<p>The Goetsch–Winckler House  is a building that was designed by Frank Lloyd Wright, built in 1940. It is located at 2410 Hulett Road, Okemos, Michigan. The house is an example of Wright&#39;s later Usonian architectural style, and it is considered to be one of the most elegant. The house was added to the National Register of Historic Places in 1995 and is #95001423.</p><br>
<h2>History</h2><br>
<p>In the 1930s eight professors from Michigan State University in East Lansing, Michigan, formed a co-op and bought a tract of land in neighboring Okemos. Two of them, Alma Goetsch and Kathrine Winckler (or Winkler), approached Wright asking him to design a community for them. Due to lack of financing, the project collapsed, and only the Goetsch–Winckler House was built on a different site.</p><br>
<p>After World War II, Wright designed houses separately for several other co-op members, although the only design that was built was for Erling P. Brauner, also in Okemos, less than a mile and a half from Goetsch–Winckler House.</p><br>
<h2>Design</h2><br>
<p>One of Wright&#39;s earliest Usonian homes, at the house is an "in-line Usonian", literally a house built in a straight line. The carport, living room, dining room, kitchen and bedrooms all form rectangular spaces that slide past each other. The living room takes up most of the house, with a chimney at one end in front of a workspace. At the opposite end, two bedrooms, separated by a bathroom, open out on to a veranda. The workspace exemplifies the Usonian interior, with its clerestory windows supplementing a bank of full length casement windows on the adjacent wall. Despite its small size the house seems large due to built-in furniture and shelves. Built-ins include the dining room table, a seat by the fireplace, a bar, a desk and bookcase in the workspace, as well as numerous storage spaces.</p><br>
<p>The Eugene A. Gilmore House, also known as "Airplane" House, constructed in Madison, Wisconsin in 1908, is considered "a superb expression of Frank Lloyd Wright&#39;s mature Prairie style." The client, Eugene Allen Gilmore, served as a law professor at the nearby University of Wisconsin Law School. In 1973 the house was added to the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>Eugene Gilmore was born on a farm in Brownville, Nebraska in 1871. He met Blanche Bayse while they both attended DePauw University, and they were married after he graduated from Harvard Law in 1899. In 1902 they moved to Madison where Eugene started at the UW Law School as an assistant professor.</p><br>
<p>Around 1908, Eugene and Blanche hired Frank Lloyd Wright to design them a home after seeing some of his designs in an issue of the magazine Architectural Record. By this time, Wright had been in the architectural design business for 20 years, starting as a draftsman completing designs for other architects in traditional styles, then becoming an independent architect and shifting from traditional styles to Prairie School. When the Gilmores hired Wright, he was a leading proponent of Prairie Style, and his version was mature, producing modern-looking, strongly horizontal buildings that fit the American landscape like sandstone outcrops.</p><br>
<p>The Gilmores had already bought a lot on a hillcrest a quarter mile west of Camp Randall, and Wright designed them a 2-story structure with a cross-shaped footprint. The design emphasizes the horizontal, with broad eaves, horizontal trim, banded windows, and a low pitched copper-clad hip roof that looks flat from most viewpoints. The exterior walls are stucco with wood trim. Ends of some of the wings are screened porches. From certain angles the whole thing does resemble an airplane - though not as much as before an addition at the main entrance. Inside, the basement originally contained the main entry, servant&#39;s quarters, and utility rooms. The first floor contained a living room, dining room, library, and a porch. The second floor contained four bedrooms and balconies. The Gilmores had given Wright a budget of $8,000, but construction costs ended up around $10,000. Wright himself visited the job site only three times and Eugene Gilmore ended up supervising construction.</p><br>
<p>As a professor at Madison, Eugene was active in the conservation movement, served as acting dean of the law school from 1912 to 1913, and served as president of the Association of American Law Schools. In 1922 he left to become vice-governor of the Philippines and the secretary of public instruction there. He also served as acting governor from 1927 to 1929. Back in the USA he served as dean of the college of law of the State University of Iowa and later president of that institution.</p><br>
<p>Around 1930 Nellie and Howard Weiss bought the Airplane House. They had the front entry modified and a three-car garage added in back, with design done by Law, Law & Potter. Howard was Treasurer of C.F. Burgess Laboratories, and founded Research Products Laboratory in 1939. After his death, Nellie lived there until 1981.</p><br>
<p>The Airplane House was added on its own to the NRHP in 1973. In its nomination, Gordon Orr wrote:The Gilmore House represents an exemplary piece of architecture created by one of Americas greatest architects. In acknowledging the great contribution that Wright has made to American architecture, one would also seek an example of his work in the city that was home and school to him for a portion of his life. Madison has several such works, but the Gilmore House stands as the finest example of Prairie architecture from his hand for many miles around. It must be recognized that the Gilmore House is a dual contribution to Madisons architectural heritage; it is an excellent example of Prairie architecture and it is an example of Frank Lloyd Wright&#39;s work.</p><br>
<p>The Airplane House is located within the University Heights Historic District, on Ely Place & Prospect Avenue, a short walk from other important architecture like Louis Sullivans Bradley House, George Fred Kecks Morehouse House, and other designs by local architects.</p><br>
<p>The John D. Haynes House is a house in Fort Wayne, Indiana, designed by Frank Lloyd Wright. The house is a small and modest Usonian design in glass, red tidewater cypress, and Chicago Common Brick on a red concrete slab.</p><br>
<p>The gallery is offset to meet the rear of the great room at its center, rather than typically to one side. A music room and three bedrooms drop off this gallery. The plan thus generated is an outside T, with great room facing southwest and southeast, bedrooms looking southeast to the morning sun. The gabled roofing is asymmetrical.</p><br>
<p>The house was designed inside the original layout of the Wildwood Park development which was designed by the noted American landscape architect, Arthur Asahel Shurcliff. The house was listed on the National Register of Historic Places in 2004, and the Historic Preservation Review Board declared the property a Local Historic District in April 2008, at the request of the out-of-state owner. In 2010, the owner, Richard Herber, asked the Historic Preservation Review Board to rescind the historic designation, a request they rejected, citing his failure to explain his change of mind as a factor in their decision. In 2016, he sued the city council and historic preservation commission in USA federal court, but the case was dismissed in March 2017.</p><br>
<p>The Ray Brandes House is a Frank Lloyd Wright designed Usonian home located at 2202 212th Avenue SE, Sammamish, Washington It was constructed in 1952. The home is constructed in Frank Lloyd Wrights Usonian style which is designed to create flow between nature, the home and its interior. It is one of the better preserved examples of this style, and one of three homes designed by Frank Lloyd Wright in Washington State. Landscaping was selected from local flora and fauna, typical of Frank Lloyd Wrights preference.</p><br>
<p>The Paul J. and Ida Trier House is a historic building located in Johnston, Iowa, United States. It is a Frank Lloyd Wright designed Usonian home that was constructed in 1958. It was the last of seven Wright Usonians built in Iowa. While it is now located in a residential area, it was constructed in an area surrounded by rural farmland. The Trier house is a variation on the 1953 Exhibition House at the Solomon R. Guggenheim Museum in New York. The north wing of the house was designed by Taliesin Associates and built in 1967. It was originally the carport, which was enclosed for a playroom. The present carport on the front and an extension of the shop was added at the same time.</p><br>
<p>The exterior of the house is composed of hollow clay tile blocks, while the addition is brick matching the tiles. A low, flat roof caps the home. The interior features red concrete slab floors, with the exception of the kitchen where they are slate. Philippine mahogany is used for the woodwork. A large fireplace is located in the living room. The living room, kitchen, and bedrooms all face south with window walls in the living room and master bedroom. A deep overhang shades the rooms in the summer. The other bedrooms and the study have a band of windows. Typical of a Wright-designed home, the house is integrated into the site and opened to the outdoors.</p><br>
<p>The Melvyn Maxwell Smith and Sara Stein Smith House, also known as MyHaven, is a Frank Lloyd Wright designed Usonian home that was constructed in Bloomfield Hills, Michigan in 1949 and 1950. The owners were two public school teachers living on a tight budget. The 1957 landscape design is by Thomas Dolliver Church. The home is now on the National Register of Historic Places.</p><br>
<h2>Owners</h2><br>
<p>Melvyn Maxwell Smith was the son of Lithuanian Jewish immigrants whose original surname was Smiefsky. He became a grade school teacher, and later a high school English teacher. While attending an art history class at Wayne State University as a graduate student in 1939, he was inspired by a presentation on Wright&#39;s famous Fallingwater house, and, on the spot, announced his intention to build a house designed by Wright himself.</p><br>
<p>Sara Stein, born in 1907 in South Fork, Pennsylvania was the daughter of Lithuanian Jewish immigrants. She later became a Christian Scientist. She was also a school teacher.</p><br>
<p>Sara Stein embraced Smith&#39;s vision of a Wright designed home, and the couple married on March 21, 1940. They spent their careers as teachers in the Detroit Public Schools. Melvyn Smith died in 1984 and Sara Smith died in 2005.</p><br>
<p>The home, given by the Towbes Foundation in December 2017, is now owned by the Cranbrook Educational Community. Tours are available May through October through the Cranbrook Center for Collections and Research website.</p><br>
<h2>Design of the house</h2><br>
<p>In the summer of 1941, the Smiths traveled to Taliesin, Wright&#39;s studio near Spring Green, Wisconsin. There, they met with Wright, who agreed to design a home for them with an initial budget of approximately $9,000.</p><br>
<p>World War II delayed the project. Melvyn Maxwell Smith was drafted into the Army in February 1942, and served until late in 1945.</p><br>
