<p>US Post Office-Kensington is a historic post office building located at Kensington in Brooklyn, New York, United States. It was built in 1935, and designed by consulting architect Lorimer Rich for the Office of the Supervising Architect. The building is a two-story, six bay wide brick building in the Colonial Revival style. For much of its history it was painted white. It features a projecting pedimented wooden portico supported on Doric order piers.</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>US Post Office-Metropolitan Station, originally known as Station "A," is a historic post office building located at Williamsburg in Brooklyn, New York, United States. It was built in 1936, and is one of a number of post offices in New York designed by the Office of the Supervising Architect under Louis A. Simon. The building is a two-story, flat roofed brick building with a three bay wide central pavilion flanked by three bay wide wings in the Colonial Revival style. A contributing architect is believed to be Lorimer Rich.</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>US Post Office-Parkville Station, originally known as Station "Y," is a historic post office building located at Bensonhurst in Brooklyn, New York, United States. It was built in 1936, and designed by consulting architect Carroll H. Pratt for the Office of the Supervising Architect. The building is a two-story, flat roofed red brick building with a one-story rear wing in the Colonial Revival style.</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>The United States Post Office Canal Street Station, originally known as "Station B", is a historic post office building located at 350 Canal Street at the corner of Church Street in the Tribeca neighborhood of Manhattan, New York City. It was built in 1937, and designed by consulting architect Alan Balch Mills for the Office of the Supervising Architect of the United States Department of the Treasury.</p><br>
<p>The building is a two-story and symmetrically massed, clad with buff terra cotta panels with a black terra cotta base in the Moderne style. It features a fluted terra cotta frieze with a tarnished silver finish. The interior features a relief executed in 1938 by artist Wheeler Williams and titled "Indian Bowman."</p><br>
<p>The building was listed on the National Register of Historic Places in 1989.</p><br>
<p>The United States Post Office Madison Square Station is a historic post office building located at 149 East 23rd Street between Lexington Avenue and Third Avenue on the East Side of Manhattan, New York City. In spite of the building&#39;s name, it is not located on Madison Square but about three blocks east  along 23rd Street. The building runs through the block to East 24th Street, where there are loading docks and another much smaller and less formal public entrance.</p><br>
<p>The building was constructed in 1937, and was designed by Lorimer Rich for Louis A. Simon, the Supervising Architect of the Treasury. It is a two to three story building clad on its main facade with polished "Dakota Mahogany" granite in the Classical Revival style. The main facade features six two-story Doric order piers and pilaster that surround the recessed entrance bays. The exterior also features five bronze relief sculptures by artists Edmond Amateis and Louis Slobodkin illustrating different forms of communication: from west to east, the god Mercury, jungle drums, mail, carrier pigeon, and smoke signals. The interior features eight murals executed between 1937 and 1939 by artist Kindred McLeary.</p><br>
<p>The Madison Square Station was listed on the National Register of Historic Places in 1989.</p><br>
<p>The United States Post Office Old Chelsea Station, originally known as "Station O", is a historic post office building located at 217 West 18th Street in Chelsea, Manhattan, New York City. It was built in 1935, and designed by consulting architect Eric Kebbon for the Office of the Supervising Architect. The building is a seven-bay-wide two-story brick building, trimmed in limestone in the Colonial Revival style. The main entrance features a ten light transom, Doric order pilasters, and a blind stone fanlight with carved eagles. The interior features two bas relief cast stone panels of woodland animals titled "Deer" and "Bear" executed in 1938 by artist Paul Fiene.</p><br>
<p>The building was listed on the National Register of Historic Places in 1989.</p><br>
<p>The United States Post Office–Lenox Hill Station is located at 217 East 70th Street between Second and Third Avenues in the Lenox Hill neighborhood of the Upper East Side, Manhattan, New York City. It is a brick building constructed in 1935 and designed by Eric Kebbon in the Colonial Revival style, and is considered one of the finest post offices in that style in New York State. It was listed on the National Register of Historic Places in 1989, along with many other post offices in the state.</p><br>
<h2>Building</h2><br>
<p>The post office is located on the north side of the street, midway between the two avenues. The neighboring buildings are large apartment houses, modern on either side of the post office and older across the street.</p><br>
<p>There are two sections to the building. Both are three stories in height, with the first story faced in rusticated limestone on a granite foundation and the upper stories in brick laid in Flemish bond with limestone trim. The five-bay main section has a three-bay central projecting front-gabled pavilion with a stone pediment. To the east is a three-bay wing with a segmental-arched garage.</p><br>
<p>On the main block, the south-facing first floor windows are all tripartite round-arched windows with 8-over-12 double-hung wooden sash windows in the center, five-pane sidelights and compound fanlights. They are complemented by a projecting keystone and radiating voussoirs.</p><br>
<p>The second floor windows are 12-over-12 double-hung sash with limestone balustrades in front on the main block. On the pavilion they are additionally topped with stone pediments; segmental arched with supporting brackets in the center and triangular in the middle. On the main block and the wing they have projecting stone lintels.</p><br>
<p>Above them, the third floor windows are four-over-eight sash with simple stone surrounds. The central window in the pavilion has a shouldered surround with volutes at the base. Below it a flagpole projects from a limestone panel between it and the second-story window below.</p><br>
<p>The pavilion&#39;s gable is trimmed in limestone. At its bottom is a plain frieze with "United States Post Office" carved into it. The entablature is set off by a cornice and has a central carved roundel depicting an eagle and shield. The shallow pitched roof is sheathed in metal.</p><br>
<p>Balustraded granite steps on either side of the projecting pavilion lead to the main entrances. They have bronze doors topped by blind fanlights with eagles carved in bas-relief. Original lamps are still in place. They open into a vestibule with rusticated limestone walls. The lobby has a terrazzo floor in gray, gold and black marble, green marble baseboard, applied Doric order in honey-colored marble around the entire room, square plaster cornice and shallow squared coffered plaster ceiling. Doors have limestone surrounds with marble transoms. Small Doric pilasters divide the teller windows, which retain their original bronze grilles. Three of the original customer tables remain. They are bronze with glass tops and Greek-inspired decorated bases.</p><br>
<h2>History</h2><br>
<p>Lenox Hill was one of 12 post offices built in mid-1930s Manhattan as part of federal relief efforts in the face of the ongoing Great Depression. An amendment to the Public Buildings Act in 1930 gave the Treasury Department&#39;s Supervising Architect the authority to hire outside consulting architects to design buildings, to provide work for unemployed architects. In New York, many of those architects built post offices in the New York metropolitan area.</p><br>
<p>Eric Kebbon, still employed in private practice at the time, was retained to design five Manhattan post offices. Prior to working for the Treasury Department he had designed the AT&T building at Broadway and Fulton Street. Later he would, as the architect for the city&#39;s school system, design over a hundred school buildings.</p><br>
<p>Kebbon, unlike some other consulting architects, appears to have been given complete freedom in designing the Lenox Hill post office, which serves some of Manhattan&#39;s wealthiest neighborhoods. His design, which has been called the finest Colonial Revival post office in the state, is similar to his later Planetarium post office across town on the Upper West Side, but less restrained in its decoration. Many elements are common to other New York City post offices, such as the multi-story main block, full lot coverage and raised basement. Unlike many Colonial Revival post offices in the state, both inside and outside the city, it has two entrances on the side of the projecting pavilion instead of one entrance in the middle.</p><br>
<p>The United States Post Office Inwood Station is a historic post office building located at 90 Vermilyea Avenue at the corner of West 204th Street in the Inwood neighborhood of Manhattan, New York City. It was built between 1935 and 1937, and designed by consulting architect Carroll H. Pratt  for the Office of the Supervising Architect of the United States Department of the Treasury. It is a one-story brick building in the Colonial Revival style, with a three-bay-wide projecting entrance pavilion. It features a limestone cornice and frieze topped by a brick parapet.</p><br>
<p>The building was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Great Neck is a historic post office building located at Great Neck Plaza in the town of North Hempstead, Nassau County, New York, United States. It was built in 1939 and designed by consulting architect William Dewey Foster  for the Office of the Supervising Architect. It is a one-story, pentagonal shaped skeletal frame building clad with plucked textured buff limestone in the Classical Revival style. It features a semicircular entrance portico supported by four square columns. Above the entrance is a relief sculpture of an eagle with 13 stars sculpted in 1940 by Gaetano Cecere.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989. It was designated as a local historical landmark on December 1, 2004.</p><br>
<p>US Post Office-Freeport is a historic post office building located at Freeport in the town of Hempstead, Nassau County, New York, United States. It was built in 1932 and designed by consulting architects Tachau and Vought for the Office of the Supervising Architect. It is a two-story, symmetrically massed brick building trimmed in limestone in the Colonial Revival style. It features a three bay wide entrance pavilion with a gable roof. The lobby features two murals by William Gropper installed in 1938 and titled "Air Mail" and "Suburban Post in Winter."</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>Freeport, NY post office interior 01.jpgInterior, 2012</p><br>
