposals were being considered to replace the library with something that would be more visible. The building was razed in 2013 to make way for a new above-ground library.</p><br>
<h2>2014 building</h2><br>
<p>The 1981 building closed on September 22, 2012, and was replaced with a new building designed by VJAA and built by Shaw-Lundquist and Associates. It opened on April 26, 2014. In the new, above-ground building, visitors enter through the front door into a vestibule, and then into a large high-ceilinged main room, containing the front desk, rows of computers, self checkout stations, and is where the majority of the books and DVDs are kept. Below the building is a new underground parking garage. Behind the building, in an alley dipping into the ground to allow access to the parking garage, the stainless steel block letters from the front of the 1981 building were placed on the ledge on top of the alley.</p><br>
<p>The Callaway Plantation, also known as the Arnold-Callaway Plantation, is a set of historical buildings, and an open-air museum located in Washington, Georgia. The site was formerly a working cotton plantation with enslaved African Americans. The site was owned by the Callaway family between 1785 until 1977; however, the family still owns a considerable amount of acreage surrounding the Callaway Plantation. When The plantation was active, it was large in size and owned several hundred slaves.</p><br>
<p>The museum site is a 56 acre area containing the main houses that was donated by the family to the city of Washington in 1977. Additional buildings were moved to the site to represent typical plantation buildings. The museum is operated by the city of Washington, Georgia. The site is considered notable and historical by the National Register of Historic Places (NRHP) because the main manor house it is a rare example of the Greek Revival architecture used as a plantation house, and is an example of classicism in Reconstruction-era Georgia. It has been on the National Register of Historic Places list since April 11, 1972.</p><br>
<h2>Callaway family history</h2><br>
<p>The Callaway family of Georgia is descent of Peter Callaway (1640–1715) an immigrant who came to the United States from England. Fuller Earle Callaway, and Cason Jewell Callaway (1894–1961) were part of this same family; and their branch of the family had migrated to west Georgia (to the cities of Columbus and LaGrange).</p><br>
<h3>1700s</h3><br>
<p>In 1783, Thomas Edward Callaway and his family moved to the state of Georgia from Halifax County, Virginia (by way of North Carolina). John Callaway built a one room log cabin on the property (which is no longer standing, but was located near the Callaway family cemetery). John Callaway and his son Enoch Callaway held many enslaved African Americans, and the plantation grew cotton for export. The enslaved people lived in log cabins near the homestead.</p><br>
<h3>1800s</h3><br>
<p>When John Callaway died in 1821, he bequeathed 25 enslaved African Americans to his children and his body was buried in the Callaway family cemetery. The cemetery had existed prior to Johns burial, filled with former neighbors in graves that were unmarked or poorly marked with stones. Johns son Enoch Callaway died in 1859, and passed on a remaining 8 enslaved African Americans in his will. When slaves died they were buried in a separate burial ground only for African American (which was abandoned in 1910, and is no longer standing).</p><br>
<p>Jobe Callaway, married and moved to Chambers County, Alabama but later returned to Callaway Plantation. Jobe Callaway died at the plantation and left in his will to his son Jacob, "558 acres, where he lives". Jacob Callaway (1760–1855) built his homestead in 1817, most of his wealth came before the American Civil War, he helped raised cotton and sold it to England.</p><br>
<p>Jacob Callaways son Parker inherited 100 acres near the "Fishing Creek" by 1855, and he started amassing and buying tracts of land nearby from his relatives, and by the time he had died he had 3060+ acres. Jacob Callaways money from the last shipment of cotton accrued interest in the Bank of England, which he could not access until after the Civil War ended in 1865 (after Jacobs death). The Callaway family made a large profit from the interest and was able to take that money to fund the building of the brick manor house by 1869 under his grandson Aristides leadership.</p><br>
<h3>1900s</h3><br>
<p>Parker Callaway&#39;s son Aristides sold the majority of the 3060+ acres property to W. R. Callaway, Enoch Jones, and Lucy A. Jones. When Aristides Callaway died, he left 400+ acres to two of his children. Aristides granddaughter, Katie Mae Arnold Hardin (1888–1977) donated her portion of the Callaway property to the city of Washington, Georgia.</p><br>
<h2>Architecture</h2><br>
<p>There are many structures on the property, however the notable buildings include the Parker Callaway homestead (built ), There is also a corn crib, a house for making bricks, and a smoke house.</p><br>
<p>The main manor house (built by Aristides Callaway) was built in a "monumental scale", during the Reconstruction-era after the American Civil War, which indicates the family had much wealth. Bricks were not a common material during that time period or in that location.</p><br>
<p>The Grey House was built in 1790 by Jacob Callaway and still stands on the site, a two-story house in Federal Plain style architecture. The Grey House features period furnishings and decorations.</p><br>
<h2>Museum</h2><br>
<p>The site is currently located across from the Washington-Wilkes airport, but otherwise appears from photographs to represent a rural plantation. A small admission fee is charged. Tourist items are sold at the general store, which also serves as the information center. The buildings feature furniture, tools, and other items characteristic of the old times.</p><br>
<h2>Controversy</h2><br>
<p>On 25 March 2021, a photo was taken of Georgia state governor, Brian Kemp as he signed into law the Election Integrity Act of 2021, and in the backdrop of the photo is a painting of the Callaway Plantation&#39;s brick manor house. This caused controversy since the Callaway Plantation held enslaved people, though the house itself was built years after the Civil War, and the Election Integrity Act of 2021 is considered by opponents to specifically target the voting rights of African Americans in Georgia. The juxtaposition of the plantation image above the Governor with the perception of racism in the bill made this headline news on national and international networks. On 28 March 2021 the NAACP and ACLU were among groups that filed court challenges against the Election Integrity Act of 2021.</p><br>
<p>The Third Precinct Police Station  is a former police station located at 2200 Hunt Street  in Detroit, Michigan. The building was listed on the National Register of Historic Places in 1980. It now holds a co-working space, known as "Hunt Street Station."</p><br>
<h2>Description</h2><br>
<p>The Third Precinct Police Station is a three-story structure built from yellow brick and limestone. It is essentially boxy, but the exterior is constructed of projecting and receding planes that disguise the fact. The entrance, located in a curved corner bay, The second and third floor windows facing Hunt and Dubois are unified by arched guilloche-patterned, terra-cotta enframements. Third-floor windows are topped by arched hoods. The projecting cornice is metal, fabricated by the Detroit Cornice and Slate Company.</p><br>
<h2>Significance</h2><br>
<p>The Hunt Street Police Station is a well-preserved example of a late 19th-century Beaux-Arts public building, and is significant for its role in the history of the Detroit police force.</p><br>
<p>The Carter Hydraulic Rams were constructed circa 1924 by George Lafayette Carter to supply water to his summer residence near Hillsville, Carroll County, Virginia. A series of four hydraulic rams are housed in concrete and tile block pumphouses along an intermittent stream. A nearby gas-powered pump provided backup power, but when the rams were in operation they depended only on the flow of water for their operation. The rams were supplanted in the 1950s by an electric pump system.</p><br>
<p>It was added to the National Register of Historic Places in 2002.</p><br>
<p>The rams can be visited while walking along the Beaver Dam Creek Trail, which is part of Carter Pines Community Park. Historical markers describe the history of these hydraulic rams.</p><br>
<p>Little House is a historic house in Victoria, Texas, that was built circa 1896. It was listed on the National Register of Historic Places in 1986.</p><br>
<p>It was deemed to be an "exceptional local example of a Victorian-era residence". Its Victorian features include asymmetrical massing and an octagonal turret on its second floor. It was listed on the National Register as part of a group of historic Victoria resources.</p><br>
<p>The 2,880 ft&sup2; home was finished February 1896. Construction commenced after the death of Mr. John Little in 1895 and was the home of Henrietta Little and her daughters, Sarah, Margaret and Caroline. The home design was a George F. Barber model #33 of the Cottage Souvenir #2 book. The home design was modified to suit Mrs. Little and her girls. The home opened up into the foyer which boasted an elegant staircase, pocket doors leading to a study complete with fireplace, a dining room with a bay window and the sitting room adjacent the kitchen. The kitchen had a second set of stairs that opened into a small hallway upstairs connecting to two of the bedrooms and a serving room. The crowning feature of the home’s design was the round picture window in the main bedroom that overlooked Victoria Street. During the home’s 125 years, the building was moderately renovated with a porch being enclosed to use as a closet and the home’s original roof covered with slate tiles. The home remained in the Little family until Caroline’s death in 1953. The home was sold to Harry and Yetta Goltzman in 1953 and they lived in the home until the early 1960s when Oscar and Gladys Phillips purchased the home. The Phillips family lived in the home until their matriarch, Gladys, died in 2019. The home was purchased in January 2022 and was demolished by the new owner shortly after taking possession of the home.</p><br>
<p>The J.Y. Dykman Flour and Feed Store is located on Main Street  in Nelsonville, New York, United States. It is a brick building that today houses a small delicatessen and some apartments in its upper stories. It is the most ornate commercial building in the small village, and in 1982 it was added to the National Register of Historic Places.</p><br>
<p>It is a -story brick building with a heavily modillioned cornice and decorated bargeboards on the front end of its gabled roof. The sills and lintels are made of stone, with cross and scroll patterns worked into the brick. An oriel window projects from the cross-gable on the west facade.</p><br>
<p>In 1867, the earliest known map showing Nelsonville, at the time the growing home of workers at the West Point Foundry in nearby Cold Spring, depicts the store at the spot with James Y. Dykman&#39;s name attached to it, suggesting it had been there for quite some time. He also had it painted on the wall of the building, where it remained until the late 20th century. A later map, in 1912, when Dykman had opened another store nearby with his name, shows the building still in use as a general store. In the 1950s, its rear was enlarged to accommodate more apartments. It has otherwise remained as it was in the mid-19th century when it was built.</p><br>
<p>The Stockade Historic District is located in the northwest corner of Schenectady, New York, United States, on the banks of the Mohawk River. It is the oldest neighborhood in the city, continuously inhabited for over 300 years. Union College first held classes in a building within the district, and later it would be one of the termini of an early suspension bridge that was, at the time, the longest in North America. Joseph C. Yates, the 7th Governor of New York and founding trustee of Union College, and Elizabeth V. Gillette, a physician and the first woman from upstate New York elected to the New York State Assembly, were residents of the Stockade.</p><br>
<p>It contains a wide variety of Dutch and English 17th- and 18th-century buildings, many with later embellishments and additions. The National Park Service has described it as "the highest concentration of historic period homes in the country," with over 40 older than 200 years. The Stockade was New York&#39;s first local historic district, when it was recognized by the city council in 1962.</p><br>
<p>It was listed on the National Register of Historic Places in 1973 and its boundaries were increased slightly in 1984. The city and an active neighborhood association, the first founded in Schenectady, work to protect its historic character.</p><br>
<h2>Geography</h2><br>
<p>The Stockade District is a roughly wedge-shaped area at Schenectady&#39;s northwest corner, 82 acre in area. It is bounded by the Mohawk on the north, the Binne Kill on the west and the former New York Central Railroad tracks, now used by Amtrak and CSX, on the east. Its southern boundary is mostly defined by the rear line of properties on the south side of Union Street, except for Washington Street, where the entire street is included all the way to State Street (NY 5), and a section of Church Street added by the boundary increase.</p><br>
<p>On its southeast corner it borders the Union Street Historic District, providing a historic corridor which links it to Union College and the city&#39;s other two historic districts, the GE Realty Plot and Union Triangle. Residential and industrial areas are located to the east across the tracks. To the south is the western section of downtown Schenectady. Riverside Park (parkland) is located at the shore of the river, (northwest side). The village of Scotia is located directly across the river.</p><br>
<p>The district is largely flat, reflecting the nearby river. It is densely developed, mostly with small two-story attached houses, and is centered on the intersection of Ferry, Front and Green streets, where a circular plaza is built around a statue of Lawrence the Indian, a Mohawk who helped restore the settlement after an early catastrophe.</p><br>
<h2>History</h2><br>
<p>For the colonial period and afterwards, the history of the Stockade District is synonymous with the history of Schenectady. Later, as the city industrialized and grew far beyond it, the district retained a distinct identity and sense of community within itself.</p><br>
<h3>17th and 18th centuries</h3><br>
<p>A group of Dutch settlers, mostly merchants and fur traders looking to do business with Native Americans, settled the banks of the Mohawk in an area between the present Ferry, Front and State streets and Washington Avenue in 1661. This group of twelve houses surrounded by a wooden stockade, 200 Dutch feet (about 187 feet, or 56.6 m) on a side is considered the founding of the city of Schenectady. After the 1674 Treaty of Westminster ended the Third Anglo-Dutch War the settlement, like all established by the Dutch in New Netherland, came under British control as part of the Province of New York.</p><br>