<p>In the summer of 1946, the Smiths purchased 3.3 acres of hilly, wooded land in Bloomfield Hills for $3,600, which represented their entire savings at that time. They again contacted Wright, and visited with him over the Labor Day weekend of 1946. After several delays, they received the preliminary house plans from Wright in March 1947. The house was to be 1600 square feet and featured radiant heating through hot water pipes installed under the floor slab. Like other Wright Usonian home designs, the house also relied on passive solar energy. The Smiths collaborated with Wright on a number of revisions to the house plans, and developed a close rapport with the architect during the process. Wright agreed to incorporate all of the changes they proposed, and the design was finalized in September 1949. Architect William Wesley Peters, who served as president of the Frank Lloyd Wright Foundation, wrote that Wright "never had clients who were greater in the sense of love and appreciation than Melvyn Maxwell and Sara Smith. It was a two-way road because the more that came back to Frank Lloyd Wright, the more he gave, so it was a double gain."</p><br>
<h2>Construction</h2><br>
<p>At Wright&#39;s advice, Melvyn Maxwell Smith decided to act as his own general contractor, so that he could save money and maintain the quality standards he expected. He recruited skilled workers who wanted to work on a home designed by Wright so much that they would accept lower pay than usual. Suppliers of building materials also provided goods, such as 14,000 board feet of red tidewater cypress lumber at discounted prices because of their wish to be involved with a Wright project. As a young man, before his eventual career as a shopping center developer, A. Alfred Taubman provided all of the windows at a deep discount because he considered the house a "fantastic structure".</p><br>
<p>During the construction period in 1949 and 1950, the Smiths&#39; combined income was $280 per month. They could only spend what they had saved, so building was slowed by the acquisition of the necessary funds, Sara working through the summer often at Cranbrook Theater summer camps, while Smith supervised the building. They had to "scrimp and save in myriad ways".</p><br>
<p>They moved into the house in May 1950, with minimal appointments. One year later, they received as a housewarming gift from brother-in-law Irving Goldberg: a maple dining table with eight maple chairs, two coffee tables and six hassocks, all designed by Frank Lloyd Wright as part of the house plans and crafted by the Goldberg company&#39;s master carpenters.</p><br>
<h2>Visits by Frank Lloyd Wright</h2><br>
<p>Although construction was supervised mostly at a distance by one of Wright&#39;s subordinates, John H. "Jack" Howe, Wright visited the house himself in 1951, and called it "my little gem". He visited the house again in 1953 and 1957.</p><br>
<h2>Landscaping and art collection</h2><br>
<p>In 1957 Melvyn Smith met with landscape architect Thomas Dolliver Church, who visited the home and stayed for a spaghetti dinner prepared by Sara Smith. Church spent the night as their guest, and the following morning produced a landscape plan on the spot for a nominal fee.</p><br>
<p>The home is located near the Cranbrook Educational Community, and over the years, the Smiths built an extensive art collection, where the majority of works were by artists associated with Cranbrook. Among them are a massive chest by Paul R. Evans, a gazelle sculpture by Marshall Fredericks, and works by many other artists, exterior sculptures by Mike Calligan, weavings by Urban Jupena, interior sculptures by James Messana, and a sculpted bust of Melvyn Maxwell Smith by Robert Schefman. Cranbrook president Roy Slade praised the home as exemplifying "the integration of art, architecture and nature". Architectural photographer Balthazar Korab produced a widely reproduced image of Calligan&#39;s "Natural Bridge" sculpture with the house as the backdrop. Later, the Smiths collected works by Glen Michaels, including an accordion screen to close off the kitchen from the dining area, and a triptych mosaic installed above the fireplace. The house was modified in 1968 in consultation with Frank Lloyd Wright Foundation architect William Wesley Peters to convert the south terrace into a garden room ". The house is now 1,800 ft&sup2;.</p><br>
<h2>Significance</h2><br>
<p>According to the Michigan State Historic Preservation Office, "the use of strong horizontal roof planes, cantilevers, and the landscape emphasize the integrated relationship of the structure" and they concluded that the house is "a prime example of Frank Lloyd Wright’s Usonian design philosophy for housing the common man."</p><br>
<p>The National Register of Historic Places described the homes characteristics as including "ingenious building techniques, free flowing interior spaces exploding to the outdoors, as well as an organic&#39; relationship to the site" and they concluded that "the home is especially pleasing at night when the spaces take on a festive atmosphere. At night from the exterior, the lights reflect off the large glass walls and mitered glass corners and give the home a crystalline quality."</p><br>
<p>The Judge Charles P. McCarthy House is a two-story Prairie School duplex which was constructed in Boise, Idaho in 1913. It was adapted from a Frank Lloyd Wright design published in the April 1907 edition of Ladies Home Journal Magazine, where readers could purchase plans for a flat rate, or have them customized by Wright&#39;s office for a 10% premium. It appears as a classic prairie-style design with horizontal design elements, including a low-pitch roof with deep hipped roof overhangs.</p><br>
<p>The house was individually listed on the National Register of Historic Places in 1979.</p><br>
<p>The Union Green is the town green of the New England town of Union, Connecticut. The Green is a small town-owned wedge at the north end of a triangle park area  formed by Town Hall Road, Buckley Highway and Kinney Hollow Road. The Green, Union Grove, and properties to the north along Route 190 are listed on the National Register of Historic Places as the Union Green Historic District. The historic district contains 16 buildings, 3 sites, and 2 objects over an area of 300 acre.</p><br>
<p>The Old Town Hall (now a historical society museum) is the dominant feature on the Green.</p><br>
<p>Several town buildings, specifically the former town hall, library, Congregational Church, the Union School and former district school, and cemetery, are located around the Green. There are only two houses located around the immediate perimeter of Union Green. The oldest is the one built by Ezra Horton in 1759. The other is a newer house constructed in 1956.</p><br>
<p>Although the larger Union Grove to the west of the green is privately owned, it is used for public celebrations. Also in the Grove near the intersection of Kinney Hollow and Town Hall Roads is a rough-hewn granite slab with a bronze commemorative plaque honoring the site of the first meetinghouse.</p><br>
<p>In addition to serving a commemorative function, the green is used as a meeting place for parades and other town events. An Old Home Day celebration is held at the pavilion on the third weekend of August when there is a barbecue and an evening dance.</p><br>
<p>The green and surrounding buildings are significant as a historic district for their evoking "the locations historic role as the towns political, religious, educational and social center", for preserving examples of architecture, and for 18th century stonecarved funerary art included in the cemetery.</p><br>
<p>Bolton Green Historic District is a historic district that includes the town green, Bolton Green, of the town of Bolton, Connecticut. The green and the surrounding buildings were listed on the National Register of Historic Places in 2001. The district extends east about 500 yard from the green along Bolton Center Road. The oldest existing buildings around the Green are the former tavern and the Bolton General Store. The most prominent building around the Green is the Bolton Congregational Church, a Greek Revival structure built in 1818 with a truncated box-spire. Other structures around the green are a house facing the green on the east side built in the 1840s, and a new ranch house that was built on the former site of an 1870s house that was destroyed by fire. Other properties in the district includes the Brick Tavern, the site of Bolton&#39;s first post office, the town hall, the Tuthill residence, and the Bolton Heritage Farm.</p><br>
<p>The green itself is triangular in shape and is located at the junction of Bolton Center Road and Hebron Road. The Green is an open, well-kept grassy area defined by the roads and trees. The green contains two war memorials commemorating World War I and World War II; and Korea and Vietnam combined, flanking a flagpole. Bolton Green continues to be used as an open space maintained for public use and town commemorative functions.</p><br>
<p>The Washington-Rochambeau Revolutionary Route National Historic Trail passes through the Bolton Green historic district.</p><br>
<p>Willington Common Historic District is a historic district that includes the town green, Willington Common, of the town of Willington, Connecticut. The common and the surrounding buildings were listed on the National Register of Historic Places in 1990.</p><br>
<p>The district is located at the junction of Route 74 and Route 320, on the location now known as Willington Hill, which is the original settlement and town center of Willington. The Green is rectangular and is bounded by Route 74 on the south, Jared Sparks Road on the east and Common Road on the north and west.</p><br>
<p>The buildings around the common were built in the 18th and 19th centuries. They include two churches, the Old Town Hall, a parsonage and other residences (some of which served as stores and taverns). The two churches are the most dominant structures on the Green.</p><br>
<p>Rockland is the home of Virginia&#39;s Rust family, near Leesburg, Virginia. The property housed slaves to work their farm. The property was acquired by General George Rust from the heirs of Colonel Burgess Ball in 1817. General Rust built the present brick residence about 1822, incorporating an older frame house as a rear service wing.</p><br>
<p>General Rust was involved in the Baltimore area during the War of 1812 and was a member of the Virginia House of Delegates in 1818-1819 and 1820–1823. The 1850 USA Federal Census - Slave Schedules lists 33 slaves as being owned by George Rust of Loudon County. The Rust of Virginia genealogy is available online and lists names and transactions for some of the enslaved. On his death in 1857 the house passed to his son, Colonel Armistead Thompson Mason Rust. Born at Rockland in 1820, Colonel Rust attended West Point and served with the Confederate 19th Virginia Infantry during the American Civil War. On Colonel Rusts death in 1887, his son Henry Bedinger Rust inherited the property. Henry enlarged the house in 1908 to its present configuration. The house continues to be owned by the Brown family, descendants of the Rusts through Henrys daughter Elizabeth Fitzhugh Rust Brown.</p><br>
<p>The Federal style house has a central hall, single pile plan, extended by the 1908 additions to a double-pile plan. A one-story Roman Doric portico was added to the south elevation in 1908, while the rear (east) elevation has a Roman Doric porch across its width. The property includes a number of outbuildings, including a brick overseers residence, brick slave quarters, a smokehouse, a small barn, a farm supervisors house and a variety of twentieth century buildings.</p><br>