<p>The R. A. Long building is a historic skyscraper in Kansas City, Missouri located on the northwest corner of the intersection of 10th Street and Grand Avenue.</p><br>
<p>In 1906, Robert A. Longs Long-Bell Lumber Company had outgrown the office space in the Keith & Perry Building. Expanding operations and the need for a larger headquarters resulted in the construction of the R.A. Long Building, completed in 1907. This was the first all-steel framed building in Kansas City, Missouri with 16 stories and over 600 offices. Longs office was located on the 8th floor.</p><br>
<p>It was the first offices of the Federal Reserve Bank of Kansas City from 1914 to 1921 when it moved across the street to the newly constructed 925 Grand.</p><br>
<p>The renamed City National Bank & Trust Company opened their headquarters on the first floor in 1934. In 1947, the bank purchased the building.</p><br>
<p>The building was placed on the National Register of Historic Places on January 8, 2003.</p><br>
<p>In 2000, UMB started major renovations but the 8th and 14th floors were designated historic preservation floors to be restored to as close to original specifications as possible.</p><br>
<p>The Robert and Julia Darling House, now the Cannon Building, is a historic house at 728 Hopmeadow Street in Simsbury, Connecticut. Built in 1927 for a local business leader, it is one of the town&#39;s largest and most distinctive examples of Colonial Revival architecture. The house was listed on the National Register of Historic Places in 1991. It now houses professional offices.</p><br>
<h2>Description and history</h2><br>
<p>The Robert and Julia Darling House stands in the town center of Simsbury, on the east side of Hopmeadow Street, its principal thorough fare. It is just north of the Drake Hill shopping center, which stands on land formerly part of the Darling estate. It is a large two-story brick building, with a hip roof and a brownstone foundation. A two-story ell projects to the rear from its northeastern corner. The building exhibits basic symmetry in the Colonial Revival style, and has finely detailed entrances on the front-facing west, south, and in the corner created by the ell, which features a curved pavilion and porte-cochere. The interior, although it has been repurposed for office use, retains most of its original period woodwork.</p><br>
<p>The building was erected in 1927 for Robert Darling, the chairman of the locally headquartered Ensign-Bickford Company, and his wife Julia, a granddaughter of the company founder. Both of the Darlings were locally noted for their involvement in local civic and charitable affairs. The Darling estate originally consisted of about 35 acre. After Robert Darling died in 1957, his son sold the house, and it was converted to medical offices. It now houses a variety of professional offices.</p><br>
<p>US Post Office-Garden City is a historic post office building located at Garden City in the town of Hempstead, Nassau County, New York, United States. It was built in 1936 and designed by consulting architects Walker & Gillette for the Office of the Supervising Architect. It is a one-story, square brick building on a granite in the Classical Revival style. The lobby features a 1937 mural by J. Theodore Johnson titled "Huckleberry Frolic."</p><br>
<p>Note: This includes</p><br>
<p>and On December 24, 1987, the building was named in honor of former Congressman John W. Wydler (1924-1987).</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<h2>Image gallery</h2><br>
<p>US Post Office-Hempstead is a historic post office building located at Hempstead, Nassau County, New York, United States. It was built in 1932 and designed by consulting architects Tooker & Marsh for the Office of the Supervising Architect. It is a two-story, symmetrically massed building faced with tan, brown, and red brick in the Classical Revival style. The central entrance features flanking octagonal aluminum Art Deco style lamps and other Art Deco ornamental detail.</p><br>
<p>The lobby features 1936 murals by Peppino Mangravite installed in 1937.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>US Post Office-Long Beach is a historic post office building located at Long Beach in Nassau County, New York, United States. It was built in 1936 and designed by the Office of the Supervising Architect under the direction of Louis A. Simon. It is a one-story, symmetrically massed building faced with red brick in the Colonial Revival style. It features a central five bay wide section with a gable roof, flanked by single bay end pavilions with gable roofs perpendicular to the central section. The lobby features a Treasury Section of Fine Arts mural by Jon Corbino titled The Pleasures of the Bathing Beach .</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Rockville Centre is a historic post office building located at Rockville Centre in the town of Hempstead, Nassau County, New York, United States. It was built in 1937 and designed by consulting architect William Dewey Foster  for the Office of the Supervising Architect. It is a one-story building clad with brick and trimmed in limestone in the Colonial Revival style. It features an Art Deco style grill above the main entrance doors. The lobby features four irregularly shaped murals by Victor White painted in 1939 of various local historic scenes."</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Bronxville is a historic post office building located at Bronxville in Westchester County, New York, United States. It was built in 1937 and was designed by consulting architect Eric Kebbon  for the Office of the Supervising Architect. It is a -story building faced with brick and trimmed in limestone in the Colonial Revival style. The front facade features six extremely flat limestone pilasters that flank the central entrance. The lobby features a mural by John French Sloan  painted in 1939 and titled The Arrival of the First Mail in Bronxville in 1846.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1988.</p><br>
<p>US Post Office-Mount Vernon is a historic post office building located at Mount Vernon in Westchester County, New York, United States. It was built in 1915 and is one of a number of post offices designed by the Office of the Supervising Architect under direction of Oscar Wenderoth. It is a two to three story, symmetrical building faced with limestone in the Classical Revival style. It is composed of a five bay central section with flanking one bay recessed wings.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Port Chester is a historic post office building located at Port Chester in Westchester County, New York. It was designed by consulting architects Zoller and Muller for the Office of the Supervising Architect, built in 1932–1933, and was listed on the National Register of Historic Places in 1989. It is a one-story symmetrical building faced with brick and trimmed in limestone and granite in the Colonial Revival style. The front facade features a projecting central pavilion with a shallow portico composed of two pairs of limestone Corinthian columns echoed by Corinthian pilasters. The lobby features four large murals and nine lunettes, designed by Domenico Mortellito and installed in 1936.</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Rye is a historic post office building located at Rye in Westchester County, New York, United States. It was built in 1935 and designed by the Office of the Supervising Architect under the direction of Louis A. Simon. It is a one-story symmetrical flat roofed building in the Colonial Revival style. The front facade features a central, recessed entrance with broad limestone surround and shallow decorated cornice. The lobby features a mural by Guy Pene du Bois painted in 1938 and titled "John Jay at His Home."</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>The building was renamed the Caroline ODay Post Office on October 23, 2010, in recognition of Congresswoman Caroline ODay&#39;s public service.</p><br>
<p>US Post Office-Scarsdale is a historic post office building located at Scarsdale in Westchester County, New York, United States. It was built in 1937 and designed by consulting architects Schultze and Weaver for the Office of the Supervising Architect. It is a symmetrically massed red brick building containing limestone trim in the Classical Revival style. It is composed of a two-story central section with flanking one story wings. The front facade features a three-bay recessed limestone portico supported by a pair of tall slender Doric order columns. The lobby features two murals by Gordon Samstag titled "Law and Order in Old Scarsdale" and "Caleb Heathcote Buys the Richbell Farm."</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>US Post Office-Harrison is a historic post office building located at Harrison in Westchester County, New York, United States. It was built in 1938 by the Office of the Supervising Architect under the direction of Louis A. Simon. It is a one-story, symmetrically massed building clad with random stone ashlar in the Colonial Revival style. The entrance is flanked by fluted, engaged Doric order columns and pilasters which support a simple entablature. The slate roof is topped by a square, flat topped cupola. The lobby features a 1941 mural by Harold Goodwin titled "Early Days of the Automobile."</p><br>
<p>Note: This includes</p><br>
<p>It was listed on the National Register of Historic Places in 1989.</p><br>
<p>USA Post Office-Glen Cove is a historic post office building located at 2 Glen Cove Avenue  and Bridge Street in the City of Glen Cove, Nassau County, New York, United States.</p><br>
<h2>Description</h2><br>
<p>It was built in 1932 during the Great Depression as a replacement for the Old Glen Cove Post Office on 51 Glen Street. The latter, now the headquarters of the Smiros & Smiros architectural firm, was added to the NRHP in 2010.</p><br>
<p>The current post office was designed by consulting architects Delano and Aldrich for the Office of the Supervising Architect of the Department of Treasury, whose responsibilities then included construction of federal buildings. It is a small one-story, brick building with marble trim in the Colonial Revival style. The front facade features three tall brick arches flanked by Doric order marble pilasters.</p><br>
<p>Note: This includes</p><br>
<p>The current Glen Cove Post Office was listed on the National Register of Historic Places in 1989.</p><br>
<p>The USA Post Office for Yonkers, New York, is located on Main Street downtown, opposite the city&#39;s train station. It is a two-story stone building erected in the late 1920s. It is located in the 10702 ZIP Code, but serves the entire city, which has other ZIP codes between 10701 and 10710. In 1989 it was listed on the National Register of Historic Places, along with many other historic post offices in the state.</p><br>