<p>The small frontier settlement was almost wiped out in 1690 during King Williams War, the first in the series of conflicts known as the French and Indian Wars. French troops and their Algonquin and Sault allies, retaliating for a series of British-backed Iroquois raids on their territory, were on their way to an assault on Fort Orange at present-day Albany when their scouts found that Schenectadys stockade was almost minimally staffed, and changed their plans to attack this target of opportunity.</p><br>
<p>In the course of the ensuing Schenectady massacre, many of the houses and barns were burned and most of the inhabitants of the village either killed or taken to Montreal as prisoners. Local members of the Mohawk tribe, in particular, one who had become known among the settlers as Lawrence, encouraged the Dutch to rebuild.</p><br>
<p>By 1692 the community had been rebuilt and repopulated with a mixture of English, Scottish and Dutch settlers.</p><br>
<p>During the Revolutionary War Schenectady served as headquarters for several of the local Committees of Safety. After independence, the stockade, which had begun to deteriorate from neglect during the war, was dismantled. Only some of the footings remain, mostly buried. The village continued to grow as the main point of departure for travel to the west. Buildings and wharves along the riverfront and the Binne Kill accommodated the travelers and cargo that came overland from Albany and boarded bateaux for the trip west to Lake Erie.</p><br>
<h3>19th century</h3><br>
<p>In the early 19th century engineer Theodore Burr, cousin of Aaron, having built one of the first significant crossings of the Hudson River at Waterford, turned his attentions to the Mohawk. He decided to build a wooden suspension bridge, using planks of local timber as the cables. A triple span across the 800 ft of river between Washington Street and Scotia was completed in early 1808 but then washed away. Burr added a fourth span, and this time the bridge stood up to the river.</p><br>
<p>The Revolution had led citizens to demand services a nation could provide, among them higher education. Union College was established in 1779, before the war had even ended, but was not formally recognized with a state charter (the first issued by the state Board of Regents) until 1795. Its first building was in the district, at the corner of Ferry and Union streets, later College and Union. It was America&#39;s first non-denominational college. In 1814 the college moved to its present location, the first planned college campus in the country.</p><br>
<p>In 1819 a fire destroyed two hundred buildings in this area. Six years later, during the rebuilding, the Erie Canal was completed, and most activity moved west to the vicinity of State Street, outside of the district, sparing the residential properties that make up the bulk of today&#39;s Stockade. As Schenectady began to grow due to industrialization, it grew eastward along Union Street (the main road to Troy and Watervliet at the time) and the canal, as the American Locomotive Company and General Electric made it "The City that Hauls and Lights the World".</p><br>
<h3>20th century</h3><br>
<p>Connecticut native Elizabeth Gillette moved to Union Street to start her medical practice in 1900. Two decades later, she was elected to the state assembly, the first woman elected to the state legislature from upstate and the only Democrat ever elected to that body from Schenectady&#39;s second district. She served a single term and returned to medicine, retiring in 1960.</p><br>
<p>Theodore Burr&#39;s bridge burned down in 1909 and was replaced with the first of the current bridges nearby that carry Route 5 to Scotia. One of the original stone abutments can be seen where Washington Street reaches the river. When the Erie Canal was finally replaced by the New York State Barge Canal, portions were reused for the railroad bridge.</p><br>
<p>By the mid-20th century, the neighborhood had gone into noticeable decline, and some of its buildings, such as the original Surrogate&#39;s Court building, were demolished. Residents who had become aware of its historic importance formed the Stockade Association in 1957 and, five years later, successfully lobbied the city to pass a zoning ordinance creating the historic district, the first one created in the state.</p><br>
<h2>Preservation</h2><br>
<p>The neighborhood is one of four historic districts recognized by the city of Schenectady. It comes under the purview of its Historic Commission, a seven-member body that meets once a month. Under the city&#39;s zoning regulations, any change to a historic building in a district that is visible from a public right-of-way must be approved by the commission.</p><br>
<p>Within the neighborhood, the Historic Stockade Association works to organize residents and help preserve not only the historic nature of the neighborhood but its sense of community. and organizes tours and other special events in the neighborhood. Some other special events in the neighborhood are informal, such as the sing-along to the pink flamingos that a person or persons unknown has been placing in front of the statue of Lawrence every Valentine&#39;s Day for the last decade.</p><br>
<p>Franklin School is a historic school located at Schenectady in Schenectady County, New York. It was built in 1907 and is a two-story, red brick H-shaped institutional building in the Georgian Revival style. It is trimmed with yellow brick and stone. There are massive yellow brick pilasters at the corner of the pavilions and recessed rectangular panels. It operated as a school by the Schenectady City School District until 1974.</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>The building is identical to the former Horace Mann School, listed on the National Register of Historic Places in 2015. Note: This includes</p><br>
<p>Jenkins House, also known as The Grey Barn, is a house in Delanson, Schenectady County, New York. It was listed on the National Register of Historic Places in 1984. The house was originally constructed in 1876 for the station master of the Delaware and Hudson Railroad.</p><br>
<p>The house was partially destroyed by fire in 1971. The electrical fire started in a barn behind the home. The barn, home of The Grey Barn Antiques, was demolished as was the back portion of the home. Rebuilding and renovation were completed by 1972. Also constructed was a new antique shop behind the home.</p><br>
<p>The property was covered in a 1984 study of Duanesburg historical resources.</p><br>
<p>Empie Residence.JPGEmpie Residence in the 1950s</p><br>
<p>P3080201c.JPGO&#39;Connor Residence in March 2011</p><br>
<p>Jenkins House Porch Restoration Under way October 2013.JPGJenkins House porch restoration underway in October 2013</p><br>
<p>The Jenkins House is a historic home in Bastrop, Texas. It was built about 1836 for Sarah Jenkins. Her first husband was killed by Indians. Her second was killed at the Battle of the Alamo.</p><br>
<p>The Jenkins House started as a single-room log cabin and then was enlarged to a two-room log cabin with a "dog-trot" between rooms. A kitchen and dining "ell" was added in subsequent years, and finally, the dog-trot opening was enclosed as a hall, the house sided with clapboard, and a porch running the length of the building added to create its present Victorian appearance. The house was designated a Recorded Texas Historic Landmark in 1964. It was listed on the National Register of Historic Places on December 22, 1978.</p><br>
<p>Cliffside, also known as H. E. Lawrence Estate, is a historic home located at Palisades, Rockland County, New York. It was designed by J. Cleveland Cady and was built in 1876. The estate house is a two-story, L-shaped, Flemish Colonial Revival style stone dwelling. It features a steep cross-gambrel roof and a one-story wraparound verandah. Also on the property is a contributing carriage house.</p><br>
<p>It was listed on the National Register of Historic Places in 1990.</p><br>
<p>The Isaac C. Lewis Cottage is a historic house at 255 Thimble Islands Road in Branford, Connecticut. Built in 1882, it is a well-preserved example of an eclectically styled Victorian seaside summer house. The house was included in the Stony Creek-Thimble Islands Historic District in 1988, and separately listed on the National Register of Historic Places in 1997.</p><br>
<h2>Description and history</h2><br>
<p>The Isaac C. Lewis Cottage is located in Branford&#39;s Thimble Islands summer resort area, at the south corner of Thimble Island Road and Linden Point Road. It is an architecturally eclectic -story Late Victorian structure, exhibiting a mix of elements drawn from the Second Empire, Gothic Revival, and Stick Style. Its exterior is clad in a combination of finishes, including board-and-batten siding, fish-scale wood shingles, and clapboards. Its dominant feature is a mansard-roofed tower. The interior is as elaborately detailed as the exterior, and includes hand-painted ceilings.</p><br>
<p>The house was built in 1882 as an oceanside summer house by Isaac C. Lewis, a manufacturer of silver products in Meriden. It was designed by Henry Martin Jones, a Meriden architect who also designed Lewis&#39;s Chateau-style city residence. Jones was probably trained by Henry Austin; while this is one of his more playful designs, it clearly shows elements that Austin also used in designs. The design is a mix of academically correct elements (for example, in some of its Gothic elements), but also includes more vernacular features such as sawtooth shingling.</p><br>
<p>The Engine House No. 11 is a fire station located at 2737 Gratiot Avenue in Detroit, Michigan. It is the oldest remaining firehouse in the city of Detroit; it was designated a Michigan State Historic Site in 1975 and listed on the National Register of Historic Places in 1978.</p><br>
<h2>History</h2><br>
<p>According to the September 9, 1883, edition of the Detroit Free Press, William Scott & Company was the architect of the building. Detroit&#39;s Engine Company No. 11 was organized as the "Steam Fire Engine Company #11" on January 1, 1884. The original equipment included a horse-drawn Silsby Steam engine and hose reel cart. The company converted to motorized operation in 1916, obtaining a Seagrave gasoline propelled pumping engine.</p><br>
<p>The firehouse tower on the southeast side of the building was shortened during World War II so an air raid siren could be installed. In 1972, Engine Company No. 11 moved to new quarters. The building was used by the Emergency Medical Unit until 1976, and then as a Detroit Fire Department museum, containing several pieces of historic fire fighting equipment.</p><br>
<h2>Description</h2><br>
<p>Engine House No. 11 is a -story brick building with a hipped roof. The front facade contains a wide center section flanked by two small bays. The first story of the center section contains four wide doors, the second story has two large windows. A dormer atop the center section contains the attic story. A hose-drying tower is centered on the east side of the building. This tower had an air raid siren installed during World War II, which reduced its height somewhat.</p><br>
<p>On the interior, the first floor contains the apparatus room, kitchen, dining area and a lounge. The walls are wainscoted, and the ceiling is plastered. The second floor contains a dormitory style sleeping quarters, showers, locker room, and two private sleeping rooms for the Captain and Lieutenant. At the rear of the dormitory, but on a slightly lower level, is a room that was originally the hay loft, but has been turned into a recreation room.</p><br>
<p>The Santa Fe Apartments were an apartment building located in Detroit, Michigan. The building was listed on the National Register of Historic Places in 1986 and removed from the National Register of Historic Places in 2022. The site is now the location of the Yousif B. Ghafari Hall.</p><br>
<h2>History and Significance</h2><br>
<p>The Santa Fe was built in 1925 for $95,000. The building was a fine example of Mission and Spanish Revival; this style was used frequently for homes and religious buildings, but its use in a multi-unit dwelling is rare. until its demolition in 1996.</p><br>
<h2>Description</h2><br>
<p>The Santa Fe Apartments were a five-story apartment building, measuring 45 feet by 122 feet, built of brick, tile, and grey stone, with plentiful architectural details on the front façade. It had a predominantly flat roof, but with a prominent gable at the front. Vertical elements on the façade were created by rectangular columns and tall, narrow windows on the upper floors. The exterior also featured dentil moldings, a broken scroll pediment above the second level, and decorative railings. The sides were quoined and decorative brick and tile work graced the chimneys. The entryway was flanked on each side by a spiral column with classical type carvings just below the capital.</p><br>
<p>Both Mission and Spanish Revival architecture usually receive a stucco treatment. However, the Santa Fe Apartments were faced with grey stone tiles with thin mortar joints in between. The roof was formed with a distinctive Mission style parapet, and the gable roof at the front was covered with red barrel tiles. The building had 38 apartments.</p><br>
<p>Pike Place Market is a public market in Seattle, Washington, United States. It opened on August 17, 1907, and is one of the oldest continuously operated public farmers markets in the United States. Overlooking the Elliott Bay waterfront on Puget Sound, it serves as a place of business for many small farmers, craftspeople and merchants. It is named for its central street, Pike Place, which runs northwest from Pike Street to Virginia Street on the western edge of Downtown Seattle. Pike Place Market is Seattles most popular tourist destination and the 33rd most visited tourist attraction in the world, with more than 10 million annual visitors.</p><br>
<p>The Market is built on the edge of a steep hill and consists of several lower levels located below the main level. Each features a variety of unique shops such as antique dealers, comic book and collectible shops, small family-owned restaurants, and one of the oldest head shops in Seattle. The upper street level contains fishmongers, fresh produce stands and craft stalls operating in the covered arcades. Local farmers and craftspeople sell year-round in the arcades from tables they rent from the Market on a daily basis, in accordance with the Market&#39;s mission and founding goal: allowing consumers to "Meet the Producer".</p><br>
<p>Pike Place Market is home to nearly 500 residents who live in eight different buildings throughout the Market. Most of these buildings have been low-income housing in the past; however, some of them no longer are, such as the Livingston Baker apartments. The Market is run by the quasi-governmental Pike Place Market Preservation and Development Authority (PDA).</p><br>