<p>What was the Virginia landing of Whites Ferry is located at Rockland. Following a lawsuit initiated by the family owning Rockland, the ferry ceased operations.</p><br>
<p>Rockland was listed on the National Register of Historic Places in 1987.</p><br>
<p>Reference</p><br>
<p>Rust, Ellsworth M. Rust of Virginia Genealogical and Biological Sketches of the Descendents of William Rust 1654–1940. Washington, 1940. http://wvancestry.com/ReferenceMaterial/Files/Rust_of_Virginia;_genealogical_and_biographical_sketches_of_the_descendants_of_William_Rust_1654-1940.pdf</p><br>
<p>Old Rock House, also known as Shapley Ross House, is a historic home located at Moscow Mills, Lincoln County, Missouri. It was built between about 1818 and 1821, and is a two-story, five-bay, Classical Revival style squared rubble limestone dwelling, with a two-story rear ell added about 1870. The house measures 56 feet, 6 inches, wide and 46 feet, 3 1/2 inches, deep.</p><br>
<p>It was listed on the National Register of Historic Places in 1972.</p><br>
<p>Cape Girardeau Commercial Historic District is a national historic district located in Cape Girardeau, Missouri. In 2000, the area listed was 1.6 acre and included 17 contributing buildings. In a first increase, an 1891 contributing building at 101 North Main Street was added. The building was designed by Jerome B. Legg and Henry Ossenkop in the Romanesque style. In a second increase, three contributing buildings dating from 1870 were added. The two increases added 0.9 acre each to the original listed area.</p><br>
<p>It was listed on the National Register of Historic Places in 2000 with boundary increases in 2007 and 2008.</p><br>
<p>McKendree Chapel, also known as Old McKendree Chapel is a historic chapel located at Jackson, Missouri. It is a log cabin style chapel that was built in 1819 and is known as the oldest Protestant church standing west of the Mississippi River. The church was organized in July 1809. Adjacent to the church is the cemetery.</p><br>
<p>It was listed on the National Register of Historic Places in 1987, with a boundary increase in 2006.</p><br>
<p>The Tolland Green Historic District is a historic district that includes the town green, Tolland Green, of Tolland, Connecticut.</p><br>
<p>The Tolland Green is a long and narrow strip of land oriented in a north-south direction. The district includes the green and the surrounding properties. The historic district contains 55 contributing buildings and one other site, and is located primarily along Merrow Road (Route 195) from just south of Cider Mill Road in the south, past the Tolland Green, then widening in the north to encompass both Tolland Stage Road (Route 74) and the street known as Tolland Green to roughly Dunn Hill Road. Route 195 serves as the Tolland Green&#39;s western boundary, while the street known as Tolland Green serves as the eastern boundary. Route 74 cuts through the Green from east to west.</p><br>
<p>On either side of the Green at the south end are two town halls, the Old Town Hall (1879) and the present Town Hall (1909). The historic Congregational Church, the Old Tolland County Courthouse (built in 1822; site of the Tolland Public Library from 1899 to 1985), the Board of Education building (in a converted residence built in 1830), the Ratcliffe Hicks Memorial School (built in 1908; now the Hicks Memorial Municipal Center and Library), and the Old Tolland County Jail and Museum are located near the intersection where the Route 74 cuts through the Green. Most buildings in the historic district are residential and most date from the 18th and 19th centuries. Historic residences include the Hicks-Stearns Family Museum, former home of Ratcliffe Hicks.</p><br>
<p>The district is significant for its landscape qualities, its historical associations, and its Federal and Victorian architecture.</p><br>
<p>The houses at 37–47 North Fifth Street in Hudson, New York, United States, are a row of six Italianate buildings. They were built around 1870 by Freeman Coons, a local builder.</p><br>
<p>They are an intact example of late 19th-century worker housing in the city, restored at the end of the 20th century by a local community housing group after decades of neglect. In 2003 they were listed on the National Register of Historic Places. They are currently used by a local drug rehabilitation program.</p><br>
<h2>Property</h2><br>
<p>Five of the row&#39;s six houses are identical two-story, three-bay frame structures with a continuous gable roof shingled in asphalt. They have distinctive Italianate features such as bracketed cornices, two-over-two sash windows and paneled entrance reveals.</p><br>
<p>All the east (front) facades are sided in clapboard, and all windows have paired louvered shutters. The basement on the west elevation is exposed, giving the appearance of a third story. On the inside, they are divided into two or three apartments, some with only a single room.</p><br>
<p>The exception to the plan is 47 North Fifth, which is three stories high and twice as deep, with its exposed basement giving it an apparent fourth floor. On its north side is a wraparound storefront, topped by a rounded louvered vent in the gable end. There are two flat-roofed additions, one a single story and the other two, on this end. Both have dentilled cornices.</p><br>
<h2>History</h2><br>
<p>Whaling, the industry that had started Hudson, had declined by the mid-19th century. Manufacturing began to replace it, requiring more labor and growing the citys population. These workers needed housing. The citys grid plan was mostly developed but there were still open spaces on its edges, near the factories.</p><br>
<p>In the years after the Civil War, local builder Freeman Coons and his partners, a local family-owned lumber business, bought the land on the undeveloped section of North Fifth north of State Street. They built the houses, which they intended to be rental properties, between 1869 and 1871 in a vernacular take on the then-popular Italianate architectural style, and then sold them.</p><br>
<p>The 1870 census records three buildings on the row, Nos. 43, 45 and 47, as finished and occupied. Ten years later, however, the 1880 census lists only two. The records from these censuses do show that the occupants at the time were workingmen and their families, as Coons and his partners had intended.</p><br>
<p>Over the next century, the houses remained intact and unaltered, but went into decline much as the city itself did, even after the nearby downtown rebounded when it attracted antique shops and art galleries following its 1985 designation as a historic district. In the late 1990s Housing Resources of Columbia County (HRCC), whose offices were just around the corner, started the North Fifth Street Revitalization Project to address this "pocket of blight." Its goal was to acquire the neglected properties on the block, including the rowhouses, and restore them to create homeownership opportunities and reverse the downward trends in the neighborhood.</p><br>
<p>Through a combination of $2 million in state and local grants, HRCC was able to acquire and restore most of the block, including the rowhouses. During this process, it was approached by Twin County Alcohol and Substance Abuse Services, which was looking for both office space and apartments for its clients, recovering addicts who had returned to living independently but still needed outpatient treatment. HRCC decided to adapt the rowhouses for this purpose, eventually creating 6,000 ft&sup2; of office space and rooms for Twin County. The work was finished in 2002.</p><br>
<p>Robert E. Lee Hotel in St. Louis, Missouri, also known as Auditorium Hotel, Evangeline Home, or Railton Residence, is a Romanesque style building. It was listed on the National Register of Historic Places in 2007.</p><br>
<p>It was designed in 1927 by architect Alonzo H. Gentry and was built during 1927–28. It is a 14-story building with a cast concrete structural framework and red brick walls.</p><br>
<p>It was originally opened as the Robert E. Hotel. Purchased by the Salvation Army in 1939 for $1.</p><br>
<p>Later, as Evangeline Booth Home, it provided housing for wives separated from their husbands in active duty in the military during World War II.</p><br>
<p>Named the "Railton Residence" in the 1970s and provided low-income housing.</p><br>
<p>Closed in 2008 for renovations.</p><br>
<p>Its renovation was completed in 2010 and since then it has served as a Salvation Army residence.</p><br>
<p>The Lark Theater is a single-screen Art Deco cinema in Larkspur, California, United States.</p><br>
<h2>History</h2><br>
<p>The Lark Theater was built by the Blumenfeld family in 1936, over a horse-shoe pit. It anchors the North End of Larkspur&#39;s historic downtown district, and is designated a Larkspur Heritage Building. It is a contributing structure in the Larkspur Downtown Historic District, which is listed on the National Register of Historic Places.</p><br>
<p>The Lark was designed by architect William B. David, who began his career in the firm of S. Charles Lee and went on to design many Northern California cinemas of the period, including the Lark&#39;s sister theaters the Park, in Lafayette, California, and the Noyo in Willits, California.</p><br>
<p>It may not be a coincidence that all three structures used four-letter names that fit neatly above the marquee.</p><br>
<p>The theater is Larkspur&#39;s only Art Deco building. It originally seated 400 people and featured both heating and air conditioning at the time it opened. Its neon sign and stopped tower are typical details used for 1930s movie theaters. The two small buildings on either side of the theater were originally used as office and storage space for the theater.</p><br>
<h2>Closure and renovation</h2><br>
<p>Over the decades of its existence, the Lark has been a first-run movie theater and an art-house venue. But by the late 1990s, the building was empty and in disrepair. The theater had been dark for five years, and was slated for demolition in 2003, when local residents mounted a campaign to "Save the Lark." Sufficient funds were raised to restore the theater&#39;s interior and exterior, and to do so with environmentally safe materials. Local professionals donated services and volunteers, led by co-founder and Executive Director Bernice Baeza, worked to restore the Lark to its original splendor. For these efforts, the Lark Theater was awarded the 2005 Art Deco Preservation Award from the California Art Deco Society and certified as a green business by the County of Marin. Later, a successful capital campaign made it possible for the non-profit Lark Theater LLC to purchase the building.</p><br>
<p>On July 9, 2004, the Lark Theater re-opened as an independent, non-profit community film and culture center with a screening of the 1949 film noir classic Impact, which was partially shot in Larkspur. The seating capacity was reduced to 205 seats (down from 400). Since that time, the Lark has offered cultural programming which includes first-run, independent and classic film, an annual Youth Film Festival, live broadcasts of events of civic interest such as the Presidential debates and inauguration, fundraisers for local schools and non-profits, panel discussions and live music.</p><br>