<p>Secretary of the Treasury William Gibbs McAdoo personally chose the site. The building is one of many of those designed by the Treasury Department&#39;s Office of the Supervising Architect under James A. Wetmore. Since it was located in a growing city, it is larger than most other post offices built around the same time. In its Classical Revival design hints of the emerging Art Deco style can be seen. It remains largely intact today.</p><br>
<h2>Building</h2><br>
<p>The post office building occupies the block between Main Street on the south, Buena Vista Avenue on the east, Nepperhan Street on the north and Market Place to the east. The terrain is level, reflecting the proximity of the Hudson River to the west just beyond the railroad tracks used by Amtrak and Metro-Norths Hudson Line. The 1911 Beaux-Arts main building of the Yonkers train station is to the northwest. On the north, the square has a small park at its center, yielding to a parking lot on the northeast. The citys new library building is across the square, in buildings once used by the Otis Elevator Company.</p><br>
<p>To the east, the two blocks between Market and Riverdale Avenue (USA Route 9 and New York State Route 9A) have dense urban development consisting of multistory commercial buildings from the late 19th and early 20th centuries. Philipse Manor Hall State Historic Site, a National Historic Landmark, is a block to their north. South and southeast are larger, more modern office buildings. The Yonkers Trolley Barn, also on the National Register and now remodeled into apartments, is on the southwest.</p><br>
<h3>Exterior</h3><br>
<p>There is a flagpole on the southwest corner of the block. Narrow hedges on all but the east side set off the building. The building itself is a two-story steel frame structure faced on all sides by smooth buff limestone topped by a flat roof. Those facades form a roughly square building with the exception of the irregular east. They are 15 bays wide on the south (Main Street) side, 13 on Market Street, 11 on Nepperhan and nine on Buena Vista. Atop is a flat roof.</p><br>
<p>With the exception of the east, which serves as a loading dock, all facades have a similar decorative treatment: flat engaged Corinthian pilasters dividing all bays save those on the corners, which are set off on the non-corner side by paired pilasters. All support an entablature with a frieze decorated with curved rosettes. At the roofline is a denticulated cornice with a balustraded parapet. On the first story, windows are four-over-four double-hung sash with a four-light transom. The second story has similar windows but without the transoms.</p><br>
<p>The west and south facades have centrally located entrances, with steps on the former due to the slight grade. They take up three bays each, with original bronze lampposts on either side. Each bay has a bronze double door flanked by engaged fluted pilasters and topped with a ten-light transom. Above it is a lintel with geometric designs and a foliate relief carving. In the first bay of the north facade and the second-to-last bay of the east facade is an additional single-bay entrance with similar treatment; the former is no longer in use.</p><br>
<p>A large covered loading platform runs the full width of the first story of the Market Street facade on the east. The central three bays have garage doors built into the wall to allow trucks to unload directly to the indoors; the outer three on both sides have platforms. Above them is a second story with the same window treatment as found elsewhere on the building.</p><br>
<h3>Interior</h3><br>
<p>Both entrances lead through bronze vestibules to an L-shaped lobby with its original terrazzo floors and buff marble wainscoting. Flat marble Corinthian pilasters, also buff, rise on both the inside and outside walls to the coffered plaster ceiling divided by beams at each bay. Low-relief decoration is on almost every surface.</p><br>
<p>On the outside wall are oak bulletin boards framed by marble. The oak customer tables are original. An open L-shaped staircase with marble steps and a brass banister leads up to the second floor. On the interior wall, lockboxes and teller windows delineate the work areas of the post office. Behind them is the workroom. Upstairs are offices and the swing room, with the basement given over to mechanical rooms and storage.</p><br>
<h2>History</h2><br>
<h3>Context</h3><br>
<p>Yonkers began receiving mail regularly when the Albany Post Road was completed shortly after the Revolution. At that time it was delivered to Philipse Manor, a short distance from the location of the present building. In 1788 mail began being delivered to Old Hunts Tavern nearby; it was replaced nine years later, in 1797, by the first official post office in the country store of Yonkers first postmaster, Alpheus Pierson, on the block where the current building is. In 1863 free delivery began.</p><br>
<p>In the late 19th century Yonkers began growing rapidly. At first it was due to industrialization, spurred by the completion of the Hudson River Railroad in 1849. Many were textile mills, but there were others, such as the Otis Elevator Company, which had set up shop in the city in 1854. Yonkers became a city in 1872.</p><br>
<p>The postmasters job soon became politicized, a patronage position awarded to those who had kept Westchester Countys political leaders in power. This was true in many of the communities but even more so in Yonkers due to the volume of mail. Politicians would hold their informal meetings there, in the postmaster&#39;s office out of public view, and call other postmasters there if they failed in their political duties.</p><br>
<p>This practice led to the appointment of postmasters who were incompetent at or cared little about the operations of their office and the delivery of mail. In 1905 an especially incompetent postmaster and his assistant were fired after much public anger over the poor quality of postal service in the city. President Theodore Roosevelt personally appointed, on an interim basis, John Parsons, a New York City customs agent. He told the local politicians who complained that Parsons had only lived in Yonkers for three months and was not yet registered to vote there that they had no credibility with him.</p><br>
<p>Parsons took his job very seriously, and within a short time vastly improved Yonkers mail service. Roosevelt later gave him a full four-year commission. When it expired in 1909, however, Roosevelt was no longer president. Despite having made no accommodation to the politicians who had controlled his predecessors, he sought reappointment. The citys Republican chairman declined to do so, publicly recalling how he had been appointed in flagrant disregard of their input. Instead a recently defeated mayoral candidate got the job. Citizens rallied to keep Parsons, to no avail.</p><br>
<p>As the century ended, Yonkers began to grow even more due to suburban development, as wealthy residents of New York City to the south realized they could live in larger houses in more pastoral surroundings and still take the train every day to their jobs and businesses in the city. A new post office was needed, and in 1906 Congress passed the first of several laws authorizing its construction. It was not until 1916 that the actual land could be purchased, and over the next three years the federal government spent $322,500 ($ in modern dollars) buying the land and the buildings on it, which included not only the old post office and its telegraph building but a hotel, store, junkyard and gasometer.</p><br>
<p>The location of the planned new post office was personally chosen by Treasury Secretary William Gibbs McAdoo, a onetime resident of Yonkers, on a tour of the site with Rep. Woodson R. Oglesby. McAdoo cited its proximity to both the railroad and the city&#39;s trolley lines. Actual construction had to wait until Congress reauthorized it in the Public Buildings Act of 1926. The original budget was raised to $520,000 ($ in modern dollars) and the building was completed one year later, in 1927.</p><br>
<h3>Completed post office</h3><br>
<p>The completed post office was larger than most others built in New York around the same time, most of which were smaller brick buildings in the Colonial Revival architectural style. Yonkers large and growing population necessitated a correspondingly large post office, and like other larger urban New York post offices of the time, such as those in Potsdam and Wellsville, the Classical Revival mode was preferred. James A. Wetmore, Supervising Architect at the Treasury Department, is credited with the design, as he is with many other federal buildings during his 18 years as Supervising Architect. He was, however, a political appointee and lawyer with no architectural training; that was generally left to Louis A. Simon, the offices Superintendent of Architects, who succeeded Wetmore and served until the position was abolished in 1939.</p><br>
<p>Yonkers&#39;s post office is distinguished by its massing, which creates a monumentality reinforced by the pilasters around the facade. It is offset by the restrained relief, repetition of forms and smooth flat surfaces, features typical of the Classical Revival during that period, which convey both the dignity of a government building and the economizing the government was undertaking at the time. They also anticipate the Art Deco stylings that would become more prominent in later post offices like the main one on Staten Island, completed in 1931.</p><br>
<p>There have been a few small changes to the building since 1927. Most noticeably, the loading dock area has been altered slightly. Since the building was listed, its central portion, once sided in yellow brick, now matches the limestone on the rest of the building. On the north facade, the Nepperhan Street entrance has been closed off so that an office could be built next to it. In the lobby, some of the teller windows have been altered and the original lighting replaced. Otherwise, all furniture and finishes are original.</p><br>
<p>Newtonville Post Office is a historic post office building located at Newtonville in Albany County, New York, United States. It was built in 1852 as the First Baptist Church. It is a one-story, rectangular red brick building with a gable roof. The Rev. William Arthur, father of President Chester Alan Arthur lived at Newtonville from 1855 to 1863 and according to tradition is believed to have preached in the church. Church use ceased in the late 19th century and the building was used as a school, bus garage, farm machinery sales office, and after 1940 as a post office.</p><br>
<p>It was listed on the National Register of Historic Places in 1973.</p><br>
<p>The Old Post Office, also known as the United States Government Building, is located at the intersection of State Street and Broadway in Albany, New York, United States. It was built from 1879 to 1883 at a cost of $627,148.</p><br>