<h2>Location and extent</h2><br>
<p>The Market is located roughly in the northwest corner of Seattle&#39;s central business district. To its north is Belltown. To its southwest are the central waterfront and Elliott Bay. Boundaries are diagonal to the compass since the street grid is roughly parallel to the Elliott Bay shoreline.</p><br>
<p>As is common with Seattle neighborhoods and districts, different people and organizations draw different boundaries for the market. The City Clerks Neighborhood Map Atlas gives one of the more expansive definitions, defining a "Pike-Market" neighborhood extending from Union Street northwest to Virginia Street and from the waterfront northeast to Second Avenue. Despite coming from the City Clerks office, this definition has no special official status.</p><br>
<p>The smaller "Pike Place Public Market Historic District" listed on the USA National Register of Historic Places is bounded roughly by First Avenue, Virginia Street, Western Avenue, and a building wall about halfway between Union and Pike Streets, running parallel to those streets.</p><br>
<p>In a middle ground between those two definitions, the Seattle Department of Neighborhoods&#39; official 7 acre "Pike Place Market Historical District" includes the federally recognized Pike Place Public Market Historic District plus a slightly smaller piece of land between Western Avenue and Washington State Route 99, on the side of the market toward Elliott Bay.</p><br>
<p>To some extent, these different definitions of the market district result from struggles between preservationists and developers. For example, the National Historic Preservation Act of 1966 created the Washington Advisory Council on Historic Preservation. Victor Steinbrueck, at one point in the late 1960s, convinced the Advisory Council to recommend designating 17 acre as a historical district. Pressure by developers and the "Seattle establishment" soon got that reduced to a tenth of that area. The present-day historic district designations lie between these extremes.</p><br>
<p>Part of the market sits on what was originally mudflats below the bluffs west of Pike Place. In the late 19th century, West Street (now Western Avenue, angling away from Pike Place) was already a through street running more or less parallel to the shore. Railroad Avenue (now Alaskan Way) was built farther out on pilings; it was not filled in until the 1930s. Nearby piers with warehouses for convenient stevedoring had already been completed by 1905, two years before the market opened.</p><br>
<h2>History</h2><br>
<p>The market was created in 1907 when city councilman Thomas P. Revelle took advantage of the precedent of an 1896 Seattle city ordinance that allowed the city to designate tracts of land as public markets and designated a portion of the area of Western Avenue above the Elliott Bay tideflats off Pike Street and First Avenue. The market was opened Saturday, August 17, 1907, by City Council President Charles Hiram Burnett Jr. The first building at the Market, the Main Arcade, opened November 30, 1907.</p><br>
<p>Demand for stalls grew and by 1911 the number of available stalls had doubled. The west side of the stall lines were soon covered in an overhead canopy and roofing, becoming known as the "dry row". In 1916 the market expanded into the Economy Market.</p><br>
<p>Throughout the early 1920s, the north side of the Corner Market became known as the Sanitary Market and the area developed into a social scene. A new ordinance forbidding farmers&#39; stalls to be placed in the street resulted in proposals to move the market, but in 1921 council voted to retain the existing location and work on expanding in place.In 1963, a proposal was floated to demolish Pike Place Market and replace it with Pike Plaza, which met community opposition, including help from Betty Bowen, Victor Steinbrueck, Ibsen Nelsen, and others from the board of Friends of the Market. An initiative was passed on November 2, 1971, that created a historic preservation zone and returned the Market to public hands.</p><br>
<p>In the 1980s, a nonprofit group, the Pike Place Market Foundation, was established by the PDA to raise funds and administer the Market&#39;s free clinic, senior center, low-income housing, and childcare center. The 1983 Hildt Amendment or Hildt Agreement (named after Seattle City Council member Michael Hildt) struck a balance between farmers and craftspeople in the daystalls which set a precedent for allocation of daystalls.</p><br>
<p>In 1998, the PDA decided to end the Hildt Agreement; a new agreement, the Licata-Hildt agreement, was adopted in February 1999.</p><br>
<p>In 2008, Seattle voters approved a six-year property-tax levy to fund critical repairs and improvements, which were completed in 2012.</p><br>
<h2>Operation</h2><br>
<h3>Organizations</h3><br>
<p>The Pike Place Market is overseen by the Pike Place Market Preservation & Development Authority (PDA), a public development authority established under Washington State law. It is overseen by a 12-member volunteer council. Its members serve four-year terms. Four members are appointed by mayor, four by the current council, and four by the Pike Place Market Constituency. The Market PDA sets the policies by which the Pike Place Market is managed and hires an executive director to carry out those policies.</p><br>
<p>Established in 1973, the PDA manages 80% of the properties in the city-recognized Market Historical District. Its founding law—the Market Charter—requires it to preserve, rehabilitate and protect the Markets buildings; increase opportunities for farm and food retailing in the Market; incubate and support small and marginal businesses; and provide services for low-income people. PDA revenues derive from the Markets tenants through rent, utilities, and other property management activities.</p><br>
<p>The same 1973 charter that established the PDA also established the Pike Place Market Constituency. The Constituency elects one member to the PDA Council each year. Anyone 16 years of age or older who lives in Washington State can become a member of the Constituency by paying $1 yearly dues.</p><br>
<p>Operating independently of the PDA, the Market Historical Commission (established by the 1971 initiative to preserve the Market) has the specific mandate to preserve the Market&#39;s physical and social character as "the soul of Seattle."</p><br>
<p>Another key organization in the affairs of the Market is the Pike Place Merchants Association. Officially incorporated in 1973, it traces its history back to the Farm Association established in the 1920s. The association connects market vendors to legal, accounting, bookkeeping, business insurance, and health insurance services and provides free online advertising for its members. It also represents its members and attempts to advance their interests and opinions. All PDA tenants are required to be members; daystall vendors also have the option to join. Since 1974, the association has published the monthly Pike Place Market News, which promotes the Market and its neighborhood. For over three decades, the association sponsored a Memorial Day fair at the market; financial difficulties caused cancellation of the fair in 2004.</p><br>
<p>A separate Daystall Tenants Association (DTA) formed in the late 1980s to represent the specific interests of daystall vendors. The DTA formed in response to proposed increases in daystall rental rates. Most members pay a $2 annual membership fee; the fee is optional. The DTA meets on the Desimone Bridge in the Market at least once each quarter. Similarly, the United Farmers Coalition (UFC) formed in 1998 to represent daystall farmers who sell produce, flower, and processed food; the UFC represents only these food vendors, as against craft vendors. The Pike Market Performers&#39; Guild, founded 2001, represents Market street performers. Among its members are Artis the Spoonman and Jim Page.</p><br>
<p>Friends of the Market, which spun out of Allied Arts in 1964 and over the next seven years spearheaded the activist work that saved the Market is no longer a driving force in the Market. Still, as noted above, they have two seats on the Historical Commission. They also give tours of the Market.</p><br>
<p>The Market Foundation (established 1982) was founded to support the Markets services for low-income people. The foundation now also supports heritage programs, improvements and repairs to historic buildings, and programs that assist the Markets farmers.</p><br>
<h3>Conflicts</h3><br>
<p>The PDA is a public trustee charged with many potentially conflicting goals. Its charter mandates it to "ensure that the traditional character of the Public Market is preserved." It is specifically mandated to</p><br>
<p>The City Auditors office has stated that there is an "inherent conflict... between the PDAs need to operate the Market as a successful business entity and its Charter obligation to support small owner-operated tenant businesses."</p><br>
<p>As early as 1974, a Seattle Department of Community Development study noted space conflicts between farmers and craft vendors. Conflicts can be exacerbated because the stakeholders with conflicting needs are not talking to one another. Quoting the same City Auditor&#39;s report:</p><br>
<p>Further, the farmers who were the Markets original raison detre do not necessarily do well when the Market becomes more of a tourist attraction than venue for shopping for produce and groceries. "Craft vendors, antique and curio merchants, and booksellers…" wrote the City Auditors office, "derive much of their business from tourists; fresh food vendors do not." Conversely, farmers have far more selling opportunities outside the Market than in the early and mid-20th century. As late as 1990, there were about ten farmers markets in Washington. By 1999 there were more than sixty. Most are seasonal weekend markets without most of the Pike Place Markets amenities, but they are not swarmed with tourists, parking is free or inexpensive and relatively plentiful, and food is the main focus of those markets, not crafts or flowers.</p><br>
<p>As a result, increasingly Pike Place Market daystalls are devoted to flowers and crafts rather than edible produce. "The Market," wrote the City Auditor&#39;s office,</p><br>
<h3>Policies</h3><br>
<p>The Markets "Meet the Producer" mandate now includes craftspeople as well as farmers. Both can rent daystalls. Farmers take historic precedence, but the PDA "acknowledges the rightful and permanent position of handmade arts and crafts as an integral use of the Markets Daystalls" and their rules seek to encourage a lively mix. Some grandfathered vendors are allowed to sell merchandise not of their own making on essentially the same terms as craftspeople. Currently, there are rules to make sure that new crafts vendors demonstrate themselves to be skilled craftspeople making their own wares with minimal use of assistants.</p><br>
<p>A standard Farm Table consists of two adjacent daystalls; a standard Craft Table is a single daystall. Daystalls are between 4 ft and 5.5 ft wide. Craftspeople have priority on the Desimone Bridge, the west side of the Market arcade north of the Desimone Bridge and the outdoor slabs between the arcade and Virginia Street; farmers have priority everywhere else. If farmers do not fill their priority tables, craftspeople may rent those, and vice versa. For farmers, other factors besides seniority come into play, mainly how often the person sells at the Market. Farmers can pass permits through their family. The rules for joint and family crafts businesses are far more complex.</p><br>
<p>While farmers and craftspeople may make some use of agents to sell on their behalf (including vendors functioning on different days as one anothers agents), in order to maintain their seniority farmers must be physically present one day a week and craftspeople two days a week. To sell on a Saturday, vendors must sell at the Market a minimum of two weekdays of the preceding week. There are also allowances for taking vacations and sabbaticals without losing ones seniority. Senior Crafts Permit Holders—craftspeople who have sold in the Market for 30 years or more—need only rent (and use) a daystall once a week to maintain their seniority.</p><br>
<p>The definition of permitted farm products includes (among other items) produce, flowers, eggs, cultivated mushrooms, meat, cultured shellfish, and dairy products. There is also a broader category of supplemental farm products such as wild-harvested berries and mushrooms, non-edible bee products, or holiday wreaths. These may be sold in conjunction with permitted farm products, but there are strict limitations to prevent these from becoming anyone&#39;s primary products. Rules vary significantly at different times of year.</p><br>
<p>Farmers, craftspeople, and performers all must pay for an annual permit. As of 2008, the fee is $35 for farmers and craftspeople, $30 for performers. Craftspeople who vend off season—January through March—pay an additional $35 for a separate permit. For performers, this annual fee is their only fee. Farmers and craftspeople pay day rent for any daystalls they use. Depending on the season and the day of the week, a daystall may rent for anywhere from $5.85 for a stall on a Monday-Thursday off season to $32.85 on a Sunday in peak season. There are also separate rents for lockers and coolers.</p><br>
<p>Compared to farmers and craftspeople, performers have a lesser role in the Market, but still one formally recognized by the PDA. "The PDAs mission with regard to performers is to maintain locations within the Market where performing artists may entertain Market shoppers in a fashion consistent with and to the needs of the Markets commercial business activities and Market residents. Performers may receive donations and may display their recordings for sale, but prohibited from active solicitation of donations and from active sale of "any product associated with the performance".</p><br>
<p>In keeping with their lack of day fees, individual performers are not assigned specific places and times to perform. There are only positions in a (virtual) line for each marked, sanctioned performance location. Queuing runs on an honor system. Each performance is limited to one hour if any other licensed performer is waiting for the spot. Electronic amplification is not allowed, nor are brass instruments or drums. Certain performance locations are further limited to "quiet" performances where (for example) even hand-clap percussion is not allowed.</p><br>
<p>Although they do not have the same strict requirements as for daystalls, most commercial Market merchants are owner-operated businesses. In the 1970s, when the Market was undergoing extensive rehabilitation and the future of the Market was somewhat unstable, the PDA consolidated its merchant base by giving merchant tenants very favorable leases, with longer terms and lower rates than were available elsewhere in Downtown Seattle. This policy was part of the reason that the PDA ran into the financial difficulties that led to its dealings with the Urban Group. The PDA now gives below-market rates only to start-up businesses, businesses or organizations designed to serve low and moderate income persons, and to "the Market’s unique character-defining businesses." The latter include produce, fish, and meat businesses. The PDA often will not renew multi-year leases for businesses with poor sales performance or other problems, but typically will allow them to remain indefinitely on a month-to-month basis. About once a year, the PDA has occasion to refuse to renew when a merchant&#39;s lease ends.</p><br>