<p>In November, 2012, the theater installed a new 4K NEC digital projector for its single screen. The sound system was upgraded to handle 7.1 media.</p><br>
<p>The theater also has two Meyers powered speakers, one subwoofer, a 16 channel audio mixing board, audio effects processors and stage lighting for live performances on the small stage.</p><br>
<p>Washington Hall at the University of Notre Dame in Notre Dame, Indiana is the seventh oldest university owned building on the historic campus. It is part of the University of Notre Dame: Main and North Quadrangles historic district, listed on the National Register of Historic Places, and was the original home of the university&#39;s music and performing arts programs.</p><br>
<p>The theater is located just east of the Universitys Golden Dome, the Universitys main administrative building, on the main quad on campus, also known as God Quad.</p><br>
<h2>History</h2><br>
<h3>Notre Dame before Washington Hall</h3><br>
<p>Ever since the universitys earliest years, the site of Washington Hall has been associated in the minds of Notre Dame students, alumni, faculty and staff with music, entertainment and recreation. In the 19th century, Notre Dame was a small and very much self-contained institution. As early as 1846, the combination of a recognition that Notre Dame would have to provide its own entertainment and a French-inspired appreciation for the fine, dramatic and musical arts led the universitys founders to reserve a building for artistic instruction and performance.</p><br>
<p>The original music hall, which stood on the site next to the Administration Building now occupied by Washington Hall, was a two-story clapboard building. It housed classrooms and practice rooms as well as facilities for lectures, concerts and campus assemblies. The building played a major role in the life of Notre Dame throughout the early years.</p><br>
<p>On April 23, 1879, however, the life of the university changed abruptly when a fire destroyed the five major campus buildings, including the music hall. Although the university literally stood in ashes, the Congregation of Holy Cross was determined to rebuild Notre Dame. Wiloughby J. Edbrooke, a Chicago architect, was commissioned to create a new campus. Two years later, the task was largely completed.</p><br>
<h3>Construction</h3><br>
<p>Among the new buildings was Washington Hall. Father Edward Sorin chose to name it after the first President rather than a Catholic saint, both show his commitment to the American republic (in an age of anti-Catholicism which Catholics were often seen as not American) and to express his newfound patriotic sentiment towards the United States. Washington Hall was built in the “Modern Gothic” style so popular in the 19th-century Midwest and so much in evidence in Notre Dame&#39;s oldest buildings. The placement, façade and proportions of the new building were intended to parallel those of nearby Sacred Heart Church. Because they do so successfully, Washington Hall from the beginning helped to define the boundaries of the main quadrangle of the campus. Thus, even today, Washington Hall remains at the physical core of the university.</p><br>
<p>The new building retained its function as a music hall. One of its two components continued to provide classrooms and practice rooms for individual students, the orchestra and the marching band. Nonetheless, the octagonal-shaped theater, which the building also housed, became synonymous with the words Washington Hall. This theater, which was completely painted over in 1956, once stood as a fine example of the late 19th century décor. Frescoes and murals by Luigi Geogori and Signor Rusca included four emblematic figures of tragedy, comedy, music and poetry above which were portraits of Shakespeare, Molière, Mozart and Dante. Over the proscenium, Washington loomed, flanked by Demosthenes and Cicero on either side. The theater could accommodate 300 spectators in its gallery and another 400 on the ground floor.</p><br>
<h3>Through the years</h3><br>
<p>Over the years, the theater has provided the Notre Dame community with countless hours of entertainment and intellectual stimulation. Numerous student productions have been offered on its stage, beginning with the 1882 production of Oedipus Tyrannus. It has served as a forum for speakers ranging from William Howard Taft, Cardinal Gasquet, Douglas Hyde, Seumas MacManus, Henry James, William Butler Yeats, William Jennings Bryan, Tennessee Williams, Pete Seeger and Phil Donahue.</p><br>
<p>William Butler Yeats stopped at Notre Dame during his tour of America between 1903 and 1904. At Notre Dame, he learned about the student production of the Oedipus Rex in Washington Hall. This play was banned in England, an act he viewed as hypocritical as denounced as part of &#39;British Puritanism. He contrasted this with the artistic freedom of the Catholicism found at Notre Dame, which had allowed such a play with themes such as incest and parricide. He desired to stage a production of the Oedipus Rex in Dublin.</p><br>
<p>Eamon De Valera, President of Ireland, arrived on campus to visit Notre Dame on October 15, 1919. After a warm welcome by the student body, he lay a wreath under statue of Father Corby and planted a tree in honor of his visit. He then spoke in Washington hall about the cause of Ireland in front of twelve hundred students. His address was followed by an impressive ovation and De Valera stated that "It was the happiest day since coming to America."</p><br>
<p>On October 25, 1936, Washington Hall was the location for the visit by Cardinal Secretary of State Eugenio Pacelli, future Pope Pius XII, on his stop at Notre Dame during his visit to the United States. On the stage of the theatre he gave an address and benediction, and received an honorary degree from President O&#39;Hara.</p><br>
<h3>Legendary figures</h3><br>
<p>Notre Dame has often associated in the public mind with legendary figures but few Notre Dame legends have endured as long or lodged themselves as firmly in campus apocrypha as has the ghost of Washington Hall. Theories as to the ghosts identity vary, with the most persistent hypotheses being that the ghost is either that of George Gipp, who supposedly slept on the steps of Washington Hall the night before he became fatally ill in 1920 or a Steeplejack who fell to his death while working in 1886. While they may not agree on the ghosts identity, few students scoff at stories of doors slamming on windless nights, footsteps heard on the roof, or inexplicable noises heard during late-night play preparations. To them the ghost of Washington Hall is very real and very much a part of the respect for the tradition that makes Notre Dame, Notre Dame.</p><br>
<h3>National Register of Historic Places</h3><br>
<p>In May 1978, approximately seventy acres of the University of Notre Dame campus were entered as an historic district on the National Register of Historic Places. The National Register is the federal governments official list of the nations cultural resources worthy of preservation. Inclusion of a district, site or building on the National Register is determined after both state and federal review boards have assessed the quality of significance of the nominated property in American history, architecture, archaeology and culture. Districts must possess integrity of location, design, setting, materials, workmanship, feeling and association, and a) Be associated with events that have made a significant contribution to the broad patterns of our national history; b) Be associated with the lives of significant historical persons; c) Embody distinctive characteristics of architectural and artistic design and construction; d) Yield important historical evidence. Listing on the National Register makes properties eligible for protection under federal preservation law and for federal grants-in-aid for exterior restoration.</p><br>
<p>Notre Dames historic district was assessed to be of significance particularly in the areas of architecture, community planning and educational and religious history. Washington Hall (1881), the seventh oldest extant structure in the district, was identified as a critical structure in both the original campus design plan and as an example of the Universitys predominant architectural style. Its location at the very center makes its preservation essential for the maintenance of the district&#39;s historical aesthetic integrity.</p><br>
<h2>Current building use</h2><br>
<p>With the opening of the DeBartolo Performing Arts Center in the 2004 fall semester, the Student Activities Office entered into an agreement with the Provost&#39;s Office to transform Washington Hall from an academic building into a student-centered venue.</p><br>
<p>The building is divided into five main uses for student groups:</p><br>
<h3>Mainstage</h3><br>
<p>550 seat auditorium suitable for theatrical productions, musicals, pageants, and lectures.</p><br>
<h3>Rehearsal Room 110</h3><br>
<p>A large room suitable for dance practice and performing arts rehearsals.</p><br>
<h3>Lab Theatre</h3><br>
<p>Located on the third floor, a black box theatre with a capacity of 100. Great for small scale theatrical productions and rehearsals.</p><br>
<h3>Scene Shop</h3><br>
<p>The Scene Shop, located on the first floor, is available for students to build sets for their productions.</p><br>
<h3>Club storage rooms</h3><br>
<p>Space allocation is made on an annual basis during the spring semester during the club registration process.</p><br>
<h2>Performers of Washington Hall</h2><br>
<p>Actors from the London Stage</p><br>
<p>The Notre Dame Dance Company</p><br>
<p>The Notre Dame Undertones</p><br>
<p>The Not-So-Royal Shakespeare Company (NSR)</p><br>
<p>Pasquerilla East Musical Company (PEMCO)</p><br>
<p>The Metropolitan Opera House  is a historic opera house in Iowa Falls, Iowa, United States. It was individually listed on the National Register of Historic Places in 1975. In 2012 it was included as a contributing property in the Washington Avenue Commercial Historic District.</p><br>
<p>The Metropolitan Opera House was designed by the Omeyer & Thori architecture firm and opened with its first performance on December 27, 1899, with an audience numbering over 800, later proclaimed as the "biggest social event in the history of Iowa Falls." The house hosted notable artists including Otis Skinner, Walker Whiteside, and John Philip Sousa and his band. Between 1930–54, the house presented films and served as a venue for concerts and drama and dance productions of Ellsworth College and Iowa Falls High School. The theatre was purchased by John P. Whitesell of Iowa Falls in June 2013 and reopened after an upgrade to digital projectors.</p><br>
<p>Oscar-nominated actor Hugh Jackman appeared at The Met&#39;s grand re-opening with his family on September 20, 2013. He introduced two of his films — Prisoners and The Wolverine.</p><br>
<p>The Hanson House in Florissant, Missouri is a historic house located at 704 Ste. Catherine. The house was built in 1897 in what was then an outlying area of the City of St. Ferdinand, and was renovated in 1947. It was added to the National Register of Historic Places in 1979.</p><br>
<p>It is a frame house, vernacular in style, but with some classical details such as "entablature window heads". According to a historic resources inventory done in Florissant in 1978, echoed also in a 1979 study, it has the "finest Eastlake porch in area."</p><br>