<p>Plans for the building had been made two decades prior to its construction. Originally it was to be a larger Gothic Revival structure, but the time and the costs of acquiring the land exceeded the original budget, and a smaller post office in the Italian Renaissance Revival style was erected instead. Since 1977 it has been part of SUNY Plaza, and is used as offices by the central administration of the State University of New York (SUNY). Postal operations moved to larger facilities prior to 1972, but the building continued to house federal government offices for a few years.</p><br>
<p>The building was listed on the National Register of Historic Places in 1972. It is also a contributing property to the Downtown Albany Historic District, listed on the Register in 1980.</p><br>
<h2>Building</h2><br>
<p>The post office building is located on the east side of the three-way intersection of Broadway and State Street. An open, grassy plaza is located to the south; otherwise the surrounding neighborhood is densely developed with commercial buildings of a comparable or greater size. Many date to the late 19th and early 20th centuries and are, like the post office, contributing properties to the Downtown Albany Historic District. Some of its neighbors are also listed on the Register themselves.</p><br>
<p>To the south a driveway curves around the plaza, around the front of the SUNY System Administration Building, listed on the Register as the Delaware and Hudson Railroad Company Building. Across Broadway, on the northwest corner, is the 1902 First Trust Company Building, also listed. The Home Savings Bank Building, Albany&#39;s first skyscraper, is a block further west.</p><br>
<p>On the north is another federal government office building; a parking garage serving the area is to the northwest. It is complemented by several small parking lots to the southwest and northwest. There is also open space in the form of small parks nearby, such as Maiden Lane Park a block to the north.</p><br>
<p>The terrain is level, reflecting the proximity of the Hudson River, 500 ft to the east. Interstate 787 and USA Route 9 are between the neighborhood and the river. To the west the land begins to slope up towards the state capitol and other state-government buildings around Lafayette Park a quarter-mile (500 m) in that direction.</p><br>
<p>The building itself is faced in load-bearing granite walls. Its main block is three stories high and seven bays along Broadway by nine along State. At all four corners are towers, five stories on the northwest and four on the southwest.</p><br>
<p>Restrained ornamentation on the facades, includes shields and stars representing the United States, the building&#39;s first owner. Most of the doors and windows are within round arches, some recessed. On the west, the main entrance pavilion has clustered columns and pilasters supporting its slightly projecting balustraded roof.</p><br>
<p>At the third and (on the towers) fourth stories are belt courses of carved stone. The same material is also used on the cornices at the rooflines. All the roofs are clad in slate shingles. Between the towers, on the main block, are mansard roofs pierced by small lunette dormer windows and topped with an iron balustrade. The towers have peaked roofs with one small oculus and the same balustrade. with peaked roofs clad in slate shingles.</p><br>
<h2>History</h2><br>
<p>As the eastern terminus of the Erie Canal, an upper port on the Hudson River and a major rail junction, Albany had grown considerably over the course of the 19th century. Its economic activity required a significant presence of federal government agencies, and their needs had outgrown the city&#39;s available space. After the Civil War, the Treasury Department turned its attention and resources to upgrading its facilities in cities that, like Albany, had grown rapidly due to industrialization.</p><br>
<p>In 1872, Congress passed legislation authorizing the construction of the new building. It was to be primarily a post office, but large enough for other government agencies to have offices in it. The city was required to acquire the land; the total cost of the project was limited to $350,000 ($ in modern dollars).</p><br>
<p>Acquiring the site of the Exchange Building took more than half the available money. William A. Potter, then Supervising Architect of the Treasury, had designed a large, elaborate building in the High Victorian Gothic mode, with polychromatic stone siding. The lot turned out to be too small for the building, so the property of an adjacent bank was purchased for $150,000.</p><br>
<p>With more money now spent for the land than had been budgeted for the entire building, and nothing built, Congress appropriated an additional $5,000. Construction did not begin until 1879. By then, James G. Hill had become the Supervising Architect. To save money, he changed the design to the Renaissance Revival style, which he supposedly preferred, complementing its use on the state capitol up the hill to the west.</p><br>
<p>Hill kept Potters basic forms and massing, although he changed the exterior to the simpler, cheaper gray granite. Inside, he made similar cost-driven modifications to the layout. Despite these changes, the buildings final construction cost upon its 1883 completion was around $620,000 ($ in modern dollars).</p><br>
<p>In 1912 the building became part of an early urban redevelopment plan. The city&#39;s leadership had become concerned about congestion and decay downtown, especially near Water Street, where many visitors got their first impression of Albany. They hired Arnold W. Brunner, an architect and urban planner from New York, to resolve what he called "the tangle of mean streets and wretched buildings" on the waterfront.</p><br>
<p>He observed that Albany, reflecting its origins as a 17th-century frontier outpost, had followed the pattern of European cities which had likewise developed during the Middle Ages, with long, narrow streets and densely clustered buildings. Those cities nevertheless often had at least one large open plaza. Brunner thus proposed that one be created downtown at the intersection of Broadway and State Street, through the construction of a long building angled back from the street. A small streetcar turnaround could be built around the edges.</p><br>
<p>The plaza would be framed by other major private and public buildings, like the post office. It would be a small version of the "court of honor" espoused for urban centers by the contemporary City Beautiful movement. The Delaware and Hudson Railroad, a major presence in the city, built the desired building, designed by local architect Marcus T. Reynolds, in 1914.</p><br>
<p>For the next 60 years the building continued to serve its original functions. In 1972 the post office and other federal agencies moved out, needing larger and newer space. The building sat empty for five years until it was acquired by SUNY, which immediately began renovating it to meet modern building codes and its own requirements. The $15 million project, which also included the more extensive renovation of the old Delaware and Hudson Building to the south, was completed the next year. The New York City architectural firm that oversaw the renovations received an energy conservation award from Owens Corning, the building insulation manufacturer.</p><br>
<p>The Bronx General Post Office  is a historic post office building at 558 Grand Concourse in the South Bronx in New York City, United States. Designed by Thomas Harlan Ellett, the four-story structure was completed in 1937 for the United States Post Office Department and later served as a United States Postal Service  branch. The interior includes a series of 13 murals created by Ben Shahn and Bernarda Bryson for the USA Treasury Departments Section of Fine Arts. The buildings facade and interior are New York City designated landmarks, and the structure is on the National Register of Historic Places.</p><br>
<p>The building is three stories high. It occupies an entire city block and is surrounded on all sides by a granite terrace. The facade of the basement is made of granite, while the rest of the facade is made of gray brick with marble arches. On the facade, flanking the main entrance on the Grand Concourse, are two sculptures: The Letter by Henry Kreis and Noah by Charles Rudy. The building has about 170,000 ft2 of interior space, spread across a basement and three above-ground stories. The murals are in the lobby, the only part of the building that is customarily accessible to the public, while the rest of the building included offices, equipment, and employee rooms.</p><br>
<p>Efforts to develop a central post office for the Bronx date to 1902, and the site was acquired between 1910 and 1913. There were various attempts to provide funding for the building in the 1910s and 1920s. USA Postmaster General James A. Farley and Treasury Secretary Henry Morgenthau Jr. announced plans for the building in 1934. A groundbreaking ceremony took place on June 13, 1936, and the building formally opened on May 15, 1937, as the Bronx Central Annex. Shahn and Bryson were hired in 1938 to paint the murals, which were finished the next year. The building became the Bronx General Post Office in 1963, when the sectional center facilities for Manhattan and the Bronx were split. The murals were renovated in the 1970s and 1990s. The USPS sold the building in 2014 to Youngwoo & Associates, which began redeveloping the building. Subsequently, Youngwoo tried to sell the structure in 2019 and again in 2024.</p><br>
<h2>Site</h2><br>
<p>The Bronx General Post Office is located at 552–582 Grand Concourse in the South Bronx in New York City, United States. The site occupies an entire city block, with an area of about 53,800 ft2. It has a frontage of about 196 ft on 149th Street to the south, 276 ft on Anthony J. Griffin Place to the east, 191 ft on 150th Street to the north, and 279 ft on Grand Concourse to the west. Anthony J. Griffin Place, a short street at the rear of the building, was originally known as Spencer Place, but it was renamed after the death of USA Representative Anthony J. Griffin, who had been vital in the buildings development. Hostos Community College and the entrances to the New York City Subways 149th Street–Grand Concourse station are directly to the south, while Lincoln Hospital is to the southeast. Prior to the construction of the post office building, the site had been divided into 22 land lots.</p><br>
<h2>Architecture</h2><br>
<p>The Bronx General Post Office was designed by consulting architect Thomas Harlan Ellett for the Office of the Supervising Architect. while The New York Times described the architectural style as a "modern style with modified classical ornament". Ellett regarded the building as being designed in a "contemporary Georgian" style. As built, the building is three stories high with a penthouse.</p><br>
<h3>Facade</h3><br>