<h3>Housing and social services</h3><br>
<p>About 500 people live in the market. Approximately 90% are low-income seniors with subsidized rents. Their average income is only $11,095 a year. Among the low-income units in the Market are 41 in the LaSalle Hotel, 51 in Market House, 44 in the Stewart House and 96 in the Livingston-Baker.</p><br>
<p>The Pike Market Medical Clinic provides primary care and ancillary services to 3,600 patients. Most of these are either elderly, HIV-positive, or working poor. One third homeless, 30% are physically disabled, and 60% have severe mental illness and/or chemical addiction. The clinic provides basic medical care, subsidized prescriptions, lab work, mental health counseling, drug and alcohol counseling, connections to other community services, and sometimes even assistance in finding housing.</p><br>
<p>Approximately 900 people use the Market&#39;s senior center. Services include hot lunches for low-income seniors, help in finding housing and jobs, and a variety of classes ranging from physical fitness and health to language, geography, art, and computer training.</p><br>
<p>The Downtown Food Bank, located in the Public Market Parking Garage on Western Avenue provides groceries to approximately 1,000 people a week. About 265 bags of groceries are delivered weekly to homebound downtown residents. About 160 families receive infant milk, baby food and diapers.</p><br>
<p>The child care and preschool serves 90–100 families with children ages 2–5 each year. 84% of families with children attending are low-income and receive tuition assistance. Besides its educational aspects, the school provides these children with breakfast, lunch, and afternoon snacks and has a full-time, onsite child and family support professional to identify resources children their families might need and to link them to those resources.</p><br>
<h2>Attractions</h2><br>
<p>One of the Markets major attractions is Pike Place Fish Market, where employees throw three-foot salmon and other fish to each other rather than passing them by hand. When a customer orders a fish, an employee at the Fish Markets ice-covered fish table picks up the fish and hurls it over the countertop, where another employee catches it and preps it for sale.</p><br>
<p>The first Starbucks store, founded in 1971, was originally located at 2000 Western Avenue. In 1977 it moved one block away to 1912 Pike Place where it has been in continuous operation ever since. The store was opened by three partners: Jerry Baldwin, Zev Siegl and Gordon Bowker. They were inspired by Alfred Peet of Peets Coffee to open the store and sell high-quality coffee beans and coffee making equipment and accessories. The sign outside this branch, unlike others, features the original logo – a bare-breasted siren that was modeled after a 15th-century Norse woodcut. It also features a pig statue called "Porkn Beans," purchased in the 2001 Pigs on Parade fundraiser. Starbucks now owns the Seattles Best Coffee (SBC) brand, which traces its history back to Stewart Brothers Coffee, which arrived in the Market several months before Starbucks was founded. On March 8, 2011, the store was the site of a NASDAQ opening bell ringing as Starbucks kicked off its 40th anniversary.</p><br>
<p>After more than 30 years in the Market, the herbal apothecary Tenzing Momo has become an institution both for obtaining herbs and advice on their use. Founded in 1977, the name (which is Tibetan) means "divine dumpling". Nearby, Market Spice (founded 1911) sells slightly less exotic herbal substances.</p><br>
<p>The Market Heritage Center at 1531 Western Avenue is a small museum about the history of the Market.</p><br>
<p>Pike Place Market is Seattle&#39;s most popular tourist destination and the 33rd most visited tourist attraction in the world, with more than 10 million annual visitors.</p><br>
<h3>Rachel and Pigs on Parade</h3><br>
<p>Pike Place Markets unofficial mascot, Rachel, a bronze cast piggy bank that weighs 550 lb, has been located since 1986 at the corner of Pike Place under the "Public Market Center" sign. Rachel was designed by local artist Georgia Gerber and modeled after a pig (also named Rachel) that lived on Whidbey Island and was the 1977 Island County prize-winner. Rachel receives roughly US$6,000–$9,000 annually in just about every type of world currency, which is collected by the Market Foundation to fund the Markets social services.</p><br>
<p>Rachel provided the theme for the Pigs on Parade fundraiser that was first held in 2001 and was one of several events in various cities modeled on a similar 1998 event in Zurich; the Zurich event centered on cows and was the first of what have come to be known as CowParades. A similar Pigs On Parade fundraiser was held in 2007 on the occasion of the Market centennial, which happened to coincide with the Chinese zodiac Year of the Pig.</p><br>
<h3>Buskers</h3><br>
<p>Since at least the 1960s, Pike Place Market has been known for street entertainers. Besides the aforementioned spoons player Artis the Spoonman and songwriter Jim Page, Market performers in years past or present have included steel guitarist Baby Gramps; Johnny Hahn, who routinely hauls around a 64-key spinet piano; retro-jazzer Howlin Hobbit, who plays ukulele; klezmer influenced musicians the Bus Tunnel Bandits; hoop busker musician Emery Carl, chairman of the Markets Performers Guild; blind autoharpist and singer Jeanne Towne; Kirsten "Mother Zosima" Anderberg, who for many years sang feminist and other political songs while dressed in a nuns habit; a cappella gospel singers Brother Willie and the Market Crew; the old-timey Tallboys; Johnny Cash sound-alike Vince Mira; jazz-tinged players Amber Tide (Thaddeus Spae and his late wife Sandahbeth); alternative-jazz-pop singer-songwriter Alyse Black, and the late folksinger Jim Hinde, a Vietnam War veteran.</p><br>
<p>Jump blues musician PK Dwyer is credited with forming the first-ever street band to busk at the Market. He formed that band, Felix & the Freelicks, shortly after he arrived in the Pacific Northwest in 1971. The band evolved into various other alignments, including (successively) the Dynamic Logs, the Jitters, Throbbing Gems, the Royal Famille du Caniveaux / Gutter People of Paris, all of whom played at the Market. Some of these alignments also included Ron Bailey; the Dynamic Logs included Orville Johnson as well. The band, Morrison Boomer, is a more recent staple and known to record live music at the market.</p><br>
<h3>Dining and drinking</h3><br>
<p>While one can easily graze ones way through the Market food stalls and shops, the Pike Place Market offers numerous other eating (and drinking) options. The once endemic workingmens and sailors&#39; taverns are gone; at roughly opposite corners of the Market, the Virginia Inn (founded as Virginia Bar, approximately 1908; operated as a cardroom during Prohibition, then Virginia Inn; passed into current management 1980 and slowly gentrified) and Place Pigalle (originally Lotus Inn, name dates from 1950s, remodeled 1982) retain their names, but both have gone upmarket. The Athenian Inn in the Main Market traces its history back to a 1909 bakery and is a relatively ungentrified bar and restaurant. Three Girls Bakery dates back to 1912 and may have been the first Seattle business started by women. While it is not in its original Corner Market location, no longer bakes on premises, and its current owner Jack Levy is a man, it still sells a vast variety of baked goods, does a brisk business in takeaway sandwiches, and has an old-style lunch counter.</p><br>
<p>The Pink Door (founded 1981), entered by a nearly unmarked door on upper Post Alley, is a favorite first-date restaurant, with solid Italian food, a fantasia of a dining room, a bar that sometimes features live jazz, and an outdoor deck overlooking Elliott Bay. Another restaurant combining Italian food and romantic ambience is the Il Bistro, located below grade in the Economy Market, off the winding cobblestones of Lower Post Alley. When it was founded in 1977 it was played an important role in the rise of fine dining in Seattle.</p><br>
<p>Other longstanding Market restaurants and bars include Lowells (founded 1957), an old Main Market standby self-described as "almost classy&quot French bistro Maximilien, founded in 1975 by François Kissel, owned since 1997 by host Axel Macé and chef Eric Francy, and highly praised by Julia Child; and the Copacabana (founded 1964), Seattles only Bolivian restaurant, upstairs in the Triangle Building with a balcony overlooking Pike Place.</p><br>
<h2>People</h2><br>
<p>Frank Goodwin and his brothers developed most of the core Market buildings. He was largely responsible for the decision to keep ornament to a minimum, in order to keep the emphasis on the products rather than the institution and in order not to scare off people looking for good prices on their produce. Upon his retirement in 1925, his nephew Arthur Goodwin took over most of the Market ownership, selling some shares to people outside of the family.</p><br>
<p>Giuseppe Desimone was born about 40 mi east of Naples, Italy. He arrived in America from Italy as a stowaway, but soon became a successful farmer with land in South Park, Tukwila and the Kent Valley along the Green River. A longtime Market vendor, Desimone was one of those who bought shares in the Market in 1925 and eventually became its owner by slowly buying out Arthur Goodwin. He was president of the Market until his death in 1946. Outside of the Market, he is credited with keeping Boeing in the Seattle area in 1936 by selling them a large tract of land for a nominal fee.</p><br>
<p>His son Richard Desimone succeeded him as president of the market and served in that position until 1974. He kept the Market alive in dark times for farmers&#39; markets, doing nearly all business on handshake deals rather than through formal leases. He later served on the Market Historical Commission.</p><br>
<p>Victor Steinbrueck was the leading architect-activist in defining the Pike Market neighborhood, and artist Mark Tobey in visualizing and recording, in developing his "Northwest Mystic" style of the internationally recognized Northwest School of art. Internationally recognized in the 1940s, Tobey explored the neighborhood with his art in the 1950s and early 1960s, as the area was being increasingly characterized by the Seattle Establishment as overdue for urban renewal, particularly replacement with a parking garage, high-rise housing and modern, upscale retail.</p><br>
<p>For many years, Sol "The Cod Father" Amon of Pure Food Fish has been the longest-tenured vendor at Pike Place Market. His father, Jack Amon, began selling fish in the Market in 1911 as a partner in the Philadelphia Fish Market. From about 1920 to 1935, he owned and operated the American Fish Company. In 1951 he bought the Pure Food Fish Company (founded 1917–1918), which Sol Amon largely took over in 1956. Sol had worked in the Market since 1947 and has been sole proprietor of Pure Food Fish since his fathers death in 1966. He can often be seen outside his stall chatting with visitors and helping them choose their fish, including a brisk tourist trade in salmon packed to travel. The Seattle City Council honored him in 2006 on the 50th anniversary of his taking over the business: they named him "King of the Market" and permanently designated April 11 as Sol Amon Day. Amon is a longtime major supporter of the Market Foundation. On the first Sol Amon Day in 2006, Amon donated all of the days profits from Pure Food Fish to the foundation.</p><br>
<p>Walter DeMarsh of Mobeta Shoes has made custom shoes for people with foot disfigurements and deformities since 1979.</p><br>
<h2>Buildings</h2><br>
<p>Few of the historic buildings in the Pike-Market neighborhood (and none of the Market buildings as such) are individually designated as landmarks or registered as historic places. Buildings included in the federally and locally designated historic districts gain most of the benefits that would accrue from individual designation, so there is little reason to go through the difficult process of obtaining separate designation.</p><br>
<h3>Market buildings</h3><br>
<p>The Market began on a boardwalk adjacent to the 3-story Leland Hotel (1900, architect unknown). The Leland was incorporated in 1907 by engineer John Goodwin into the Main Arcade. In 1914–1915 he and architect Andrew Willatsen extended this complex further into the Fairley Building, which includes Lowells, the Athenian, and the "Down Under". The complex was rehabilitated in 1977 by George Bartholick. As of 2008, the upper two stories of the Leland continue to be housing. Together, all of these constitute todays Main Market.</p><br>
<p>The two-story Triangle Building (Thompson & Thompson, 1908; rehabilitation by Fred Bassetti & Co., 1977) originally housed the South Park Poultry Company. The 1977 rehabilitation joined it with the adjacent 3-story Silver Oakum Building (unknown, 1910; Bassetti, 1977). The Outlook Hotel (now LaSalle Hotel; architect unknown; rehabilitation by Bartholick, 1977) also dates from 1908. A legitimate seamans and workingmans hotel until 1942, its Japanese American operators Rosuke and T.K. Kodama were forcibly interned during World War II. Nellie Curtis took it over, changed the name, and ran it as a brothel into the 1950s. Since 1977 the building has been joined to the adjacent Cliff House (c. 1901), and largely devoted to low-income housing. Shops and the Market PDA office are on the ground floor. Its roof provides outdoor seating for the restaurant Maximilien.</p><br>
<p>The Sanitary Market (Daniel Huntington, 1910; reconstructed 1942, McClelland and Jones; rehabilitated and extended 1981, Bassetti Norton Metler) reputedly was so named for its innovation at the time, that no horses were allowed inside. A fire on December 15, 1941, severely damaged the building, which was reconstructed as a 2-story building with rooftop parking. Nearly four decades later the parking lot was eliminated, replaced by two floors of residences.</p><br>
<p>The North Arcade (1911 and 1922, John Goodwin; rehabilitation by Bartholick, 1977) constituted a major northward extension of the Main Market, extending it 1,200 ft to the northwest and adding 160 covered stalls.</p><br>
<p>The 3-story Corner Market building (Harlan Thomas & Clyde Grainger 1912; rehabilitation by Karlis Rekevics, 1975) sits on the right as one enters the Market along Pike Street. In its early years it included daystalls, and the businesses facing onto First Avenue were open-fronted. The Three Girls Bakery, the first known business in the Corner Market, is now located in the adjacent Sanitary Market. The basement was home to Patti Summers&#39; jazz club for over two decades before becoming Can Can in 2006; the building is also home to anarchist bookstore Left Bank Books, as well as numerous other businesses.</p><br>