<p>The 1947 renovations were to enlarge the basement, remove old buildings behind, and install an indoor bathroom.</p><br>
<p>In the 1970s the area of St. Ferdinand was assessed for its historic resources, leading to the listing in 1979 of the Hanson House and many other houses, buildings, and historic districts on the National Register of Historic Places.</p><br>
<p>The Burkhardt Historic District, in Chesterfield, Missouri not far from the Missouri River, was listed on the National Register of Historic Places in 2000, and the listed area was expanded in 2006 to extend further down the south side of Chesterfield Airport Road.</p><br>
<p>The district consists entirely or mostly of buildings built by or for businessman Edward Burkhardt along what was then known as Olive Street Road (sic) and later became Chesterfield Airport Road. It includes the Farmers State Bank of Chesterfield (1914), a two-story commercial building which was individually listed on the National Register in 1999. Five buildings were built of structural ceramic tile and brick, which was then a new method of construction. These are two nearly identical Craftsman-style bungalow houses built in 1926 and three garages. And behind one of the bungalows is a small other residence.</p><br>
<p>The increase added 10 properties, including eight houses and seven outbuildings that are deemed contributing to the historic character of the district, all built within c.1918-c.1925. Most are built with structural ceramic tile and brick construction, and most of the houses were built from standardized plans.</p><br>
<p>The Rossman–Prospect Avenue Historic District is a small residential neighborhood located near the eastern end of the city of Hudson, New York, United States. Its houses were primarily built in the late 19th and early 20th centuries. It is the smaller of the city&#39;s two historic districts.</p><br>
<p>The area was developed when the city built an aqueduct through land owned by the Rossman family for a reservoir. It was the first planned residential subdivision in the city outside its large downtown grid plan. In 1985 it was listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>The district is a five-acre (2 ha) area along the two streets it takes its name from. It is on the slopes of Academy Hill, sometimes called Prospect Hill, the citys highest at 420 ft. Houses on Rossman, which climbs the hill to a dead end near the reservoir, have a view over the city to the Hudson River and Catskill Escarpment to the southwest. To the north is Columbia Memorial Hospital and, beyond, the large Hudson Historic District. The reservoir and its wooded buffer lands are on the west and south. East of the district is the residential end of Warren Street, Hudsons main street, and US 9.</p><br>
<p>Its boundaries include some of the houses on the south side of Prospect east of Rossman, and both sides of Rossman up to where the houses end. There are 12 lots in total with 14 contributing properties. Two other garages are modern and non-contributing. The houses are in a variety of styles popular before and after the turn of the 20th century, such as Queen Anne, Colonial Revival, Craftsman Bungalow and Tudorbethan.</p><br>
<h2>History</h2><br>
<p>In the middle of the 19th century the entire area was the estate of Allen Rossman, formerly county treasurer and a director of a local bank. Hudson was growing quickly during this time, and began experiencing frequent water shortages. The city government decided in 1874 to pump water from the river up to a reservoir behind Prospect Hill, and condemned a right-of-way for the aqueduct through Rossman&#39;s property.</p><br>
<p>He donated enough extra land for a street 50 ft wide to be built atop the aqueduct, and began planting trees and subdividing the property into 13 lots. The first house, 11 Rossman Avenue, would not be built until 1887. Rossman died soon afterwards, and his descendants sold some of the other lots on the west side of the street during the 1890s. Many of these were Queen Anne Style, with restrained decoration similar to that found elsewhere in Hudson.</p><br>
<p>The lots on the east side were developed in the early 20th century. Many of these houses show the influence of the Arts and Crafts movement, particularly the bungalows. These were unusually sophisticated applications of the style, with Federal and Georgian-inspired detailing. The last two houses to be built in the district, 2 and 4 Rossman (the latter built as a residence for the hospital superintendent), were Tudorbethan-style English country houses, a mode not seen much elsewhere in Hudson.</p><br>
<p>The Lewis County Courthouse is located at 100 E. Lafayette St. in Monticello, Missouri. The Second Empire style courthouse was designed by J.T. McAllister of McAllister & Co., and built in 1875. It was added to the National Register of Historic Places in 2005.</p><br>
<h2>Description</h2><br>
<p>The two-story brick structure rests on a stone foundation, both believed to be of local origin. As built, the dimensions were 80 feet by 48 feet with the eaves at a height of 32 feet. The first floor ceiling height was 12 feet and the second floor&#39;s 18 feet. Three bays, or rooms, were provided on each floor. Since its original construction a series of four additions and internal remodeling have taken place. The building is topped by a mansard roof covered with asphalt, and a distinctive cupola</p><br>
<h2>History</h2><br>
<p>The current Lewis County courthouse is the third incarnation to serve the county&#39;s residents. The first, a primitive one-story log structure, was built in 1834 at a cost of $210. By 1839 it was apparent that a much more substantial building was needed, so $3,200 was appropriated to construct a two-story brick courthouse. Both of these prior buildings were located on or very near the present courthouse location in Monticello, the first being slightly to the west.</p><br>
<p>On February 24, 1874 Lewis County officials appropriated $10,000 for construction of the current courthouse. However, proponents of relocating the county seat from Monticello seized the opportunity to press their case. Through newspaper articles and public meetings citizens of Canton, La Grange, and Lewistown all made their case citing the current seat&#39;s inaccessibility. Lewistown pledged $25,000 toward relocation and new construction while La Grange promised to meet or exceed that offer. Canton topped both, offering to spend not less than $40,000 on a courthouse that would "be an ornament to Lewis County for this and the next generation." However their attempts were in vain as the county officials chose to remain in Monticello and awarded the construction contract to McAllister & Company on March 23, 1875. Work began in April and proceeded rapidly through the following months, with completion and occupation taking place in December, 1875. For a brief time that winter the courthouse also did double duty as a school for the children of Monticello.</p><br>
<p>The courthouse was first expanded in 1922 as two brick additions, each two-story in height, were added to the east and west sides, respectively. Another two-story addition was constructed on the west side in 2004 to house handicapped accessible restrooms, an elevator, and otherwise make the courthouse compliant with the Americans with Disabilities Acts. The interior has been substantially changed over the building&#39;s history as well with drop ceilings, modern HVAC, and modern telecommunications and electrical wiring.</p><br>
<p>The Macon County Courthouse and Annex is a historic courthouse and annex located at Courthouse Sq. in Macon, Macon County, Missouri. It was built in 1865, and is a two-story, cross-plan, Romanesque Revival style brick building with Italianate style detailing. It sits on a limestone foundation and has a gross-gable roof. The annex building was constructed in 1895. It is a two-story, T-shaped, building constructed of red brick with limestone, wooden and cast iron trim.</p><br>
<p>It was added to the National Register of Historic Places in 1978.</p><br>
<p>Wardell House is a historic home located at 1 Wardell Rd. in Macon, Macon County, Missouri. It was built in 1890, and is a three-story, Queen Anne style frame dwelling over a full basement. It was remodeled between 1899 and 1901. It has a complex hipped roof line and asymmetrical plan. It features a full-width verandah and an open tower on the second and third stories.</p><br>
<p>It was listed on the National Register of Historic Places in 1986.</p><br>
<p>The Martin Hotel, erected as a Chicago style building in 1912, is located in Sioux City, Iowa. Added to the National Register of Historic Places in 1983, it is significant for its architecture, operating for many years as the Sheraton-Martin Hotel and now known as the Martin Tower Apartments.</p><br>
<h2>Construction</h2><br>
<p>Because of peoples excitement over the upcoming Interstate Fair, the Martin Hotel was constructed at the intersection of the Fourth Street Historic District and Pierce Street, in the citys downtown area. Features of the hotel included a ballroom, restaurant, cafeteria, and cigar stand.</p><br>
<p>The then current construction of the boiler room was written about in the fourteenth volume of The Reformatory Press, published in 1911, which stated that the room would be "30 feet wide, 55 feet long, and 22 feet deep". The boiler room would then be large enough to be considered one of the biggest heating rooms within the United States.</p><br>
<p>The Martin Hotel was one of Eugene C. Eppley&#39;s hotels from 1915 to 1956. In 1956, the hotel was renamed the Sheraton-Martin Hotel after being acquired by the Sheraton Corp.</p><br>
<h2>Restoration</h2><br>
<p>In the 1980s, the hotel changed to an apartment rental complex, the Tower Hill Apartments.</p><br>
<p>Developer Lew Weinberg along with the same people who restored the Orpheum Theatre began to restore the ballroom, originally used by politicians and others, after being given permission to do so in 2001 by the council of Sioux City.</p><br>
<h2>Mural</h2><br>
<p>Eugene C. Eppley, a businessman from Omaha, Nebraska, commissioned four murals for placement in his hotels, including the Martin Hotel. The mural entitled The Corn Room was painted in 1927 by Grant Wood for the Martin Hotel. Wood&#39;s style exemplified Regionalism, the only Modernist art movement to have originated in the Midwestern United States. The painting was lost under layers of paint and wallpaper, before being rediscovered decades later, in 1979.</p><br>
<p>The owner, Tower Properties, Ltd donated The Corn Room to the Sioux City Art Center, but in 1989 a bankruptcy court voided the donation, and ordered the mural sold at auction. An attorney in Sioux City, Alan Fredregill, purchased the work and later decided to donate it to the Art Center himself.</p><br>
<p>The mural was first shown in its entirety in 1992, later being fully shown for a second time in a 2007 Sioux City Art Center exhibition. The Corn Room then became a permanent exhibit within the art center.</p><br>
<p>The Western Auto Building, first known as the Coca-Cola Building or the Candler Building, after owner Asa Griggs Candler, is located at 2107 Grand Boulevard, in the Crossroads neighborhood of Kansas City, Missouri. Built in 1914, it later served as the headquarters of the Western Auto Supply Company and became known by that association, especially when the company put a multi-story lighted sign on top of the building.</p><br>