<p>The building is surrounded on all sides by a granite terrace, which has a classical-style balustrade. Because the site slopes down to the east, the basement is exposed on the building&#39;s eastern facade. To the west, a set of steps leads up to the main entrances on the Grand Concourse. The entrance steps are flanked by pedestals with swag and rosette motifs, which form the ends of the balustrade on either side. Atop the pedestals are bronze flagpole bases with foliate decorations.</p><br>
<p>The facade of the basement is made of granite. The rest of the facade is made of gray brick, with round-arched Vermont-marble frames around the windows and doors. Above the imposts of each arch are additional round arches made of brick, which encircle the marble frames of each window and door. There is a band course running across the facade above the Grand Concourse entrance, which bears the inscription "Bronx – United States Post Office – New York". The inscription is flanked by rosettes.</p><br>
<p>On the facade, flanking the Grand Concourse entrance, are two sculptures: The Letter by Henry Kreis and Noah by Charles Rudy. Both are carved out of white marble and measure 4 ft wide and 14 ft tall. Kreiss sculpture depicts someone giving a letter to a mother and child in their family. Rudys sculpture depicts a dove giving a message to the biblical figure Noah after a great flood, an allusion to the USPSs creed "Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds". Rudy was nominated for the Architectural League of New Yorks Henry O. Avery Prize for his work, receiving an honorable mention.</p><br>
<h3>Interior</h3><br>
<p>Sources disagree on the buildings precise area. According to the New York Daily News, the building has a floor area of approximately 170,000 ft2, while The New York Times cites the building as having 175,000 ft2 of space. Real-estate listings from 2024 indicate that there are 169,000 ft2 of interior floor space, 4,400 ft2 of outdoor terraces, and 39 parking spots. The New York City Department of City Planning cites the building as having a gross floor area of 175,316 ft2. The buildings interior walls are generally made of brick, with a plaster finish on the interior, while the interior walls are made of plaster with metal wainscoting. The workspaces generally have exposed ceilings, and the lobby, corridors, and certain special rooms have plaster ceilings. The restrooms have glass wainscoting.</p><br>
<p>Originally, the main floor had about 43,000 ft2 of usable space. On the first floor was the main lobby. The Internal Revenue Bureau also had a sub-office on the first floor, and mail carriers working the South Bronx worked on the same level. Mail collected from the South Bronx and Washington Heights, Manhattan, during afternoons and evenings were delivered to the first floor and then further distributed to recipients. The second floor had about 44,000 ft2 of usable space. Throughout the building were a series of hidden passageways and ladders.</p><br>
<h4>Main lobby</h4><br>
<p>The main lobby is the only part of the building that is customarily accessible to the public. As originally envisioned, the main lobby had postal windows where customers could order stamps and send mail, packages, and money orders, among other things. The space is split into five bays. The center three bays are aligned with the three entrances from the Grand Concourse, on the lobby&#39;s western wall, while the northernmost and southernmost bays correspond to the windows on either side of the entrance.</p><br>
<p>The floor is made of patterned dark-gray terrazzo and light-gray marble. The walls are wainscoted in marble, and there are murals atop the wainscoting on each of the walls. The south wall has two marble pilasters, which flank a bronze gate topped by a marble plaque. Two engaged columns separate the east wall into three portions; the northern section of the east wall has customer-service counters, while the central and southern sections have niches. Pilasters also divide the north wall into three sections, with a doorway in the western section and customer-service counters in the other two sections.</p><br>
<p>The Bronx General Post Office is one of several 1930s post offices in New York City with murals that were painted through the Works Progress Administration program. The lobby has thirteen mural panels inspired by the words of Walt Whitman. The series has variously been called The Industrial and Agricultural Resources of America, Resources of America, or just America. The panels celebrate American industry and the products of labor. the panel includes depictions of farmhands, factory workers, and engineers. The Whitman panel originally contained a quote from one of Whitman&#39;s poems, which had to be swapped out after a Jesuit professor objected to it.</p><br>
<h2>History</h2><br>
<p>The Bronx&#39;s population increased significantly in the early 20th century, as the development of the New York City Subway enabled residents to move out of overcrowded Manhattan neighborhoods such as the Lower East Side and East Harlem. By 1930, the Bronx had a million residents. The volume of mail sent to and from the Bronx was also increasing greatly; however, the borough did not have a central post office well into the 1930s. From 1907 to 1915 alone, the volume of mail in the Bronx nearly doubled, from 27 to 50 million pieces of mail annually.</p><br>
<h3>Development</h3><br>
<h4>Site acquisition</h4><br>
<p>Government officials began clamoring for the development of a Bronx central post office in 1902, Pugsley&#39;s bill failed after the money was diverted to other appropriations. No further progress was made for eight years,</p><br>
<p>In January 1910, the United States Department of the Treasury acquired a 276 by site on Spencer Place (now Anthony J. Griffin Place), between 149th and 150th streets, from Henry L. Morris for $100,000. The New York Times wrote that the construction of the post office building would help spur development along 149th Street, which was located near the Mott Avenue subway station and several businesses. The federal government subsequently moved to acquire the rest of the block, extending west to Mott Avenue (now Grand Concourse), by eminent domain. Two commissioners were tasked with determining the value of the land. In 1912, the United States District Court for the Southern District of New York affirmed the commissioners&#39; report, which valued the land at $180,000. The United States Congress allocated a total of $285,000 for a post office on the site. The final portion of the allocation was secured in September 1913, and the USA government bought 13 buildings at 554–582 Mott Avenue that November, thereby obtaining full ownership of the block.</p><br>
<h4>Funding attempts</h4><br>
<p>There were several unsuccessful attempts to secure funding for the building in the 1910s and 1920s. The USA House of Representatives approved an $850,000 appropriation in January 1917, and USA Senator James W. Wadsworth Jr. introduced a bill that February, asking the Senate to approve that appropriation as well. Another such attempt occurred in 1919, when $1 million for a central post office in the Bronx was proposed in the USA House&#39;s Public Buildings Appropriation Bill.</p><br>
<p>The Bronx Board of Trade again advocated for a Bronx central post office in 1925, and USA Representative Benjamin L. Fairchild proposed allocating $1.5 million for the purpose that December. The Real Estate Board of New York, which also endorsed the building&#39;s construction, asked senator Wadsworth for help in getting the edifice constructed. In 1929, the Board of Trade and the Bronx Chamber of Commerce again requested that a central post office be constructed at Mott Avenue and 149th Street. Later that year, the USA government finally committed to erecting a post office on the Mott Avenue site.</p><br>
<p>Postmaster General Walter F. Brown told the Bronx Board of Trade in 1930 that the United States Post Office Department was seriously considering the idea of a general mail-distribution facility at Mott Avenue and 149th Street, similar to the General Post Office in Manhattan. After the Board of Trade invited Post Office Department officials to tour the Mott Avenue site in March 1931, assistant postmaster general John W. Philp said that he would recommend that Congress provide money for the post office building. Subsequently, a $1.42 million appropriation for the building was included in a bill presented to Congress in early 1932. However, Philp stated that July that the federal government could not immediately provide funding for the building. Subsequently, the Chamber of Commerce wrote directly to President Herbert Hoover, objecting to the lack of funding. There were also disputes over where exactly the Bronx general post office should be located, but the Bronx Board of Trade refused to consider any site other than the Mott Avenue plot.</p><br>
<h4>Construction</h4><br>
<p>Postmaster General James A. Farley said in February 1934 that the Post Office Department was considering a "concentration and distribution" building at Mott Avenue (by then known as Grand Concourse) and 149th Street. That June, Farley and USA Treasury Secretary Henry Morgenthau Jr. announced that a post office would be built on the site. The federal government provided an appropriation for the building the same month, or $1.750 million. This funding was made available through the Public Works Administration (PWA) program, which also included the development of 28 other buildings in New York City and several thousand more such projects nationwide.</p><br>
<p>Louis A. Simon—the Supervising Architect for the USA Treasury—and his staff were responsible for the design of many PWA projects. However, the large number of new PWA buildings prompted Simon to hire 21 architects and 300 draftsmen on a temporary basis; among these architects was Thomas Harlan Ellett, who was tasked with designing the Bronx General Post Office. Ellett finished his plans for the building in December 1934,</p><br>
<p>The Cauldwell-Wingate Company received a $1.032 million construction contract for the building in September 1935. Philip C. Smith Jr. was hired as the construction engineer. At the time, the building was expected to be completed by October 1936. A groundbreaking ceremony for the building took place on June 13, 1936; to mark the occasion, Bronx borough president James J. Lyons decreed that day a borough holiday. The same month, Charles Rudy and Henry Kreis were each hired to create a sculpture for the building&#39;s facade. Rudy and Kreis, who received $7,500 each for their work, had beat out nearly 400 other sculptors who had submitted designs to the Treasury Department. The project employed 180 workers. Construction was halted temporarily in September 1936 after stonecutters on the site went on strike, alleging that non-union laborers had been employed to cut the Vermont marble; at the time, the building had been erected to the first floor. The building was completed by April 1937, having cost either $1.03 million or $1.25 million to erect.</p><br>