<p>Across Pike Street from the Corner Market is the Economy Market (unknown, 1900, as Bartell Building; remodeled by John Goodwin & Andrew Willatsen 1916; rehabilitation by Bartholick, 1978). The 1978 rehabilitation occurred in conjunction with the construction of the adjacent South Arcade at the corner of First Avenue and Union Street (Olsen / Walker, 1985). The South Arcade lies outside of the protected historic Market areas. It includes condominium apartments, but also the Pike Pub & Brewery and several other retail businesses of a similar character to those within the Market boundaries. Its owner, Harbor Properties, describes it as "adjacent to" the Market.</p><br>
<p>The Joe Desimone Bridge across Western Avenue originally connected the North Arcade to the Municipal Market Building (unknown, 1922 or 1924; demolished after a 1974 fire). The bridge is now enclosed on three sides (1985, James Cutler Architects) and used for craft-priority daystalls.</p><br>
<p>Other old buildings in the Market include the Champion Building (unknown, 1928; rehabilitation by the Champion/Turner Partnership 1977), originally a garage for the Dollar Cab Company, then a meat packing company, now ground floor retail with offices above; the Soames-Dunn Building (unknown, 1918; rehabilitation by Arne Bystrom 1976), once home to Dunns Seeds and Soames Paper Company (who supplied paper bags to farmers selling in the Market), now retail, including the "original" Starbucks; Stewart House Hotel (unknown, 1902–1911; rehabilitation by Ibsen Nelson & Associates, 1982), a former workingmens hotel, now retail and low-income housing; Seattle Garden Center (W. C. Geary, 1908; Art Deco details added 1930s; rehabilitation and addition, Arne Bystrom 1976) was once the Gem Egg Market and now houses Sur La Table; and the Fix-Madore Building (1916, unknown; rehabilitation by Bumgardner Partnership 1979), now an office and retail building on the west side of Western Avenue, connected to the Main Market by a footbridge.</p><br>
<p>Newer buildings in the Market include the Post Alley Market at First and Pine (Bassetti Norton Metler, 1983), the Inn at the Market (Ibsen Nelson & Associates, 1985); and The Pike and Virginia Building (Olson/Walker, 1978); and the Market Heritage Center (Scot Carr & Thomas Schaer, 1999). All of these echo at aspects of the architecture of the historic Market buildings. The Pike Street Hill Climb (Calvin and Gorasht, 1976) connects the Market to the waterfront; it occupies the same corridor that once (roughly 1911–1935) held a wooden overpass used by farmers to bring produce up to the Market after arriving by boat.</p><br>
<h3>Listed buildings near the Market</h3><br>
<p>Along the southwest side of First Avenue, within the present-day historic district but outside of the original Market, the Alaska Trade Building (1915), 1915–1919 1st Avenue and the Late Victorian style Butterworth Building (originally the Butterworth mortuary, 1903), 1921 1st Avenue, are both listed in the National Register of Historic Places (NRHP). Outside the historic districts but within the City Clerk&#39;s definition of the Pike-Market neighborhood are the J. S. Graham Store (1919, designed by A. E. Doyle), 119 Pine Street; and the USA Immigration Building (1915), 84 Union Street. Other NRHP-listed buildings near the Market but outside of those boundaries include the Guiry and Schillestad Building (Young Hotel or Guiry Building 1903, Mystic Hotel or Schillestad Building 1908), 2101–2111 1st Avenue; the Renaissance-style New Washington Hotel (now Josephinum Hotel, built 1900–1949), 1902 Second Avenue; and the Moore Theatre and Hotel (1907), 1932 2nd Avenue.</p><br>
<p>Also in the Pike-Market neighborhood but outside the historic districts are at least two city-designated landmark not on the NRHP: the Terminal Sales Building (1923–1925), 1932 1st Avenue; and Pier 59, now home to the Seattle Aquarium.</p><br>
<h2>Transportation</h2><br>
<p>The main arm of the market is located along the eponymous Pike Place, a two-block street that runs northwest for approximately 940 ft between Pike Street and Virginia Street. It is open to one-way automobile traffic despite its heavy pedestrian use. While the street is closed to automobiles during some events, efforts to create a permanent pedestrian zone have been blocked by market vendors and business owners. The closing of the street to vehicular traffic has been described as a "perennial issue" due to Pike Place Market&#39;s status as a working market and the need for loading zones.</p><br>
<p>The market is located near the Westlake Center transit hub, which is served by Link light rail at Westlake station, the Seattle Center Monorail, and South Lake Union Streetcar. An extension of the streetcar, named the Center City Connector, is planned to stop on 1st Avenue adjacent to the market but is on hold due to funding shortfalls.</p><br>
<p>Samuel Lewis House in Bozeman, Montana, United States, was built in 1881. It was listed on the National Register of Historic Places in 1999.</p><br>
<p>Samuel Lewis was the older brother of artist Edmonia Lewis. He was born in Haiti in 1835, grew up in upstate New York and became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children; they had one son, Samuel E. Lewis (1886-1914), who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman.</p><br>
<p>Samuel Lewis House in Mansfield, Ohio is a Greek revival building. It was listed on the National Register of Historic Places in 1982.</p><br>
<p>In 2013 it was The Olde Stone House, a bed and breakfast inn.</p><br>
<p>It is built of brown and orange-streaked sandstone from the Mansfield area, and was deemed to be the largest and best-preserved antebellum sandstone house in Richland County. It was built as a one-and-a-half-story sandstone house before 1835 when it was bought by Samuel Lewis, who expanded it in 1837.</p><br>
<p>In 2017, the inn was reopened under new management and a new name. It currently operates as "The Safe House Bed and Breakfast." The owners, Christina and Jake Simpkins, purchased the property in 2015.</p><br>
<p>The original Fish and Fur Club building is at Main  and Pearl Streets in Nelsonville, New York, United States. It is now used as Nelsonville&#39;s village hall. In 1982 it was added to the National Register of Historic Places .</p><br>
<p>It is a single-story three-by-three-bay wood frame building on a stone foundation. An asphalt-shingled hipped roof is pierced in the front by a triangular dormer with a semicircular window. On the front is a poured-concrete porch with wooden posts and railings, leading to the main entrance, a recessed, panelled and glazed double door with a three-part transom. It is flanked by two wood-framed glass bay windows.</p><br>
<h2>History</h2><br>
<p>The club was organized in 1895 by local outdoor sportsmen, who hunted, trapped and fished in the nearby Hudson River and Hudson Highlands. They met first at the home of one member, next to a local blacksmith&#39;s shop, then in another building at Main and Division streets. They decided to buy land for a clubhouse of their own, and bought the current parcel in spring 1905. Bonds bought by every member financed the $1,500 ($ in 2008 dollars) cost of the construction by local builder Martin Adams. It opened in November with a coon supper for members and their families.</p><br>
<p>The building would soon come to be of central importance in the community. In 1923 the Nelsonville Fire Department held its first formal meeting in the club&#39;s rooms. It would meet there until the construction of its own firehouse down the street in 1955. In that year the club moved into a new annex to the east, and the village began using the original clubhouse as its justice court, the office of the village clerk and meeting room for the Village Board.</p><br>
<p>Reflecting its members interests, the original building&#39;s porch railings and posts were wood of an unfinished, rustic character, an unusual choice in the region. Those were cited as its chief source of architectural significance in its nomination to the NRHP, but have since been replaced with molded wood painted white.</p><br>
<p>In 2001 volunteers and the village began a $15,000 project to renovate the annex, which had fallen into a state of disrepair. It was completely gutted, with new walls, floors and windows installed. New heating and cooling was added, as well as a new septic system for both it and the village hall.</p><br>
<p>Matts Place Drive-In in Butte, Montana was one of the first drive-in restaurants in Montana. Unlike later drive-ins, which frequently featured a streamline moderne style, or at least an acknowledgement of their orientation to automobile-oriented customers, Matts Place was a straightforward conversion of a house to serve customers in cars. Established in 1930, its chief concession to the automobile is a tall curb to keep parking cars from hitting the building and a menu on the outside of the building, advertising curb service. The interior retains its 1936 counter and 1950s lighting fixtures.</p><br>
<p>They were awarded the 2016 James Beard Foundation America&#39;s Classic Award.</p><br>
<p>Matt&#39;s Place closed in early 2021.</p><br>
<p>William Lewis House in Waxahachie, Texas, United States, is a Queen Anne house built in 1888. It was listed on the National Register of Historic Places in 1986.</p><br>
<p>It is a two-story asymmetric wood-frame building with weatherboard siding and jig-sawn brackets supporting its roof. It was listed on the National Register along with many other Waxahatchie properties identified as historic resources in a 1986 study. The house was deemed to be an "outstanding locally significant representative of Queen Anne" style.</p><br>
<p>The Willam R. Belknap School is a former school building in the Belknap neighborhood of Louisville, Kentucky United States. It was added to the National Register of Historic Places in 1982.</p><br>
<p>It was designated as a local landmark by the Louisville Metro Landmarks Commission in 2001.</p><br>
<p>The school takes its name from the developer of the surrounding neighborhood. In 1995, the Belknap neighborhood association took a geometric motif from the school building for its logo.</p><br>
<h2>Description</h2><br>
<p>The building and its grounds originally took up an entire 2.15 acre city block. The building has about 30,000 ft&sup2; of indoor space.</p><br>
<p>The Belknap School is a two-story building on a raised basement. The building has a central projecting entry bay and projecting end wings. The central projecting entrance contains double doors with a single transom. The panes have geometric mullions. This entrance is encased in a stone surround with an arched tympanum lined with exaggerated dentils. Within the tympanum is a central lamp with the words "LUX ET VERITAS, light and truth," above an open book with a fig branch. In the lintel is a band of exaggerated dentils. In the stone surround; the school name, WILLIAM</p><br>
<p>R. BELKNAP SCHOOL, is located above the doors, flanked by applied decorative terra cotta motifs.</p><br>
<p>On the second floor is a pair of windows with vertical mullions in both sash, and crosshatch mullions in the upper portion of the upper sash. Flanking the windows are applied, terra cotta torch motifs. The inside walls of this projecting bay contain three stepped windows on the first level and paired windows on the second with the flanking torch motifs. The fenestration of the recessed façade plane which flanks the entrance bay consists of five basement-story windows and five windows on both the first and second floors.</p><br>
<p>The basement-story windows have six-over-six lights. A stone band divides the basement-story from the first floor. The first and second floor windows contain unusually patterned geometric lights. Pilasters rise from the sill of the first floor windows to the lintels of the second floor windows, with tapestry-like terra cotta panels on the pilasters between the second: floor windows. A stone band divides the second floor from the large parapet wall with a stone coping.</p><br>
<p>On the inside walls of each wing are three basement-story windows and two first and second floor windows with the same mullion patterns found on the recessed front façade windows. Applied tapestry-like panels are found on the second floor. The ends of the wings contain no fenestration and are the most decorative planes of the structure. The same tapestry-like panels found on the other façade planes are also located here, on both sides of a central, slightly recessed plane which contains banding and brickwork which comprise another tapestry-like design. The stone band which divides the basement-story from the first floor is interrupted by an elongated arch with a medallion containing an old city of Louisville emblem.</p><br>
<p>On every outside corner of the building at the parapet level is a band of exaggerated dentils with projecting ends. On the right side of the building is an entrance for the boys and on the left side is an entrance for the girls. The entrance is within a stone surround with the tapestry-like applied motifs on each side of the entrance. The name BOYS and GIRLS is located in the lintel. There are small paired windows above the entrance and another larger pair on the second level. The rest of the fenestration on the side walls of the building is the same as that found on the front. The windows on the rear of the building have nine-over-nine lights.</p><br>
<p>The polygonal smokestack contains some of the same decorative elements found on the school building. Every door knob on the interior is a bust of William R. Belknap.</p><br>
<p>It is not clear what material was used in the surrounds and applied motifs and banding on this building. It is terra cotta, stone or cement - most likely a combination of all three. Assumptions were made as to the material used in the context of the description. If and when terra cotta was used, it is unglazed.</p><br>
<h2>Architecture</h2><br>
<p>The Belknap School is an example in Louisville of the eclectic styles of the early twentieth century. The craftsmanship displayed in the terra cotta ornamentation on the buildings exterior make it one of the citys finest examples of Sullivanesque detailing.</p><br>
<p>The Belknap School was designed in an eclectic style. The plan is typical of the new Elizabethan style schools of the period, but the decorative elements are both classical and Sullivanesque. The main entrance is an example of the combination of the decorative motifs. Exaggerated dentils line the arched panel above the double doors. This panel also contains a lamp, symbolic of enlightenment, hope, window and truth, an open book, symbolic of intellectual attainment, and a fig branch from the tree of knowledge. The remaining elements are stylized foliate patterns, typical of Sullivanesque detailing.</p><br>