<p>The building was added to the National Register of Historic Places in 1988. After serving as office space, it was redeveloped in the early 21st century as part of Western Auto Lofts, a condominium association incorporating three adjacent buildings.</p><br>
<h2>History</h2><br>
<p>The twelve-story building was designed by Arthur C. Tufts & Co. and built in 1914 by the Swenson Construction Company, for the Coca-Cola Company. Asa Griggs Candler had bought the recipe for the drink in 1892, founded the company and rapidly expanded distribution of the product. He established new bases in the South and Midwest, and began to sell the soda drink in Cuba. First known as the Coca-Cola Building or Candler Building, this was one of several he had built through Coca-Cola. Candler&#39;s company headquarters occupied the elaborate Candler Building in Atlanta.</p><br>
<p>This plot of land, originally purchased in 1913, is triangular, and the architect reflected that shape in his design for the 12-story building. It was built in the commercial style, a more utilitarian style than was typical of contemporary architecture.</p><br>
<p>It later was used as the headquarters of the Western Auto Supply Company. Its multi-story lighted sign tops the building. The building and its sign are visible from much of the Crossroads and the surrounding neighborhoods, and from Interstate 35. This visibility, together with the structure&#39;s longevity, has made the Western Auto Building a city landmark. The sign was relit on July 13, 2018, at 8:45pm Central time, having been refurbished with funding from the condominium association.</p><br>
<p>The building was added to the National Register of Historic Places in 1988. It has been adapted as a residential loft condominium.</p><br>
<p>Wirtland is a historic house in Westmoreland County, Virginia, United States, near the community of Oak Grove. Built in 1850 by William Wirt, Jr., the son of former USA Attorney General William Wirt, it has been recognized as a high-quality example of a rural Gothic Revival house of the period. Its historic status was recognized in 1979, when it was listed on the National Register of Historic Places.</p><br>
<p>Wirtland is a two-story brick house surrounded by an attached 15 acre park landscaped in the Victorian style. Constructed in the shape of a cross, the house is built around a central chimney, and multiple porches surround the stucco-covered exterior. The interior includes ornate plasterwork, marble mantels, and a spectacular 2 story spiral staircase. The Gothic theme is carried through many aspects of the ornamentation of the interior.</p><br>
<p>After Wirts death in 1899, the house was owned by his son and daughter-in-law, William Dabney Wirt and Garnett Pendleton Wirt, who ran a boarding school for women in the house until its sale in 1918. After their ownership, Wirtland was purchased by Robert Edward Lee Lewis, a descendant of Martha Washington through her granddaughter, Eleanor Parke Custis Lewis. In 1924, they sold the house to their friend, author and playwright Paul Kester, who had previously owned Woodlawn Plantation and Gunston Hall. He sold the house in 1927, to Edward M. LEngle, the grandson of the builder, Dr. William Wirt, through his eldest daughter, Fannie Wirt, who had grown up in the house. LEngle lived in Florida but allowed his uncle, William Wirt, to spend his final years there, dying in 1930. After that, LEngles cousin, Augusta Dabney Wirt Nalle, and her husband lived at Wirtland. Augusta was the daughter of Daniel Payne Mastin Wirt, who had also grown up in the house. In 1940, Burton and Harriet Slocum purchased the home and oversaw extensive restoration in the 1940s and 1950s. Today, the house is considered one of Virginias most significant houses of its style, and its park, which is also listed on the Register, is one of the few remaining examples of Victorian landscaping.</p><br>
<p>Since 1967, the property has been owned by Ingleside Plantation Nurseries and is the home of the company president. Next door is Roxbury, a Victorian house built by another son of Attorney General Wirt in the 1860s;. This home is owned by Ingleside Plantation Vineyards, one of the oldest vineyards in the state. Like Wirtland, Roxbury is listed on the National Register.</p><br>
<p>The Knickerbocker Apartments were located at 501-535 Knickerbocker Place in the Valentine Neighborhood of Kansas City, Missouri. The Late 19th and 20th Century Revival style building was designed by Leon Grant Middaugh and J.A. Rose, and was built in 1909. It is significant for its architecture, and was added to the National Register of Historic Places in 2003. It was demolished in 2020.</p><br>
<p>The Historic Kansas City Foundation listed the apartments on their 2014 Most Endangered list of buildings in the Kansas City area. A fire in May 2020 created further damage to the vacant buildings. They were owned by the Kansas City Life Insurance Company and were demolished in July-August 2020. An identical building on the north side of the street was razed in 1982 for a Kansas City Life Insurance Company expansion project.</p><br>
<p>The National Bank of Commerce Building is a historic commercial building at 200 S. Pruett St. in downtown Paragould, Arkansas. It is a two-story structure, built out of cut stone, with a center entrance recessed in a two-story opening with flanking Ionic columns. This Classical Revival style building, probably the finest of its style in Greene County, and the least-altered bank building of the period in Paragould, was designed by the Memphis firm of Hankers and Cairns and was built in 1923.</p><br>
<p>The building was listed on the National Register of Historic Places in 1993.</p><br>
<p>The Elisha Williams House  is located on Aitken Avenue in the east corner of the city of Hudson, New York, United States. It is a brick Federal style building, different from other Hudson houses in that style, built around 1810. Some Victorian decorations were added later.</p><br>
<p>Williams, its original builder, was a lawyer and politician who was known nationwide as a gifted orator. The house was originally his estate, accounting for its unusual positioning within its neighborhood. In 1999 the house was listed on the National Register of Historic Places.</p><br>
<h2>Building</h2><br>
<p>The house is on a slightly sloped 90 by lot two houses north of Green Street (NY 23B) on the east side of the street. It is a rectangular two-and-a-half-story five-bay common bond brick building on a stone foundation. The house is angled slightly within its so that its front facade faces more directly west than other houses along the street and the main entrance.</p><br>
<p>The gabled roof is shingled in wood and pierced by two brick chimneys south of the peak near the gable ends, and two gabled dormer windows with vergeboards on the north. A boxed cornice marks the roofline.</p><br>
<p>The windows have brick lintels and thin stone sills. The main entrance has a wood surround with two plain pilasters. A limestone cornerstone with "Hawthorne" on it is in the southwest corner. A two-story kitchen wing with an open porch on the south projects from the east side of the house.</p><br>
<p>Inside, the house follows a center-hall plan, with the main rooms on either side. The original layout has not been changed, and some of the finishings, such as the main hall&#39;s cherry staircase and newels and the parlor mantelpiece, are original. The second floor has had more modern additions, such as the bathrooms. The basement is unfinished.</p><br>
<h2>Aesthetics</h2><br>
<p>The Williams House is not the only Federal style house in Hudson, but it is significantly different from the others, most of which are located in the opposite end of the city, near the Hudson River. Williams&#39; house used common bond for the entire house, while the other houses did the front in Flemish bond. It also lacks the sidelight or elliptical fanlight commonly surrounding the main entrance of a Federal house.</p><br>
<p>These changes may reflect the different regional origins of their builders. The downtown Federal houses were built by the descendants of the city&#39;s founders, whalers who had emigrated from coastal areas of Massachusetts and Rhode Island. Williams, by contrast, was a native of inland Connecticut.</p><br>
<h2>History</h2><br>
<p>Born in 1773 in Pomfret, Connecticut, Williams was orphaned as a child and taken into the care of a family friend. He read law under a judge in Litchfield, and was admitted to the New York bar in 1793, when he moved to the hamlet of Spencertown in what is today the Town of Austerlitz.</p><br>
<p>He was a persuasive speaker, and his fame as a lawyer quickly spread both inside and outside New York. After marrying his legal guardian&#39;s daughter in 1795, he moved to Hudson in 1799. Two years later he was elected to first of nine terms in the New York State Assembly on the Federalist Party line.</p><br>
<p>It is likely that Williams had the house built, but it is not known exactly when. An 1801 map of the city does not show it but may not have included it since at the time it was outside the city limits. An 1816 map, copied from the earlier version, indicates a brick house at the location. It is believed he either had the house built or bought it around 1810. At that time its front, the south elevation, faced Union Turnpike (today NY 66), the nearest road.</p><br>
<p>Williams legal and political career continued to flourish despite the general decline of the Federalists after the War of 1812. At New Yorks 1821 constitutional convention, he argued forcefully for his party against the extension of the franchise to unpropertied men, but was defeated. He remained in office for the rest of the decade, but began to focus increasingly on other projects, such as the establishment of the village of Waterloo in Seneca County near the Finger Lakes. After leaving office, his health in decline, he spent much of his time there but was still a legal resident of Hudson when he sold the estate to local farmer Richard Atwell in 1832, a year before his death.</p><br>
<p>Atwell sold some of the land in 1835 but continued to live in the house. It became known as the Hawthorne House after the inscription on the cornerstone, whose origin is not clear. There is a Hawthorne Valley near Spencertown, and Williams may have brought the stone with him when he moved west. By 1856 Atwell&#39;s son-in-law Richard Aitkin owned the land. He would eventually have the longest tenure of any owner, and the street built next to the house in 1913 was named for him.</p><br>
<p>The Old Presbyterian Church near Parker, Arizona, also known as Mojave Indian Presbyterian Mission Church, was built in 1917. It is located in what is now La Paz County, Arizona. It was listed on the National Register of Historic Places in 1971.</p><br>
<p>It is a "simple and unpretentious" adobe building, 43 ft long by 24 ft wide. It is not listed for its architecture, but rather for its association with the Mohave people and the Presbyterian Church&#39;s influence with them, which started in 1907. It is owned by the Colorado River Indian Tribes.</p><br>
<p>The Woodbine Historic District in Woodbine, Georgia was listed on the National Register of Historic Places in May 1999.</p><br>