<h3>Post office use</h3><br>
<h4>1930s and 1940s</h4><br>
<p>The building opened on May 15, 1937, when Farley dedicated the building in front of 3,000 people. At the time, the building was expected to handle 500,000 pieces of mail every day. The structure also contained space for the Internal Revenue Bureau, the USA Customs Service, and the Treasury. Because it supplemented the Central Post Office in Manhattan, the new post office was officially known as the Bronx Central Annex. a Bronx resident who had worked for the Post Office Department since 1891; he worked there until 1943. Several longtime Post Office Department employees from the Bronx were also hired as the post office building&#39;s assistant superintendents, assistant cashier, and foremen.</p><br>
<p>Shortly after the Bronx Central Annexs completion, the Treasury asked artists to submit designs for 13 murals that were being planned for the buildings lobby; the winner was to receive $7,000. The Treasury appointed Ellett and Henry Varnum Poor to review the designs. Ellett and Poor received 198 designs from artists in the northeastern United States. Seventeen runners-up were invited to design murals for other post offices around the country; Shahn and Bryson hung mockups of the murals in the Bronx Central Annex&#39;s lobby in December 1938. As such, work on the panels was temporarily halted in December 1938, and the Whitman quotation was swapped out with other quotes.</p><br>
<p>The building remained in use as a post office for the rest of the 20th century. In its early years, the building hosted events such as Christmas tree lighting parties and traveling stamp displays. In 1943, the Bronx Central Annex was designated as the post office for New York postal district 51, bounded by the Harlem River to the southwest, Jerome Avenue and 161st Street to the north, and Third Avenue and Courtland Avenue to the east. Inbound and outbound mail was required to be labeled with the district number; this was done to ease mail deliveries during World War II due to a shortage in mail carriers. In 1947, an automatic mail-sorting machine known as the Mailomat was installed at the Bronx Central Annex, allowing patrons to send mail when the building was closed. An automatic stamp vending machine was added to the building the next year.</p><br>
<h4>1950s to 1970s</h4><br>
<p>The Post Office Department installed a curbside mailbox outside the building in 1951, allowing patrons to send mail from their cars; it was one of the first such mailboxes installed in New York City. The following year, the Bronx Central Annex was designated as the distribution hub for mail to and from the Highbridge, the Hub, Mott Haven, Morrisania, Melrose, and Morris Heights neighborhoods in the southwestern Bronx. Previously, mail to and from these neighborhoods had been handled at other post offices. In addition, to encourage patrons and mail carriers to test themselves for tuberculosis, the New York City Department of Health temporarily installed an X-ray machine in the building&#39;s lobby in 1955.</p><br>
<p>By the early 1960s, about 427 million pieces of mail were being sent to the Bronx annually, and about 189 million pieces of mail were being sent from the borough every year. However, the Bronx still shared a sectional center facility (SCF) with Manhattan, which caused mail deliveries in both boroughs to be delayed; by contrast, the boroughs of Brooklyn and Staten Island each had their own SCFs, and the borough of Queens had four SCFs. As such, the Post Office Department agreed to establish a separate SCF for the Bronx in 1962, Letters to and from the Bronx, which formerly went to Manhattan&#39;s General Post Office first, were instead processed directly at the Bronx General Post Office.</p><br>
<p>The United States Congress received plans in July 1963 for $2.3 million in modifications to the Bronx General Post Office, which was to be renovated after other federal agencies had moved out of the building. The USA House approved the modifications at the end of the month, as did the USA Senate that August. In 1967, the General Services Administration (GSA) announced plans for a new central post office at Fordham Road and Third Avenue. The new building was to take over the functions of the existing post office building on the Grand Concourse, as well as a garage on Gerard Avenue. By then, the existing building had been deemed obsolete, and its murals were also in very poor condition. An information center for federal government jobs opened at the Bronx General Post Office in 1968. President Richard Nixon ultimately canceled funding for the new building on Fordham Road.</p><br>
<p>By 1970, the Post Office Department sought to rent 2,300 ft2 of office space nearby because of a lack of space in the existing structure. The same year, Hiram H. Hoelzer began restoring the interior murals the same year on behalf of the GSA. A two-year-long renovation of the lobby began in 1975, which included modifications to the lobby&#39;s east wall and the removal of decorations such as grilles, desks, and screens. and the telephone booths and bulletin boards on the murals were removed.</p><br>
<h4>1980s to early 2010s</h4><br>
<p>The Bronx General Post Office was added to the National Register of Historic Places in 1980. Additional modifications were made to the lobby in the late 20th and early 21st centuries, including the addition of more furniture and the replacement of doors. The buildings manager, Anthony Kienle, conversely said that graduate students visited the post office to write dissertations about the murals. By then, the Bronx General Post Office processed not only mail from the Bronx, but also mail deposited in mailboxes and post offices in Upper Manhattan north of 80th Street. By 1989, there were plans to move the USPSs borough headquarters to a larger facility on the Hutchinson River Parkway.</p><br>
<p>By the mid-1990s, the Bronx General Post Office was near capacity; the USPS was unable to install new sorting equipment because of a lack of space, and the agency also could not easily expand the building because it was a protected landmark. To alleviate congestion at the Bronx General Post Office, the USPS began sorting some Bronx mail in Manhattan, Queens, and Westchester County in 1993. By then, New York Times reporter Grace Glueck wrote that the building&#39;s murals had again become dilapidated.</p><br>
<p>In the 2000s, a professor at the City University of New Yorks Lehman College created a website documenting the buildings murals. Postal workers and local community groups established the Bronx Coalition to Save Our Post Offices in late 2005, amid reports that the USPS was considering moving the Bronx General Post Office&#39;s processing facilities to Manhattan. At the time, the USPS was conducting a feasibility study on whether to consolidate mail-processing facilities, though it denied that such a change would delay mail deliveries in the Bronx.</p><br>
<h3>Redevelopment</h3><br>
<h4>Sale</h4><br>
<p>In a letter dated December 31, 2012, the USPS announced that it was considering selling the Bronx General Post Office. Most of the operations had already been relocated from the building, and the USPS estimated that it needed only 7,300 ft2 for a post office in the neighborhood. By then, only 20 to 25 percent of the building&#39;s interior was in use. The post office building employed only 30 By contrast, since the building occupied a large site at the intersection of two major streets, it was a prime site for redevelopment. but few residents attended these hearings, reportedly because they were poorly publicized.</p><br>
<p>Residents and politicians organized in opposition to the proposed sale. Serrano claimed that the sale disregarded many Bronx residents&#39; desires for the building to not be sold. Borough president Rubén Díaz Jr. expressed concerns that the General Post Office might be turned into self-storage space. Serrano proposed a clause in the congressional spending bill, which would prevent historic post office buildings from being sold until they were reviewed. Though the clause was included in the final bill, Serrano expressed doubt that the USPS would follow through with such a review.</p><br>
<p>At the time the sale was announced, only the buildings exterior was formally protected as a city landmark, leaving the buildings interior vulnerable to modifications, though the USPS was considering enforcing a covenant that forced potential buyers to preserve the murals. the supporters of the designation included Shahn&#39;s son Jonathan, in addition to Serrano.</p><br>
<h4>Renovation and further sale attempts</h4><br>
<p>Youngwoo announced plans to turn the Bronx General Post Office into a marketplace, and it submitted plans for the building to the New York City Department of Buildings in December 2014. Under Youngwoo&#39;s plan, the building would retain a small post office. The preliminary plans called for a large rooftop sign and two staircases to Anthony J. Griffin Place, but these were removed from the final plans.</p><br>
<p>Youngwoo & Associates and its development partner Bristol Group hired Hollister Construction Services to renovate the Bronx General Post Office. In addition, Studio V Architecture was hired as the architect. Conservers began restoring the buildings Shahn murals in early 2015, and workers removed many of the postal equipment and interior finishes.According to the urban planner Sam Goodman, the areas low median household income and the presence of the Bronx Terminal Market mall nearby meant that there was not much demand for the redevelopment to begin with.</p><br>
<p>By 2018, Youngwoo was looking to sell the building. but the sale was canceled that July. A rooftop restaurant called Zona de Cuba opened atop the building that year, and there were also plans to lease space in the building to educational or retail tenants. In May 2024, the building was placed for sale again for about $70 million. By then, Zona de Cuba was the building&#39;s largest tenant with about 15,000 ft2 of space, while the USPS had only 10,000 ft2 of space. The murals, while hidden from public view, were still in good condition, since the building could not be sold unless the murals had been restored.</p><br>
<h2>Reception</h2><br>
<p>Both the Bronx General Post Office and its murals have been the subject of commentary over the years. When the structure was completed, Architectural Forum wrote that the building had successfully combined "a distinct modern influence and the continuing tradition of government classic". In 1968, a writer from Artforum said that Shahn and Bryson had managed to create "outstanding murals" in the building, despite the Section of Painting and Sculptures exacting requirements, but regarded the Whitman mural on the north wall as "the weakest of the panels compositionally". The New York Times wrote in 1995 that Shahn and Brysons murals were "possibly the greatest publicly displayed art in the Bronx", having managed to survive at a time when the Bronx, government-funded artwork, and 1930s–era social realism had all fallen out of favor. Tablet magazine described the murals in 2013 as "a prominent example of federal support for the arts" in the 1930s.</p><br>