<p>The projecting end wings of the building also contain geometric and foliate stylized panels, described in a 1916 article from The Courier-Journal as tapestries.</p><br>
<h2>History</h2><br>
<p>The William R. Belknap School, named for William Richardson Belknap, was the last of seven schools built with a local bond issue from</p><br>
<p>1914 to 1916. J. Earl Henry was architect for schools and also designed Louisville Male High School and Brandeis Elementary School, both of which are also on the National Register of Historic Places.</p><br>
<p>Henry was in partnership with Brinton B. Davis before becoming school architect, and assisted Davis in the plans for the Broadway School. Henry is known particularly for his use of classical and mythical symbolism, as well as his ingenuous eclectic designs. The Belknap School remained a neighborhood school until 1978 when it was closed.</p><br>
<p>Jefferson County Public Schools sold the building to a private company which reopened the school building as office space in 1983. A portion was used by the Christian Academy of Louisville from 1994 to 1998. Vineyard Christian Church held services in the building in 2002 until 2006.</p><br>
<p>In 2006, the school building was converted into 20 condominium units. As a part of the plant, a new condo building was built on the school lot just south of the original building. The new building was built to roughly resemble the original building and have a similar footprint.</p><br>
<p>The Tenth Street Bridge is a concrete arch bridge in Great Falls, Montana, spanning the Missouri River. The bridge was designed by engineer Ralph Adams of Spokane, Washington and Great Falls architect George Shanley, and was completed in 1920. It was the longest open-spandrel ribbed concrete arch bridge in Montana.</p><br>
<p>The construction of a new bridge at Ninth Street in the 1990s made the bridge redundant, and it was proposed for demolition. Preservationists successfully diverted demolition funds to bridge preservation, and the bridge was renovated to function as a pedestrian bridge between Great Falls and the Black Eagle community.</p><br>
<p>Ten Sleep Mercantile, also known as Ten Sleep Hardware, is an example of a typical small-town general store. Located in Ten Sleep, Wyoming, it has been the focal point of the town since it was built in 1905 by H.T. Church. Upon Church&#39;s death in 1918 the property was bought by Buffalo businessman and rancher Alex Healy in an agreement that brought the store under the control of Paul Frison. Frison, who later served as mayor of Ten Sleep and as a Wyoming state legislator, operated the store from 1918 to 1943.</p><br>
<p>Ten Sleep Mercantile is an example of the tall, narrow and deep commercial buildings commonly found in small American towns. The two story balloon frame building is the best preserved building of its kind in Ten Sleep. The building is clad in wood clapboards. The front facade features a rod-supported shed roofed porch sheltering display windows and a recessed double door. The second floor has three double-hung windows, while the top of the facade is capped with a simplified bracketed cornice. The side elevations feature a stepped parapet following the single-pitched main roof as it rises from the rear to the front. On the east side a covered stairway climbs to the second floor.</p><br>
<p>The interior is well preserved with a large, deep main room and a pressed tin ceiling and plastered walls. A row of arched columns support the second floor. The second floor originally comprised two large rooms for the live-in owners, now subdivided. An unfinished basement underlies all.</p><br>
<p>Paul Frison was significant as a local historian who was instrumental in promoting the Black and Yellow Trail, a tourist route on USA Route 14 from Chicago to Yellowstone National Park running through Ten Sleep. The trail&#39;s name was derived from the fact that it linked the Black Hills and Yellowstone. Established in 1912, the route featured Ten Sleep Canyon, just to the east of the town.</p><br>
<p>The Wyoming State Hospital, once known as the Wyoming State Insane Asylum, is located in Evanston, Wyoming, United States. The historic district occupies the oldest portion of the grounds and includes fifteen contributing buildings, including the main administrative building, staff and patient dormitories, staff apartments and houses, a cafeteria and other buildings, many of which were designed by Cheyenne, Wyoming architect William Dubois. Established in 1887, the historic buildings span the period 1907-1948. At one point it was common for new hall additions to be named after the counties in Wyoming. The recent addition of Aspen, Cottonwood, and Evergreen halls do not follow this trend.</p><br>
<p>Four buildings were designed by Casper architects Goodrich & Wilking.</p><br>
<h2>Description</h2><br>
<h3>Women&#39;s Building</h3><br>
<p>The Women&#39;s Building is the oldest patient dormitory, built in 1908 with a 1913 addition by Bergstrom and Carruth in the late Victorian Romanesque style. The structure is now called Fremont Hall and Albany Hall. It consists of a central block with identical side wings. The two-story building measures 172 ft by 57 ft, with 23,760 ft&sup2; of area. The foundation is local rock-faced ashlar sandstone. Exterior walls are pressed brick. The bellcast hipped roof is metal in lieu of the original slate, with hipped dormers. Two 10 ft by 45 ft porches feature brick arcades topped by low brick walls. The interior includes a full basement with a corridor linking to other campus buildings. The first and second floors are laid out with a central corridor and rooms on each side. The interior is furnished with maple floors and beaded wood wainscot.</p><br>
<h3>Men&#39;s Building</h3><br>
<p>The original 1887 Building for Men was destroyed by fire, but the 1916 north wing addition by Bergstrom and Carruth remains. An administration wing and the south wing date to 1918, while the east wing was built in 1923. All were designed by William Dubois. The north and east wings are now called Natrona and Laramie Halls and the south wing is Converse/Weston Hall. The facility now houses the hospitals administration and planning offices, the library, and the occupational therapy department. The two-story building measures 297 by and contains 64,016 ft&sup2;. The reinforced concrete and steel building is faced with brick with stone-jointed stucco on secondary elevations. The hipped roof is covered with metal. A one-story classical portico with stone columns forms the buildings focus. On the interior, wood floors remain under modern carpet. The wings have partial basements while the administrative wing has a full basement with a connection to the underground campus corridor system, connecting to the Women&#39;s Building through the north wing and to Whalen Hall through the east wing. Main floors have central corridors with rooms to each side.</p><br>
<h3>Building for Special Male Patients</h3><br>
<p>This one story building was designed by Dubois and built in 1918 in a Classical Revival style. Known as Sheridan Hall it once housed Adolescent Services but has since discontinued this service. The H-shaped building measures 57 by and totals 8,058 ft&sup2;. The exterior is faced with brick with a hipped metal roof. A central hall runs the length of the building, flanked by large dormitory rooms.</p><br>
<h3>New Building for Women</h3><br>
<p>Designed by Dubois, the building was built in 1926 by George Whitemyer and Sons of Ogden, Utah. Known as Lincoln, Platte and Washakie Halls, the L-shaped two-story building is designed in the Classical Revival style. It measures 120 ft by 100 ft with 22,128 ft&sup2;. Resting on a painted stone foundation, it is faced in brick. The New Building for Women features an arcaded porch. The interior is a central corridor arrangement with rooms in a variety of sizes to either side.</p><br>
<h3>Building for Employees</h3><br>
<p>Known as Clark Hall, the Building for Employees is another Dubois building built by Carruth. The 19,200 ft&sup2; building features cast stone columns and pilasters supporting a full entablature.</p><br>
<h3>Building for the Criminally Insane</h3><br>
<p>A Dubois design, the 1935 building is known as Carbon and Johnson Halls. The east portion now houses offices for Adolescent Services, while the west portion houses classrooms. The H-shaped building is about 77 by containing 24,640 ft&sup2;. The brick building is detailed with terra cotta and faced with wire-cut brick.</p><br>
<p>Other buildings include the laundry, a chicken granary and a calf barn, all now used for shops or storage, a carpenter shop and paint shop.</p><br>
<p>The hospital was placed on the National Register of Historic Places in 2003.</p><br>
<p>The J.Y. Dykman Store is located at Main  and Pearl streets in the village of Nelsonville, New York, United States, across from the Fish and Fur Club, now the village hall. Like that building, it was listed on the National Register of Historic Places in 1982. It is currently an antique map store.</p><br>
<p>It is a one-story, four-bay clapboard-sided frame building. Three of the front four bays are taken up by wood-framed plate glass windows and the recessed double-door entrance with single-light transom; the western bay is a garage added later on. Above it is a bracketed sheet metal entablature with the words "J.Y. DYKMAN" and fleur-de-lis and swag motifs on the fascia and pilaster capitals.</p><br>
<p>The 1876 Beers map of the Nelsonville area, the earliest one, shows the corner as part of the Gouverneur estate. By 1912 James Y. Dykman, a prominent local businessman who had already opened a feed store nearby, is listed as the owner of a grocery at the site.</p><br>
<p>Minthorn Hall is an academic building on the campus of George Fox University in Newberg, Oregon, United States. Built in 1887, the hall was moved ten blocks to its current location in 1892. The three-story frame building is the oldest building on the campus of the school, and was the first building of the Quaker school. Future President Herbert Hoover may have briefly lived in the structure prior to its conversion to a school building. The hall was added to the National Register of Historic Places on June 13, 1997.</p><br>
<h2>History</h2><br>
<p>In 1887, construction began on a dormitory and gym for boys in Newberg for the Friends Pacific Academy, which became Pacific College in 1891. The then two-story building was completed that year and Herbert Hoover is believed to have then lived there for a few months into 1888. In 1892, the structure was moved ten blocks to its current location on the campus of what is now George Fox University by a house mover named Mr. Clark. After the move a third floor was added with the addition of a daylight basement, and the entire hall was then used as a dormitory for women.</p><br>
<p>In 1939, known then as Kanyon Hall, it was renovated under the guidance of Donald W. Edmundson, Harlan Jones, and Laurence Skene. In 1962, the residence hall was converted into classroom space in a renovation led by Donald H. Lindren. In 1992, the school restored the upper floor with lighting and woodwork reminiscent of the original 1887 structure, and the following year, 1993, the Spring Break Quake knocked the chimney over and knocked plaster off the walls. Now Minthorn Hall was added to the National Register of Historic Places on June 13, 1997.</p><br>
<p>The hall is named for Henry John and Laura Minthorn, early supporters of the college and Hoovers aunt and uncle. The hanging of the then Democratic Party Presidential nominees effigy led to the suspension of the students and other sanctions.</p><br>
<h2>Architecture</h2><br>
<p>The Colonial Revival style structure has two above-ground floors and a daylight basement for a total of three floors. Minthorn Hall&#39;s foundation is composed of bricks, with a coating of stucco on the exterior. The building is a wood-frame structure built with rough-hewn lumber and with cedar shake siding. Composition shingles are used on the roof.</p><br>
<p>The Cain House, also known as the Alexander Creel Tavern and the St. Marys Lodge #41 A.F. & A. M. was built in 1850 for Alexander H. Creel in St. Marys, West Virginia. The Cain House provided lodging for travelers along the Ohio River, and functioned as a courthouse for Pleasants County immediately after its formation.</p><br>
<p>The Cain House was named for Zachariah Cain and his family, who operated the tavern in the late 19th and early 20th centuries. The house was acquired by a fraternal order, the Maccabees, before becoming home to a masonic lodge in 1957.</p><br>
<p>The Pleasants County Courthouse was built in 1924 in St. Marys, West Virginia. The Neo-Classical Revival style building replaced the original courthouse, which was badly damaged by lightning in 1923. The new courthouse was designed by architects Holmboe & Pogue of Clarksburg and built by Putnam & Foreman of Marietta, Ohio for $99,963. Ornamentation of the facade was omitted to save costs.</p><br>
<p>The Carter House Museum in Elkader, Iowa, is a seasonal museum open on Saturdays and Sundays from June through August. It is also known as the W. C. Reimer House, and is a Greek Revival building built in 1855 as a two family dwelling by brothers Elbert  and Henry  Carter.</p><br>
<p>In 1885 the house was sold to Elkader merchant Joseph Lamm and his wife Ella who retained ownership until 1938 when William C. Reimer and his wife Lina (Stemmer) Reimer purchased the home and property. In 1983, after the death of Mrs. Reimer, the house was sold to the Elkader Historical Society who then went through the house and grounds over a two year period to restore it to museum quality. In 1985 the house was opened to limited tours and eventually expanded to open tours on a regular schedule.</p><br>
<p>In 1993 the annex was built to house the large number of donated items from Elkader&#39;s rich history. It is a spacious facility with many displays of the various historical artifacts of Elkader and its people.</p><br>
<p>It was listed on the National Register of Historic Places (NRHP) in 1976. Its 1975 NRHP nomination document calls it a "lovely Greek Revival home" which "contributes substantially to the historic ambience of Elkader", having greater effect due to its location across from the historic Clayton County Courthouse. As of 1975, it was relatively unaltered, besides having plumbing and electric service added.</p><br>
<p>In 2016, it is operated as a 19th-century period historic house museum by the Elkader Historical Society.</p><br>
<p>Alex Haley House and Museum State Historic Site is one of the Tennessee Historical Commission&#39;s state-owned historic sites and is located in Henning, Tennessee, United States. It is open to the public and partially funded by an agreement with the Tennessee Historical Commission. It was originally known as W. E. Palmer House and was the boyhood home of author Alex Haley. He was buried on the grounds. The home was listed on the National Register of Historic Places in 1978.</p><br>
<p>John Palmer House is a historic house in Portland, Oregon, United States. It is listed on the National Register of Historic Places.</p><br>