<p>It includes the 1928-built Camden County Courthouse and the Atkinson Memorial Building (210 East 4th Street). The Atkinson Building was built in 1947 according to the NRHP form, but the plaque on the building says that it was built in 1944. The courthouse was designed by architect Julian de Bruyn Kops (1862-1942) in Late Gothic Revival style and has "shaped parapets with battlements, drip-mold window crowns, and front portico with castellations".</p><br>
<p>The Magnolia Lane Plantation, also known as the Fortier Plantation, is a historic plantation located on the Mississippi River in Jefferson Parish, Louisiana along LA 541.</p><br>
<p>The plantation was owned in 1784 by Edward Fortier, during the Spanish colonial period. After being purchased in 1867 the plantation changed its name.</p><br>
<p>The plantation house and a 13.25 acre area comprising several non contributing structures was added to the National Register of Historic Places on February 13, 1986.</p><br>
<p>The plantation home and property has been used for many major motion picture productions filmed in the New Orleans area.</p><br>
<p>The Rio Puerco Bridge is a Parker through truss bridge located on historic USA Route 66  in western Bernalillo County, New Mexico, United States, that is listed on the New Mexico State Register of Cultural Properties and the National Register of Historic Places .</p><br>
<h2>Description</h2><br>
<p>The bridge crosses the Rio Puerco and was built in 1933. It is located approximately 19 mi west of Albuquerque.</p><br>
<p>It was built to carry a past alignment of US 66 over the Rio Puerco, and in 1997 carried a frontage road for Interstate 40 (I-40). It no longer carries traffic, and has been bypassed by a different frontage road bridge.</p><br>
<p>The single-span Parker through truss steel bridge was fabricated by the Kansas City Structural Steel Company and built by F.D. Shufflebarger in 1933. Its substructure includes two concrete piers and massive concrete abutments set upon timber pilings. The total bridge length is 330 ft, including the 250 ft span, which has ten 25 ft panels, and two 40 ft approaches.</p><br>
<p>It is located 40 yd north of the I-40, about 8.9 mi west of I-40 westernmost exit at Albuquerque.</p><br>
<p>The bridge was added to the NRHP July 15, 1997.</p><br>
<p>The Old United States Courthouse and Post Office building is a former post office and courthouse of the United States federal courts in Frankfort, Kentucky. Built during 1883 to 1887, the structure housed the United States District Court for the District of Kentucky from then until 1901 and the United States District Court for the Eastern District of Kentucky from 1901 until it was succeeded.</p><br>
<p>It was expanded with a rear wing in 1910 at which time interior offices were modified as well, to serve as a post office, which it did until 1965. In 1965 it housed the Paul Sawyier Library until 2008 when the library moved to the brick building next door. Today it is Downtown Annex for Kentucky State University. The building was listed on the National Register of Historic Places in 1974.</p><br>
<p>The limestone building with a steeply sloped slate roof was designed in the Second Empire and Châteauesque styles. It is a three-story 54 ft by 94 ft building built of masonry load-bearing walls with timber beams and trusses.</p><br>
<p>The Federal Building-Courthouse in London, Kentucky is a courthouse of the United States District Court for the Eastern District of Kentucky. It was built in 1911 under the supervision of architect James Knox Taylor, and was listed on the National Register of Historic Places in 1974.</p><br>
<h2>Architectural description</h2><br>
<p>The London, Kentucky, Federal Building and USA Courthouse was designed to house the USA Post Office, USA District Court facilities, and federal offices for the district. These functions were accommodated in a rectangular three-story plus basement building seventy-five feet long and forty-eight feet wide. A two-story half elliptical wing projects from the rear of the building reflecting the elliptical shape of the second floor court room.</p><br>
<p>The structure is masonry bearing wall with steel interior columns and beams supporting poured concrete floors. The roof structure is of steel and heavy timber supporting a wooden roof deck.</p><br>
<p>The exterior was designed in the Italian Renaissance style, utilizing granite blocks for foundation facing. The buff brick facing of the first floor has deep horizontal reveals terminated by a granite band at the second floor line. The second floor arched windows, enriched by small decorative balconies, are separated by flat brick pilasters that extend to the classic terra cotta cornice above the third floor window head, unifying the facades with elegant simplicity. While few exterior alterations have been made which effect the original facade design, one unfortunate change was the removal of large bronze wall-mounted light fixtures flanking the original doorways. These original light fixtures can be seen in early photographs and gave the main facade needed architectural detail at the entrance.</p><br>
<p>A broad flight of granite steps leads to the main entrance, which has been altered by the closing of two of the original three entrance doors. Originally these doors opened to the building lobby, which contained an open stairwell leading to the second floor, on which was located the buildings most prominent architectural feature, the sixty-five foot long elliptical courtroom. This space containing most of its original simple heavy oak furnishings, remains almost as originally designed, the only major alteration being a floating, or swinging, elliptical ceiling, concealing the original coved plaster one above. When the USA Post Office moved out in 1961, the courts and other federal offices occupied the remaining areas of the second and third floors; the remainder of the buildings interior was greatly altered in 1963.</p><br>
<p>District I is the name of a historic district comprising five historic hotels in downtown Kansas City, Missouri listed on the National Register of Historic Places  in 1983.</p><br>
<p>The district&#39;s five hotels are</p><br>
<p>Dixon Hotel (1912), designed by Sanneman & Van Trump</p><br>
<p>Aladdin Hotel, known in 1983 as Embassy on the Park, a 16-story building</p><br>
<p>Hotel Muehlebach (1915), known in 1983 as Radisson Muehlebach Hotel</p><br>
<p>New Yorker Hotel</p><br>
<p>Hotel Phillips</p><br>
<p>In addition to the district, two other hotels were individually listed on the National Register at the same time:</p><br>
<p>Continental Hotel (1923), 106 West 11th Street, a 23-story building that was built as Kansas City Athletic Club. Known also as Hotel Kansas Citian.</p><br>
<p>President Hotel</p><br>
<p>The Kinderhook Village District is located in the central areas of the village of Kinderhook, New York, United States. It is a 612 acre area covering both developed and undeveloped land centered on US 9.</p><br>
<p>It contains many buildings from the 18th and 19th centuries, some of which were associated with Martin Van Buren, a native of the town who later became President. In 1974 it was listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>The district takes up most of the southeastern half of the village. Kinderhook Creek, the villages eastern line, is also the districts eastern boundary. It deviates from the village boundary in the north to cross to Chatham Street (Route 9) near the intersection with the old railroad right-of-way, which it follows down to Railroad Avenue and then turns west along the back property lines of homes on Albany Avenue.</p><br>
<p>It follows those lot lines to the cemeteries and crosses Albany to follow Sunset Avenue, which divides residences from farmers&#39; fields to the south. It turns to follow the right-of-way when it intersects it again, then turning east again at the rear property line of residences on Rothermel Lane. When that route reaches the rear line of houses on Broad Street (Route 9), it follows them south to Gaffney Lane, where it crosses the street to the rear lines of a subdivision on Presidential Drive. From the end of that it goes back to the creek.</p><br>
<p>This boundary includes as well all of the properties along Church, Hudson, Sylvester and William streets, Jarvis and Maiden lanes and Kinderknoll Drive. With the exception of the village square at Albany, Broad, Chatham and Hudson streets, these areas are residential. The large eastern area of the district, taking in the flatlands along the creek, is undeveloped open space except for the Hudson Street corridor. As of the district&#39;s listing on the Register, there were 250 buildings within it, most of which predate the 20th century.</p><br>
<h2>History</h2><br>
<p>Kinderhook&#39;s history began in the mid-17th century when Dutch farmers from the colonial capital at Fort Orange in present-day Albany moved south in search of fertile land. Some found it in the flatlands along the bend of the creek that bounds the village, and the nearby bluff proved a good place for building. The Cornelius Schermerhorn House at 33 Broad Street, built in four stages from 1713 to 1770, is the most prominent building in Kinderhook surviving from this time. The gambrel roofs at the John Pruyn House (26 William Street) and 15 Hudson Street, with a muizetanden pattern in the brick of its gable endm also survive.</p><br>
<p>By 1763 there were 15 buildings and a Dutch Reformed Church. David van Schaacks two-story brick home at 24 Broad Street inaugurated a new era when it was built in 1774. Described as being "like a castle", it had neoclassical proportions and a Palladian window, features typical of a country gentlemans home of that era. The decorative touches would be widely emulated on other more modest homes in the village, like 29 Hudson Street.</p><br>
<p>The Albany Post Road, the forerunner of US 9 in the Hudson Valley, was routed through the village due to its excellent network of existing roads, and that helped open a connection to the Hudson River at Stuyvesant to the west, allowing farmers to ship more of their produce south to New York City. By 1813 the village had 20-30 buildings, including the beginning of a commercial center. New houses of this time were in the Federal style, and again the village had a strong example: the James Vanderpoel House at 16 Broad Street.</p><br>
<p>More land was cultivated, and the village grew explosively during the 1820s. By 1836, on the eve of Kinderhooks incorporation as a village and the Van Buren Administration, it had 86 buildings and was considered the countys business center. New buildings of this era flirted with the Greek Revival and Carpenter Gothic styles then in vogue. The former is best exemplified by the frame house at 29 Broad Street, with pilasters framing its main entrance. St. Paul&#39;s Episcopal Church at 8 Sylvester Street, and the board-and-batten–sided cottage at 28 Albany Avenue are likewise the most prominent Gothic buildings in the village. As with the earlier Georgian stylings, the ornamentation seems to have been widely emulated around the village.</p><br>