<p>The James County Courthouse is a historic building located in Ooltewah, Tennessee. It was built in 1913 as the third courthouse of the now defunct James County. It continued to function in that capacity until 1919, when James County went bankrupt and was absorbed by Hamilton County.</p><br>
<p>The building was privately purchased in 2000 and is used as the Mountain Oaks Wedding Chapel.</p><br>
<p>Washington Hall is a historic building and a registered city landmark in Seattle, Washington, that is listed on the National Register of Historic Places. It was originally built as a community center by the Danish Brotherhood in America, a fraternal organization, with meeting halls and one-room apartments for new immigrants. In 1973, the building was sold to the Sons of Haiti  who leased the space to various tenants. It was purchased in 2009 by Historic Seattle and was renovated and re-opened in 2010 as an events and performance space.</p><br>
<h2>Description</h2><br>
<p>The building is a three-story, double wood-frame structure with a brick veneer skin. The design is an eclectic mix of Mission Revival and commercial styles.</p><br>
<h2>History</h2><br>
<p>Designed to house the needs of its growing fraternal lodge, the hall was commissioned to be built in 1907 by the Danish Brotherhood in America. The original floor plan was designed by local Seattle architect Victor W. Voorhees,</p><br>
<p>Washington Hall&#39;s original purpose was as a meeting hall for the Danish Brotherhood in America, Seattle Lodge #29, and in the 1970s was purchased by the Sons of Haiti (an African-American Masonic group) who "continued to use the first floor rooms for their organization and rent out the second floor as performance space."</p><br>
<h2>Renovations</h2><br>
<p>The Sons of Haiti completed various renovations; It was purchased in 2009 by Historic Seattle. The first phase of the building&#39;s restoration was completed in 2010, with an additional three phases scheduled over several years. Major architectural and contractor contributors to the project included Ron Wright and Associates/Architects PS, Coughlin Porter Lundgren, and Lydig Construction. After all four phases were complete, the building re-opened to the public in May 2016.</p><br>
<p>The building was subsequently designated a Seattle city landmark, and in 2010 a $90,000 grant was secured for its renovation. In December 2010, it was added to the National Register of Historic Places.</p><br>
<p>Drake Hill Road Bridge, also known as the Old Drake Hill Flower Bridge, is a bridge in Simsbury, Connecticut, originally carrying Drake Hill Road over the Farmington River. Built in 1892, it is one of three surviving Parker truss bridges in the state. It was listed on the National Register of Historic Places in 1984. It now carries foot traffic only.</p><br>
<h2>Description and history</h2><br>
<p>The Drake Hill Road Bridge is located a short way southeast of the town center of Simsbury. It is located between Old Bridge Road, a former alignment of Drake Hill Road, and Riverside Road, which parallels the east bank of the Farmington River. Drake Hill Road now passes to the north, crossing the river on a modern bridge. This bridge is a single-span, pin-connected Parker through truss constructed with wrought iron, cast iron and steel. It rests on brownstone abutments and carries a 12 ft roadway for a span of 183 ft. It has a wooden plank deck suitable for foot traffic, and its sides are adorned with planters that are seasonally filled with flowers.</p><br>
<p>The bridge was built in 1892, and is one of three 19th-century Parker trusses to survive in the state. All three were designed by J.H. Buddington, an engineer for the state highway department. This bridge was built as a replacement for a timber-frame bridge that previously stood on the site. The town recognized the need for replacing the older structure in 1890, but financing of the replacement delayed its construction. The bridge was taken out of vehicular service in 1992, when the present alignment of Drake Hill Road was established. This bridge is now open strictly for pedestrian and bicycle traffic.</p><br>
<p>Eno Memorial Hall is a historic civic building at 754 Hopmeadow Street in Simsbury, Connecticut. Built in 1932, it served historically as a courthouse, as a city hall, as an auditorium, and as government offices. It was designed by Roy D. Bassette, and was given to the town by Antoinette Eno Wood, who was descended from some of the towns early settlers. It presently serves as the towns senior center. The hall was listed on the National Register of Historic Places in 1993.</p><br>
<h2>Description and history</h2><br>
<p>Eno Memorial Hall stands in the center of Simsbury, on the east side of Hopmeadow Street between Station Street and Wilcox Street. The building is a Classical Revival brick and stone structure, two stories in height, with a hip roof. A tetrastyle two-story Greek Revival temple front projects from the center of the building, and it is topped by a three-stage clock tower with gilded dome. The building houses an auditorium seating about 600, as well as smaller rooms in the flanking wings.</p><br>
<p>The hall was a gift to the town by Antoinette Eno Wood, a descendant of one of the towns early settlers. Her father, Amos Eno, was a Simsbury native and a major real estate developer in New York City. It was completed in 1932, and originally housed the town offices and its storage vault, in addition to the meeting and performance space. The town offices were moved out in 1969, and town meetings were moved to the Belden School auditorium in 1983. The building is now managed as part of the towns senior center.</p><br>
<p>The Simsbury Bank and Trust Company Building, also known as the former Town Hall Building, is a historic commercial and civic building at 760 Hopmeadow Street in Simsbury, Connecticut. Built in 1917, it is a prominent local example of Colonial Revival architecture with Beaux Arts features. It originally housed the town&#39;s first bank, and was its town hall between 1969 and 1984. The building was listed on the National Register of Historic Places in 1986.</p><br>
<h2>Description and history</h2><br>
<p>The Simsbury Bank and Trust Company Building occupies a prominent position in Simsbury&#39;s town center, at the northeast corner of Hopmeadow and Station Streets. It is a two-story Colonial Revival brick building. The roughly square building has a 72 ft facade, divided into five bays by paired fluted pilasters topped by rosettes. Pilasters at the corners rest on stone piers. The main entrance, centered on the facade, is recessed in a paneled archway, topped by a semi-elliptical fanlight and framed by very thin columns and leaded sidelight windows. The building has a richly decorated entablature, and its roof perimeter has a low balustrade, interrupted by brick piers.</p><br>
<p>The building was built for Joseph Ensign, a local businessman, in 1917 to a design by the Hartford architectural firm of Smith & Bassette. In addition to housing the Simsbury Bank and Trust Company (founded 1916), it also housed local telephone company offices for many years, as well as a variety of retail tenants. The building was occupied by the bank until 1969, when it was sold to the town. It served as town hall from then until 1984, and is once again used for commercial purposes.</p><br>
<p>The Borden House is a historic house on the grounds of Prairie Grove Battlefield State Park in Prairie Grove, Arkansas. In the Battle of Prairie Grove on December 7, 1862, the original Borden House was one of the central points of the Confederate line, and was the scene of heavy casualties. The Borden House was burned the next day. Archibald Borden built the current house on the original site. It is a -story wood-frame house, five bays wide, with a side-gable roof pierced by three gabled dormers. A porch extends across the center three bays of the front.</p><br>
<p>The house was listed on the National Register of Historic Places in 1977, and included in an enlarged National Register listing for the battlefield in 1992.</p><br>
<p>The Old Georgetown City Hall, also known as Georgetown Police Station, is a two-story brick construction building designed by Victor W. Voorhees in the Georgetown neighborhood of Seattle, Washington that was built in 1909.</p><br>
<p>It was designed to include a police court, a jail, fire department, council chambers, and offices for mayor, engineer, and treasurer. It was to be the first building in Georgetown with hot and cold running water. Georgetown was annexed into Seattle in 1910.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>The Frederick Crouse House is a historic house located at 3960 Altamont-Voorheesville Road in Guilderland, Albany County, New York.</p><br>
<h2>Description and history</h2><br>
<p>The original stone Dutch house was built in about 1760. The house was expanded around 1780, then the main house was built in 1802. It is a substantial Federal style farmhouse and one of the oldest structures in Guilderland.</p><br>
<p>It was listed on the National Register of Historic Places on November 10, 1982.</p><br>
<p>The John Humphrey House is a historic house at 115 East Weatogue Street in Simsbury, Connecticut. Built about 1760, it is a well-preserved example of a Georgian colonial residence. It was listed on the National Register of Historic Places in 1990.</p><br>
<h2>Description and history</h2><br>
<p>The John Humphrey House is located in Simsbury&#39;s rural East Weatogue area, on the west side of East Weatogue Road north of its junction with Talcott Mountain Road. It is a two-story frame house, five bays wide, with a centered entry and a large central chimney. Its exterior is finished in wooden clapboards. Additions extend the main block to the right and rear. The interior follows a typical center-chimney plan, with a narrow entrance vestibule that has a winding staircase to the second floor. On either side of the chimney are parlor spaces, with the original kitchen in a long room behind. The parlor spaces have fine original Georgian wooden paneling; the left parlor has a more elaborate fireplace surround, with fluted pilasters, and an elaborate builtin corner cabinet. The ell extending to the right, a 19th-century addition, retains features period to its original construction, although one of its fireplaces has been bricked over.</p><br>
<p>The house&#39;s construction is estimated to have been in 1760, based in part on land records, and in part from the location of the bake oven in the kitchen, which is not typically sited where it is in earlier construction. The land on which it stands was granted to Michael Humphrey in 1668, but there is no firm evidence of a house until 1760, when the estate of his grandson John was inventoried.</p><br>