<p>John Palmer was a builder who settled in Portland, Oregon in the 19th century. Construction on the John Palmer House was started in 1890. John Palmer&#39;s wife died just four years after moving into the home. For many years the home was used as the Multnomah Conservatory of Music. The Sauter Family purchased the John Palmer House in the late 1960s and lavished great care and attention on the home. They opened the home as a bed and breakfast and hosted many receptions and weddings in the beautiful garden. Maggie Kolkena and Susan Dunn purchased the home in 2008 for use by not-for-profit organizations. Refreshing this grand old house has included complete re-wiring and re-plumbing, the remodel of the kitchen and addition of a modern bathroom. The main floor, with its extravagant Bradbury & Bradbury wallpapers, remains largely unchanged. External work was initiated in the spring of 2010. The house has a new roof, a repaired porch and a new coat of paint. In fall of 2024 the house is expected to be remodeled again with new wood finishes, a more historic look is to be done on the interior of the house.</p><br>
<p>The house at 3 Crown Street in Nelsonville, New York, United States is located at the corner of Crown, a short side street, and Secor Street. It is a 19th-century brick home that was added to the National Register of Historic Places in 1982 as "the finest mid-century Italianate structure in the area."</p><br>
<p>It is a two-story, five-bay brick house on a stone foundation. The centrally-located doorway, behind a shed-roofed porch with two decorative piers, has an arched transom and four-paneled sidelights. All the windows have segmented arched brick lintels and shutters. The gabled roofline is distinguished by a modillioned cornice, and is pierced by two brick chimneys on the south and one large one at a cross-gable on the north. A rear wing has been added since the house was built.</p><br>
<p>Local property tax records suggest the house was built in 1868. It does not appear on the first map of Nelsonville, in 1867, but is on an 1876 version. There, its owner is identified as J. and B. Secor. Local builder E. Ferris, with whom Secor co-owned another property in town, is noted as being active in that area of the village on the earlier map. He is thus considered likely to have built 3 Crown Street.</p><br>
<p>Since the Secors, it has been through a number of owners, mainly physicians. They have collectively made very little change to the house.</p><br>
<p>The Palmer Park Apartment Building Historic District is a neighborhood located in Detroit, Michigan, bounded by Pontchartrain Boulevard on the west, McNichols Road on the south, and Covington Drive on the northeast. A boundary increase pushed the eastern boundary to Woodward Avenue. The district showcases some of the most ornate and most varied examples of apartment building design in Michigan, and was listed on the National Register of Historic Places in 1983 .</p><br>
<h2>History</h2><br>
<p>The land that this historic district sits on, like the adjacent Palmer Park and nearby Palmer Woods Historic District, was once the estate of Thomas W. Palmer, a wealthy Detroiter and one-time US Senator. Palmer had intended to develop this area into a subdivision, but died in 1913 before bringing the idea to fruition. After Palmer&#39;s death, this portion of the estate was purchased by Walter Briggs.). Forty buildings total were constructed in the district by multiple architects, including Weidmaier and Gay, Robert West, and William Kapp. Most of the buildings were constructed in the 1920s and 1930s, but development continued until 1965.</p><br>
<p>At one time Palmer Park had a large LGBT community and had numbers of bars, bookstores, and restaurants owned by gay people. At that time, the only way one could acquire an apartment in the area is if one already knew another resident in the complex. Crime and police harassment increased in the 1980s, and gay people began leaving. Wendy Case of Metro Times said "Ask three different people what happened to Palmer Park and youll get three different answers. But all will eventually agree that crime is what dismantled Detroits opportunity to have a gay renaissance akin to those of San Francisco and New York. The glorious art deco apartment buildings that were once at such a premium in this neighborhood are still there — but you no longer have to "know somebody" to get one. You just have to have to pony up about 300 bucks and be willing to live between a beautiful park and ungodly urban squalor." Craig Covey, formerly a member of the city council of Ferndale, said that most of the former gay residents of Palmer Park "tended to move up Woodward Avenue and they settled in Ferndale, Royal Oak and Birmingham depending on their economic abilities. The middle-class folks came to Ferndale and Pleasant Ridge, as I did." The "Hotter Than July!" annual LGBT festival is held in Palmer Park; the festival states that it caters to the "black same-gender-loving".</p><br>
<h2>Description</h2><br>
<p>The buildings within the district were designed primarily for middle- and upper-middle-class residents.</p><br>
<h2>Notable buildings in the district</h2><br>
<p>Temple Israel, 1950s building, now used as a church</p><br>
<p>Palmer Park Chapel of The Church of Jesus Christ of Latter-day Saints, originally built for a Greek Orthodox Church.</p><br>
<h2>Education</h2><br>
<p>Palmer Park is within the Detroit Public Schools district. Residents are zoned to Palmer Park Preparatory Academy, formerly the Barbara Jordan School, for elementary and middle school. All residents are zoned to Mumford High School. Palmer Park is operated by teachers and not by a principal administrator.</p><br>
<p>Alberts Chapel is an unusual octagonal Methodist church located near the settlement of Sand Ridge, West Virginia, United States. Built in the Carpenter Gothic-style, the simple, sparingly ornamented church rises to an octagonal cupola, with lancet windows and board-and-batten siding. The chapel was built in 1903 under the direction of Albert Poling by his uncle Charles Poling with materials provided by his brothers Asbury and Wesley. The church was named for Albert in recognition of his efforts.</p><br>
<p>The chapel seats as many as 300, a surprising number for such an apparently small building. A possibly apocryphal account of the origins of the octagonal design suggests that the form was chosen "so that the devil couldn&#39;t corner you in it."</p><br>
<p>The Old Clay County Courthouse in Clay, West Virginia was designed by Frank Packard and built in 1902. The Beaux-Arts building was located on a hill overlooking the county seat. The courthouse was the site of three notable trials: the Sarah Ann Legg trial of 1905, the first trial of a woman in Clay County for murder, the Booger Hole trial of 1917, in which citizens nearly lynched the defendants, and the Oscar Bail trial of 1953, in which Bail was convicted of killing a mine guard in the Great Widen Coal Strike.</p><br>
<p>Since a new courthouse opened across the street, the old courthouse houses magistrate&#39;s offices and the county extension agent.</p><br>
<p>NASA&#39;s Christopher C. Kraft Jr. Mission Control Center , also known by its radio callsign, &#39;Houston&#39;, is the facility at the Lyndon B. Johnson Space Center in Houston, Texas, that manages flight control for the United States human space program, currently involving astronauts aboard the International Space Station .</p><br>
<p>The center is in Building 30 at the Johnson Space Center and is named after Christopher C. Kraft Jr., a NASA engineer and manager who was instrumental in establishing the agency&#39;s Mission Control operation, and was the first Flight Director.</p><br>
<p>The MCC currently houses one operational control room in Building 30 from which flight controllers command, monitor, and plan operations for the ISS. This room has many computer and data-processing resources to monitor, command and communicate with the station. The ISS control room operates continuously. A second control room in the same building, which formerly hosted the Shuttle flight control team, can be set up for ISS operations should the need arise (e.g., during repairs or hardware upgrades in the main room), and also hosts training simulations.</p><br>
<h2>Cape Canaveral (1960–1965)</h2><br>
<p>All Mercury–Redstone, Mercury-Atlas, the uncrewed Gemini 1 and Gemini 2, and crewed Gemini 3 missions were controlled by the Mission Control Center (called the Mercury Control Center through 1963) at Cape Canaveral Missile Test Annex, Florida. This facility was in the Engineering Support Building at the east end of Mission Control Road, about 0.5 mile (0.8 km) east of Phillips Parkway. Mercury and Gemini launches were conducted from separate blockhouses at the Cape.</p><br>
<p>The building, which was on the National Register of Historic Places, was demolished in May 2010 due to concerns about asbestos and the estimated $5 million cost of repairs after 40 years of exposure to salt air. Formerly a stop on the Kennedy Space Center Visitor Complex tours, in the late 1990s, the control room consoles were removed, refurbished, and relocated to a re-creation of the room in the Debus Center at the KSC Visitor Complex.</p><br>
<h2>Houston (1965–present)</h2><br>
<h3>Gemini and Apollo (1965–1975)</h3><br>
<p>Located in Building 30 at the Johnson Space Center (known as the Manned Spacecraft Center until 1973), the Houston MCC was first used in June 1965 for Gemini 4. It housed two primary rooms known as Mission Operation Control Rooms (MOCR, pronounced "moh-ker"). These two rooms controlled all Gemini, Apollo, Skylab, and Space Shuttle flights up to 1996. Each consisted of a four-tier auditorium, dominated by a large map screen, which, with the exception of Apollo lunar flights, had a Mercator projection of the Earth, with locations of tracking stations, and a three-orbit "sine wave" track of the spacecraft in flight. Each MOCR tier was specialized, staffed by various controllers responsible for a specific spacecraft system.</p><br>
<p>MOCR 1, housed on the second floor of Building 30, was used for Apollo 5, Apollo 7, the Skylab and the Apollo-Soyuz Test Project (Saturn IB) missions.</p><br>
<h4>Mission Operations Control Room 2</h4><br>
<p>MOCR 2 was used for all other Gemini and Apollo (Saturn V) flights (except Gemini 3) and was located on the third floor. As the flight control room for Apollo 11, the first crewed Moon landing, MOCR 2 was designated a National Historic Landmark in 1985. It was last used in 1992 as the flight control room for STS-53 and was subsequently converted back almost entirely to its Apollo-era configuration and preserved for historical purposes. Together with several support wings, it is now listed in the National Register of Historic Places as the "Apollo Mission Control Center". In January 2018, the first set of consoles in MOCR 2 were removed and sent to the Kansas Cosmosphere for archival cleaning, refurbishment, and restoration to Apollo-era configuration, for eventual display back in the control room. On July 1, 2019, the newly restored Apollo-era Mission Control was reopened to the public, after a two-year long effort to restore the room to its configuration as seen during the Apollo Moon landings. Period-appropriate accents were acquired, from cigarette packs and ashtrays to wallpaper and carpeting. The room is accessible via the tram tour at the nearby Space Center Houston visitors center, but only from behind the glass in the restored Visitors Gallery viewing room.</p><br>
<p>In July 2010, air to ground voice recordings and film footage shot in Mission Control during the Apollo 11 powered descent and landing was re-synchronized and released for the first time. This audio was used in creating an audio-visual presentation for the 2019 Mission Control update.</p><br>
<h3>Space Shuttle (1981–2011)</h3><br>
<p>In 1992, JSC began building an extension to Building 30. The new five-story section (30 South) went operational in 1998 and houses two flight control rooms, designated White, and Blue. The White FCR was used in tandem with FCR 2 for seven Space Shuttle missions, STS-70 through STS-76, and handled all following shuttle flights through the end of the program. When not in use for the shuttle program, the White FCR was reconfigured as a backup for the ISS FCR from time to time as needed (such as during periods of construction or upgrades in the ISS FCR).</p><br>
<h3>International Space Station (1998–present)</h3><br>
<p>The newer section of Building 30 also houses the International Space Station Flight Control Room. The first ISS control room, originally named the Special Vehicles Operations Room (SVO), then the Blue FCR, was operational around the clock to support the ISS until the fall of 2006.</p><br>
<p>FCR 1, meanwhile, had its original consoles and tiered decking removed after STS-71, and was first converted to a "Life Sciences Center" for ISS payload control operations. After substantial remodelling, mainly with new technologies not available in 1998, ISS flight control moved into the totally revamped FCR 1 in October 2006, due to the growth of the ISS and the international cooperation required among national control centers around the world.</p><br>
<h3>Other facilities</h3><br>
<p>Other MCC facilities include the Training Flight Control Room, sometimes referred to as the Red FCR, a training area for flight controllers; a Life Sciences Control Room used to oversee various experiments; the Simulation Control Area (SCA), primarily used during shuttle astronaut and flight control training; and an Exploration Planning Operations Center, used to test new concepts for operations beyond low-Earth orbit. Additionally, there are multi-purpose support rooms (MPSRs) which are staffed by backup flight controllers, who analyze data and run simulations as well as provide information and advice for the flight controllers.</p><br>
<p>Building 30 was named for Kraft on April 14, 2011.</p><br>
<h3>MCC-21</h3><br>
<p>From 2012 to 2014, the rooms used during the Shuttle program underwent upgrades in preparation for future human space flight activities. The ISS FCR 1, the White FCR, the Blue FCR, the SCA, and the MPSRs all had their consoles removed and replaced with modern hardware, in part to support the new operational concept of commercial companies having a presence in Mission Control. This project is known as Mission Control Center for the 21st Century, or MCC-21. The White FCR was officially completed and unveiled in April 2014. The modernized White FCR is used for flight controller training and occasionally for nominal ISS operations when FCR 1 is temporarily removed from service for repairs or upgrades.</p><br>
<h3>Commercial Crew</h3><br>
<p>In 2019, the first of the Commercial Crew vehicles to be controlled from Houston was launched: the Boeing CST-100 Starliner. The SpaceX Dragon 2 demo flight launched earlier in the year, but SpaceX Mission Control is at their headquarters in Hawthorne, CA. The Boeing Starliner missions use a number of control centers across the United States, several in Houston in the Mission Control building:</p><br>