<p>After 1850, the growth slowed down. Following his Free Soil Party campaign of 1848, Van Buren retired permanently to Lindenwald, his estate south of the village. The railroads had come and bypassed Kinderhook for other communities in the area, depriving it of the catalyst they provided. Agriculture continued to be the centerpiece of the villages economy, but it merely remained stable instead of continuing to expand. Most construction during this period took place in the villages center. The row of commercial buildings on Hudson Street there replaced predecessors destroyed in an 1880 fire.</p><br>
<p>The absence of any railroad-related redevelopment allowed Kinderhook to retain its historic character. This has continued through the 20th and 21st centuries; there have been very few changes to the village during that time.</p><br>
<p>The USA Post Office in Middleport, New York, is located at Main  and Church streets. It is a brick building erected in 1940, serving the 14105 ZIP Code, which covers the village of Middleport and surrounding areas of the towns of Hartland and Royalton.</p><br>
<p>It is one of only three in the state using that design, a modernist form with Colonial Revival details. Inside is a mural commissioned by the Treasury Department. In 1989 it was listed on the National Register of Historic Places, the only listing currently in Middleport, as part of a large group of present and former post offices in the state, including three others in Niagara County.</p><br>
<h2>Building</h2><br>
<p>The post office is located on the northwest corner of the intersection, near the south end of Middleport&#39;s small downtown section, roughly 300 feet (90 m) south of the canal crossing. On the opposite corner is a cobblestone church from the 1840s; across Main is an early 20th-century bank building and 19th-century house. The other buildings in the area are houses from that period as well. The terrain is level, with the post office set back slightly from the street amid a landscaped area of ornamental shrubs and trees. A low hedge runs along the Church Street side. A parking lot is in the rear.</p><br>
<p>The building itself is a one-story steel frame building on a raised foundation of poured concretesided in brick laid in English bond. The five-bay front facade is distinguished by a projecting three-bay central pavilion with a beveled-cornered hipped roof covered in slate. All other roofs are flat. Narrow stone coping runs around the entire building at the roofline. A four-bay rear projection contains the loading dock, with wood fascia and cornice.</p><br>
<p>The central pavilion has angled corners. Its east (front) facade has a centrally located segmental arch entrance with brick surround, lintel and keystone. A carved metal eagle surmounts the door. "UNITED STATES POST OFFICE" is written in bronze letters across the top of the facade, with "MIDDLEPORT NEW YORK" in smaller letters below. Three granite steps lead up to the entrance from the sidewalk; a wheelchair ramp runs from the top to the north along the facade. It is flanked by the original iron railings and lanterns, atop fluted posts.</p><br>
<p>Modern aluminum and glass doors open into a small wooden vestibule. The small lobby behind it takes up the front of the main section and the north wing. It is floored in terrazzo. Above it is white marble wainscoting trimmed in oak. The tables are shaped to fit the angled corners. Most furnishings are original, with some alterations made to the teller grilles and lock boxes along with the installation of modern lighting. Above the door to the postmaster&#39;s office in the southeast of the building is Rural Highway, a mural by Marianne Appel depicting a contemporary farm scene.</p><br>
<h2>History</h2><br>
<p>Middleport&#39;s first post office was established in the store of James Northam, its first merchant, around the time the Erie Canal was completed through the area in 1825. For the rest of the century it remained in various leased buildings on Main Street as the settlement grew, changed its name from Tea-Pot Hollow to Middleport and incorporated as a village.</p><br>
<p>In 1939, as part of relief efforts during the Great Depression, Congress authorized the construction of a post office building in the village, one of the last of over 200 in the state built in the 1930s. The government acquired the present site for $8,950 ($ in contemporary dollars) and demolished the village&#39;s trolley stop, a church social hall and house to make way for the new building. In May 1940 a Takoma Park, Maryland, contractor began construction. The building was opened in January 1941, one of the last new post offices to be completed before Congress began diverting resources to preparing for war.</p><br>
<p>Louis Simon, the last Supervising Architect of the Treasury Department, used the Colonial Revival style as he had come to do for new post offices in small towns, part of the governments increasing standardization of its architecture. As with many of the other Colonial Revival post offices in New York, Middleports was part of a group employing the same design with slight variations dictated by the site.</p><br>
<p>In this case, two others—Frankfort and Lake George—used the same Georgian basic form with design elements more specifically associated with the contemporary Moderne and Art Deco styles, such as the angled corners, asymmetrical window panes and large expanses of brick above the windows. Middleports differs from Lake Georges only in the width of its front steps and the shape and decor of the lobby. He also used some design elements more specifically associated with the contemporary Moderne and Art Deco styles, such as the angled corners, asymmetrical window panes and large expanses of brick above the windows. Those buildings and Simon&#39;s similar Westhampton Beach post office on Long Island were all influenced by the Rockville Centre post office designed in 1937 by William Dewey Foster, which first combined the Colonial Revival form with modernism.</p><br>
<p>Marianne Appel, a New York City-born artist, won the Treasurys Fine Arts Sections competition to paint the mural. It was added shortly after the opening. Her Depression-era murals have been described as having "transcend in design and technique the ordinary painting of the 1930s". There have been few changes to the building since.</p><br>
<p>US Post Office—Niagara Falls Main is a historic post office building located at Niagara Falls in Niagara County, New York. It was built in 1906, and is one of a number of post offices in New York State designed by the Office of the Supervising Architect of the Treasury Department, James Knox Taylor. The two story building is constructed of white Vermont marble on a granite base in a French Neoclassical style with Beaux-Arts details. Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>The United States Post Office is a historic post office building located at Lockport in Niagara County, New York. It was designed and built 1902–1904, and is one of a number of post offices in New York State designed by the Office of the Supervising Architect of the Treasury Department, James Knox Taylor. It is a three-story brick and limestone structure in the Beaux-Arts style. The United States District Court for the Western District of New York met here from 1904 until 1916.</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>Niagara County Courthouse and County Clerks Office is a historic courthouse and county clerks building located at Lockport in Niagara County, New York. The two buildings are located along Hawley Street, north and south of Niagara Street. The county clerk&#39;s building is a one-story, limestone office building constructed in 1856 in the Classical Revival style. The original section of the courthouse building was constructed in 1886 in the Second Empire style, with additions constructed in 1915-17 and 1955–58.</p><br>
<p>It was listed on the National Register of Historic Places in 1997.</p><br>
<p>Benjamin C. Moore Mill is a historic flour mill, waterworks, and city hall building located at Lockport in Niagara County, New York. It is a stone structure built in 1859–60, as a flour mill for the Benjamin C. Moore Company. In 1864, Dwight Keep constructed this stone structure that was originally the Benjamin Moore Company Mill. Around 1884, it was converted from a flour mill, to one of the first water pumping plants in America. Within the basement of the Moore building, two of Birdsill Holly&#39;s pumps were installed, one pushing 3 million gallons of water and the other pushing 5 million, each utilizing the waterpower from the Mill Race. In 1893, the rear addition was constructed and the building was converted for use as city hall for the City of Lockport and was used as city hall until 1974, when the new city hall opened.</p><br>
<p>It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The Bacon-Merchant-Moss House is a historic, it is house located at 32 Cottage Street in Lockport, Niagara County, New York.</p><br>
<h2>Description and history</h2><br>
<p>It is a two-story, Federal style stone structure built in 1832. A narrow attic crawlspace is believed to have been used to hide slaves escaping to Canada on the Underground Railroad. The YWCA purchased the building in 1927, and it continues to be owned by that organization. It is one of approximately 75 stone residences remaining in the city of Lockport.</p><br>
<p>It was listed on the National Register of Historic Places on May 30, 2007.</p><br>
<p>The Chase-Crowley-Keep House is a historic house located at 305 High Street in Lockport, Niagara County, New York.</p><br>
<h2>Description and history</h2><br>
<p>It is a stone structure built in 1856 in the Italianate style. A 1903-1905 remodeling was in the Colonial Revival style. It was built for Edward Ithcar Chase, brother of Supreme Court Justice Salmon P. Chase, who was a frequent visitor. In 1967, the property was converted for use by the Lockport Presbyterian Home as a nursing home. It is one of approximately 75 stone residences remaining in the city of Lockport.</p><br>
<p>It was listed on the National Register of Historic Places on May 21, 2008. It is in the High and Locust Streets Historic District.</p><br>
<p>Chase-Hubbard-Williams House is a historic home located at Lockport in Niagara County, New York. It is a stone structure built in 1870 in the Italianate style. A 1900 remodeling was in the Colonial Revival style. In 1958, the property was acquired by the Presbytery of Buffalo and Niagara and converted to a nursing home. It is one of approximately 75 stone residences remaining in the city of Lockport.</p><br>
<p>It was listed on the National Register of Historic Places in 2008. It is located in the High and Locust Streets Historic District.</p><br>
<p>Conkey House is a historic home situated Lockport in Niagara County, New York. It is a stone structure built in 1842 in the Federal style by James Conkey, an early settler of Lockport. It was owned by his descendants until the 1960s. It is one of approximately 75 stone residences remaining in the city of Lockport.</p><br>
<p>It was listed on the National Register of Historic Places in 2003.</p><br>
<p>Dole House is a historic home located at Lockport in Niagara County, New York. It is a two-story stone structure built in 1840 in the Federal style by Isaac Dole, an early settler of Lockport. It was renovated in the 1890s in the Colonial Revival style. It is one of approximately 75 stone residences remaining in the city of Lockport. It is currently a private residence.</p><br>
<p>It was listed on the National Register of Historic Places in 2003.</p><br>