<p>The Stamford Bridge, also known as Bridge No. 48-102-010, is a historic bridge in rural Mellette County, South Dakota, southeast of Stamford. Built in 1930, it is a three-span Bedstead Pony Truss bridge, carrying a local road over the White River, off County Road Ch 1. Each span measures 80 ft in length, and the rest on two concrete piers and two concrete abutments with wing walls. The deck consists of steel I-beams, with wooden stringers topped by steel plates. The bridge is the longest Bedstead truss bridge in the state, and one of a modest number of surviving bridges built using this type of truss.</p><br>
<p>The bridge was replaced in 2017.</p><br>
<p>The bridge was listed on the National Register of Historic Places in 1993.</p><br>
<p>The Arroyo Grande IOOF Hall is a building in Arroyo Grande, California, that was built in 1902. The building housed the town&#39;s chapter of the Independent Order of Odd Fellows, which was established in 1887. The order planned a two-story building with a storefront on the first floor; the building is one of the tallest in downtown Arroyo Grande. The sandstone building was designed in the Romanesque style and features segmentally arched windows and doors and a crenellated parapet with a large merlon in the center. In 1985, the Odd Fellows lodge disbanded, and the building is now owned by the South County Historical Society. It was listed on the National Register of Historic Places in 1991.</p><br>
<p>College Square Historic District is a nationally recognized historic district located on a bluff north of downtown Davenport, Iowa, United States. It was listed on the National Register of Historic Places in 1983. The district derives it name from two different colleges that were located here in the 19th century.</p><br>
<h2>History</h2><br>
<p>Iowa College was founded in 1846 by members of the Congregational Church on Western Avenue in Davenport. The land was donated by Antoine LeClaire, one of the city&#39;s founders. The school started as a college preparatory school and eventually added a collegiate department. The city decided to extend Western Avenue through the campus so the school moved further east in 1855 to where Central High School is now located. It was at that time that the property was first called College Square. That year they built a new stone building and boarding house for $22,000. Once again the city council voted to extend Main Street through the campus and in 1858 the trustees decided to move to Grinnell, Iowa in 1859 where the school was renamed Grinnell College.</p><br>
<p>The following year the school property was purchased by Henry Washington Lee, the first bishop of the Episcopal Diocese of Iowa for $36,000. He established Griswold College on the west side of the property. It too contained preparatory and collegiate divisions as well as a seminary department. The college started well at the beginning, but began to have financial problems as a result of the Panic of 1873 and started to decline. Kemper Hall, a college preparatory school for boys, was founded on the property. By the end of the 19th century, the schools were officially closed by the diocese. On the east side of the property, Bishop Lee built Grace Cathedral, which is now known as Trinity Episcopal Cathedral.</p><br>
<p>The diocese sold the property on the west side of Main Street to the Davenport Board of Education for $53,000. They built Davenport High School on the property between 1904 and 1907. The north part of the district is largely occupied by houses that were built largely in the two decades following the American Civil War. In the middle of the district is the citys Civil War soldiers monument. Also adjacent to the historic district is Palmer College of Chiropractic.</p><br>
<p>The College Square Historic District is part of the larger Hilltop Neighborhood. In 2010 community planners held workshops and other meetings to revitalize the area. They are focused on the commercial district on Harrison Street, which just to the west of the historic district, as well as infill housing in the residential sections.</p><br>
<h2>Trinity Episcopal Cathedral</h2><br>
<p>The cornerstone for the cathedral was laid in 1867 and it was completed in 1873, except for its bell tower and spire. The church was designed by New York City architect Edward Tuckerman Potter and was completed for $80,000. It was only the second Episcopal Church in the United States built exclusively as a cathedral. The attached parish house was completed in 1993, replacing an older building, and the bell tower and spire were completed in 1998 after Potters original design. The cross on top of the spire reaches 131 ft above the ground. On the south side of the cathedral is the deans house. The buildings are harmonious in appearance, scale, and materials. They are all masonry buildings, grey-tan in color and follow the cathedral&#39;s Gothic Revival style.</p><br>
<p>The cathedral complex had another building that was a contributing property in the historic district, but it has subsequently been torn down. Davenport architect John W. Ross designed the two-story, brick, Gothic Revival, Ely House (1881). Caroline D. Ely of New York paid for its construction, and its use was intended as the residence for the holder of a theological chair at Griswold College. The chair had been endowed by her late husband, David J. Ely, and the house was named in his memory.</p><br>
<h2>Central High School</h2><br>
<p>Davenport Central High School sits directly across Main Street from Trinity Cathedral. Its building&#39;s darker coloring create a contrast with those of the cathedral complex, which are lighter in color. The school at one time was a multi-building complex. The main building of the high school was completed in 1907. It was designed by Parke Burrows in the Beaux Arts style and was built in dark red brick. The building is a square plan with a stone basement and hipped roof. On both the Main Street and Harrison Street sides of the building are single round-arched entrances that are framed with Ionic columns. Several additions have been made to the building over the years.</p><br>
<p>In front of the main school building sits the former Kemper Hall. It was designed by Edward S. Hammatt who also designed the buildings for Griswold College and St. Katherines Hall, the Episcopal girls school on the east side of Davenport. He utilized a Victorian Romanesque Revival style that was built in dark red brick and red-brown sandstone for the foundation and details. There is a round tower on the southeast corner of the building with a stylized cross on the top of the spire-shaped roof.</p><br>
<p>Before World War I an industrial arts building was built on the campus. It was a side-gable brick building in the Colonial Revival style. The building was illuminated by large multi-paned steel windows that were similar to those used in factories of the era. It has subsequently been torn down.</p><br>
<h2>Civil War Monument</h2><br>
<p>Between the cathedral and the high school sits the Civil War Soldier&#39;s monument in the middle of Main Street. The monument is a stone obelisk topped by a statue of a soldier, which faces south towards the Mississippi River in the valley below. Battles in which local soldiers fought are engraved on each side of the obelisk in two rows. The battles listed are: Shilo, Donelson, Wilsons Creek, Fort Blakeley, Corinth, Prairie Grove, and Vicksburg. It was built in 1880, and listed on the Davenport Register of Historic Properties in 1993.</p><br>
<h2>Residential Neighborhood</h2><br>
<p>The residential section of the district is a four-block area north of the high school and cathedral complexes. Most of the houses are fairly large in size and reflect various architectural styles. Some of the styles include Second Empire, Queen Anne, Greek Revival, American Craftsman, and Colonial Revival. The most dramatic residence is the Parker-Ficke House on Main Street, across Twelfth Street from Central High School. It is considered one of the finest examples of Second Empire construction in the state of Iowa. Built in 1881, the house features a mansard roof, multicolor slate shingles, wrought-iron roof cresting, brackets, moldings, and fanciful window surrounds. Today the building serves as a fraternity house for Palmer College. It was listed on the Davenport Register of Historic Properties in 2003. The neighborhood at one time included the former St. Paul&#39;s English Lutheran Church. The Gothic Revival structure that was individually listed on the National Register of Historic Places has since been torn down.</p><br>
<p>In addition to the institutional buildings, several houses were also designed by local architects and builders. However, none of the commissions are considered their best work. They include T.W. McClelland (Parker-Ficke House and 133 West 13th Street), G.A. Hanssen (G.A. Koester House), and Edward S. Hammatt who designed a house for himself on West 13th Street.</p><br>
<p>Casa Italiana is a building at Columbia University located at 1161 Amsterdam Avenue between West 116th and 118th Streets in the Morningside Heights neighborhood of Manhattan, New York City, which houses the university&#39;s Italian Academy for Advanced Studies in America. It was built in 1926–27 and was designed by William M. Kendall of McKim, Mead & White in the Renaissance style, modeled after a 15th-century Roman palazzo. The building was restored, and the east facade completed, in 1996 by Buttrick White & Burtis with Italo Rota as associate architect.</p><br>
<h2>History</h2><br>
<p>In the 1920s, Italian student clubs il Circolo Italiano at Columbia and Barnard mobilized support for a Casa Italiana project. Columbia President Nicholas Murray Butler embraced the idea. The Casa campaign was led in New York by the students and by Judge John J. Freschi (who helped raise money). They reached out to New York developers Joseph Paterno, Anthony Campagna and Michael Paterno, who erected the building and covered all costs beyond contributions.</p><br>
<p>Some support came from abroad: Italy’s Fascist leader Benito Mussolini expressed enthusiasm, but he promised more than he gave. Records show only some scholarship funding from the Fascist government, and a pledge of antique furniture “to be obtained in Italy through the help of Mussolini”—but this donation never materialized, and the furnishings and artwork came instead from domestic patrons.</p><br>
<p>McKim, Mead & White, the firm responsible for the layout of Columbias campus, created an impressive design for the Casa Italiana, modeled on the Roman palazzi of the Renaissance. When completed in 1927, it stood on the corner of Amsterdam Avenue and 117th Street, clad entirely in limestone on the west and south facades (which set it apart from all the other brick-clad buildings on campus, except for the imposing, limestone-clad Low