<p>Atlas V launch vehicle operations are controlled from the United Launch Alliances Advanced Spaceflight Operations Center (formerly the Atlas Spaceflight Operations Center) (ASOC) at Cape Canaveral Space Force Station with support from a team in the Vehicle Ascent and Launch Operations Room (VALOR) at the companys headquarters in Denver, Colorado.</p><br>
<p>The Boeing Mission Control Center (BMCC) is at the Kennedy Space Center looking after Starliner during ascent, orbit, and entry.</p><br>
<p>Mission Control Center for the CST-100 is known as MCC-CST and operates out of the White FCR and Ops Suite 1 just outside the room.</p><br>
<p>The Guidance, Navigation and Control (GNC) and flight software team reside in the Blue FCR down the hall from Mission Control Center-CST.</p><br>
<h2>Console positions</h2><br>
<h3>Mercury Control Center (1960–1963)</h3><br>
<p>During the early years at Cape Canaveral, the original MCC consisted only of three rows, as the Mercury capsule was simple in design and construction, with missions lasting no more than 35 hours. mission</p><br>
<p>The first row consisted of several controllers, the Booster Systems Engineer (BOOSTER), Flight Surgeon (SURGEON), capsule communicator (CAPCOM), Retrofire Officer (RETRO), Flight Dynamics Officer (FIDO), and Guidance Officer (GUIDO).</p><br>
<p>The BOOSTER controller, depending upon the type of rocket being used, was either an engineer from the Marshall Space Flight Center (for Mercury-Redstone flights) or an Air Force engineer (for Mercury-Atlas and later Gemini-Titan flights) assigned for that mission. The BOOSTER controller&#39;s job would last no more than six hours total and he would vacate his console after the booster was jettisoned.</p><br>
<p>The SURGEON controller, consisting of a flight surgeon (either a military or civilian physician), monitored the astronaut&#39;s vital signs during the flight, and if a medical need arose, could recommend treatment. They could also talk directly to the astronaut crew if there was a medical need that the astronauts needed to discuss.</p><br>
<p>The CAPCOM controller, filled by an astronaut, maintained nominal air-to-ground communications between the MCC and the orbiting spacecraft; the exception being the SURGEON or Flight Director, and only in an emergency.</p><br>
<p>The RETRO, FIDO, and GUIDO controllers monitored spacecraft trajectory and handled course changes.</p><br>
<p>The second row also consisted of several controllers, the ENVIRONMENTAL, PROCEDURES, FLIGHT, SYSTEMS, and NETWORK. The ENVIRONMENTAL controller, later called EECOM, oversaw the consumption of spacecraft oxygen and monitored pressurization, while the SYSTEMS controller, later called EGIL, monitored all other spacecraft systems, including electrical consumption. The PROCEDURES controller, first held by Gene Kranz, handled the writing of all mission milestones, "GO/NO GO" decisions, and synchronized the MCC with the launch countdowns and the Eastern Test Range. The PROCEDURES controller also handled communications, via teletype, between the MCC and the worldwide network of tracking stations and ships.</p><br>
<p>The flight director, known as FLIGHT, was ultimate supervisor of the Mission Control Center, and gave the final orbit entrance/exit, and, in emergencies, mission abort decisions. During Mercury missions, this position was held by Christopher Kraft, with John Hodge, an Englishman who came to NASA after the cancellation of the Canadian Avro Arrow project, joining the flight director ranks for the 22-orbit Mercury 9, requiring Kraft to divide Mission Control into two shifts. The flight director&#39;s console was also the only position in the Cape MCC to have a television monitor, allowing him to see the rocket lift off from the pad. The NETWORK controller, an Air Force officer, served as the "switchboard" between the MCC, the Goddard Space Flight Center in Greenbelt, Maryland (as on-site real-time computing did not exist), and the worldwide tracking station and ship network.</p><br>
<p>The back row, consisting primarily of NASA and Department of Defense (DOD) management, was the location of the operations director (held by Walt Williams), a general or flag officer who could coordinate with the DOD on all search-and-rescue missions, and the PAO ("Shorty" Powers during Mercury), who provided minute-by-minute mission commentary for the news media and public.</p><br>
<p>In addition to the controllers in the Cape MCC, each of the crewed tracking stations and the Rose Knot Victor and Coastal Sentry Quebec tracking ships, had three controllers, a CAPCOM, SURGEON, and an engineer. Unlike the Cape CAPCOM, which was always staffed by an astronaut, the tracking station/tracking ship CAPCOMs were either a NASA engineer, or an astronaut, with the latter located at stations deemed "critical" by the flight director and operations director.</p><br>
<h3>MOCR (1965–1998)</h3><br>
<p>After the move from the Cape MCC to the Houston MCC in 1965, the new MOCRs, which were larger and more sophisticated than the single Cape MCC, consisted of four rows, with the first row, later known as "the Trench" (a term coined by Apollo-era RETRO controller John Llewellyn, which, according to Flight Director Eugene Kranz, reminded him of the firing range during his years as a USAF officer). It was occupied by the BOOSTER, RETRO, FIDO, and GUIDO controllers. During Gemini, the BOOSTER position was handled by both an engineer from Martin Marietta and an astronaut, while all missions from Apollo 7 used engineers from the Marshall Space Flight Center.</p><br>
<p>The second row, after Project Gemini, consisted of the SURGEON, EECOM, and CAPCOM. The EECOM, which replaced the ENVIRONMENTAL controller and some of the SYSTEMS controllers functions, monitored the spacecrafts electrical and environmental systems. Like the CAPCOMs during Mercury, all CAPCOMs in the Houston MCC were astronauts. crisis</p><br>
<p>On the other side of the aisle of the second row were controllers who monitored specific parts of Gemini, Apollo, Skylab, ASTP and Space Shuttle missions. During the Gemini program, the two Agena controllers monitored the Agena upper stage used as a docking target from Gemini 8 through Gemini 12. For the Apollo lunar flights, the TELMU and CONTROL controllers monitored the Lunar Module. During Skylab, the EGIL (pronounced "eagle") monitored Skylabs solar panels, while the EXPERIMENTS controller monitored experiments and the telescopes in the Apollo Telescope Mount. The PAYLOAD and EXPERIMENTS controllers monitored Space Shuttle operations. Another controller, the INCO, monitored the spacecrafts communications and instrumentation.</p><br>
<p>The third row consisted of the PAO, PROCEDURES, and the FAO (flight activities officer), who coordinated with the flight schedule. The AFD (assistant flight director) and the flight director were also located on the third row.</p><br>
<p>The fourth row, like the old Cape MCC&#39;s third row, was reserved for NASA management, including the director of the Johnson Space Center, the director of flight operations, the director of flight crew operations (chief astronaut), and the Department of Defense officer.</p><br>
<h3>Blue FCR (1998–2006)</h3><br>
<p>The Blue FCR, used primarily for ISS operations from 1998 to 2006, was arranged in five rows of three consoles, plus one in the rear right corner. From left to right, as viewed from the rear of the room:</p><br>
<p>The front row consisted of ADCO, THOR, and PHALCON.</p><br>
<p>The second row consisted of OSO, ECLSS pronounced "eekliss", and ROBO.</p><br>
<p>The third row consisted of ODIN; depending on phase of flight, either ACO (shuttle docked) or the CIO (Free-flight Operations); and OpsPlan.</p><br>
<p>The fourth row consisted of CATO, FLIGHT (flight director), and CAPCOM.</p><br>
<p>The fifth and last row consisted of GC; depending on the phase of flight, either RIO, EVA, VVO, or FDO (reboosts only); and SURGEON.</p><br>
<p>In the back, right corner, behind the Flight Surgeon, the PAO (Public Affairs Officer) was occasionally present on a separate single console.</p><br>
<h3>White FCR (1998–2011)</h3><br>
<p>The White FCR, which was used for Space Shuttle operations, was arranged in five rows. From left to right, as viewed from the rear of the room):</p><br>
<p>The front row (the "trench") had FDO (pronounced "fido"), responsible for orbital guidance and orbital changes, depending on the phase of flight; either Guidance, a specialist in the procedures of those two high-energy, fast-paced phases of flight or rendezvous, a specialist in orbital rendezvous procedures; and GC, the controller responsible for the computers and systems in MCC itself.</p><br>
<p>The second row had PROP, responsible for the propulsion system; GNC, responsible for systems that determine the spacecraft&#39;s attitude and issue commands to control it; MMACS (pronounced "max"), responsible for the mechanical systems on the space craft, such as the payload bay doors and landing gear; and EGIL (pronounced "eagle"), responsible for the fuel cells, electrical distribution and O2 & H2 supplies.</p><br>
<p>The third row had DPS, responsible for the computer systems; ACO or Payloads, responsible for all payload-related activities (depending on whether the shuttle flight supported an ISS assembly flight or not; FAO, responsible for the overall plans of activities for the entire flight; and EECOM responsible for the management of environmental systems.</p><br>
<p>The fourth row had INCO, responsible for communications systems for uploading all systems commands to the vehicle; FLIGHT—the Flight Director, the person in charge of the flight; CAPCOM, an astronaut who is normally the only controller to talk to the astronauts on board; and PDRS, responsible for robot arm operations.</p><br>
<p>The back row had PAO (Public Affairs Officer), the "voice" of MCC; MOD, a management representative, depending on the phase of flight; either RIO for MIR flights, a Russian-speaker who spoke with the Russian MCC, known as Цуп, (Tsup); BOOSTER responsible for the SRBs and the SSMEs during ascent, or EVA responsible for space suit systems and EVA tasks; and finally, SURGEON.</p><br>
<h3>FCR 1 (2006–present)</h3><br>
<p>All US International Space Station operations are currently controlled from FCR 1, remodeled in 2006. This FCR abandoned the traditional tiered floor layout, with all rows instead at the same level. A few engineering specialists are in the center of the front row, with the public affairs commentator at the right end behind a low partition. The space station trajectory position was moved to the third row.</p><br>
<p>During early ISS operations, a scheme known as Gemini was used, which reduced staffing for real-time ISS support by consolidating six system disciplines into two positions. From these two "super-consoles", named Atlas and Titan, two people can do the work of up to eight other flight controllers during low-activity periods. One position, call sign TITAN (Telemetry, Information Transfer, and Attitude Navigation), was responsible for Communication & Tracking (CATO), Command & Data Handling (ODIN), and Motion Control Systems (ADCO). The other position, call sign ATLAS (Atmosphere, Thermal, Lighting and Articulation Specialist), was responsible for Thermal Control (THOR), Environmental Control & Life Support (ECLSS), and Electrical Power Systems (PHALCON). ATLAS was also responsible for monitoring Robotics (ROBO) and Mechanical Systems (OSO) heaters, as those consoles were not supported during the majority of Gemini shifts. While Gemini officially reflected the fact that two controllers act as "twins" during operations, the name was also an homage to the first missions (Project Gemini) controlled from that room. In addition, Titan was the type of booster rocket which launched the Gemini spacecraft and Atlas boosters launched Gemini-era Agena target vehicles (and several missions in Project Mercury).</p><br>
<p>In 2010 after ISS assembly complete, the Gemini concept was removed and the six core disciplines were reduced to four. Those console positions are ETHOS (Environmental and Thermal Operating Systems) which consists of the ECLSS system as well as the internal thermal control system formerly held by THOR; SPARTAN (Station Power, ARticulation, Thermal, and ANalysis) which consists of the electrical power and external thermal control systems; CRONUS (Communications RF Onboard Networks Utilization Specialist), a combination of the previous ODIN and CATO positions; and ADCO (Motion Control Systems).</p><br>
<h2>Backup Control Center and mission control facilities</h2><br>
<p>In the event that the MCC-H is unavailable due to a hurricane or other foreseeable event, NASA has the option of quickly relocating to a temporary Backup Control Center (BCC) offsite. In 2017 for Hurricane Harvey, BCC was a hotel in Round Rock, Texas, about four hours away, while in 2020 for Hurricane Laura the BCC was at the Columbia Scientific Balloon Facility in Palestine, Texas, the designated backup site since 2017.</p><br>
<p>For more long-term use, NASA will relocate to a more robust but farther control center at the Huntsville Operations Support Center (HOSC) at Marshall Space Flight Center for ISS operations. In 2008 for Hurricane Ike, NASA activated Backup Control Centers in both Round Rock and Huntsville for specific duties.</p><br>
<p>Uncrewed US civilian satellites are controlled from the Goddard Space Flight Center in Maryland, while California&#39;s Jet Propulsion Laboratory manages robotic US space probes.</p><br>
<p>The Wyoming County Courthouse and Jail is a historic courthouse and jail located in Pineville, Wyoming County, West Virginia. It consists of the unusually large neoclassical courthouse, with a massive pediment, and an adjoining stone jail. The courthouse was designed by West Virginia state architect A. F. Wysong and built in 1916 of locally quarried stone. The jail was built of similar materials in 1930 with Work Projects Administration labor. A statue of preacher W.H.H. Cook, an early settler of the area and influential citizen, stands in front of the courthouse.</p><br>
<p>The Wyoming County Courthouse was placed in the National Register of Historic Places in 1979.</p><br>
<p>The Wirt County Courthouse in Elizabeth, West Virginia was built to replace a courthouse that burned May 15, 1910. The new neoclassical courthouse was designed by B.F. Smith and subsequently built by his company. The courthouse is the most significant building in the small community of Elizabeth, with a population of less than 1000. The brick courthouse features a two-story columned pediment and is surmounted by a clock tower.</p><br>
<p>The Old Town Historic District is an area located near downtown Harrisonburg, Virginia, that has been added to the National Register of Historic Places. It was added in March 2008. The area covers from northeast of James Madison University up to the area of Woodbine Cemetery.</p><br>
<p>Plans for the area include upscale and ethnic restaurants in restored historic structures, shops, antiques and boutiques, museums, art galleries, and a cultural arts district.</p><br>
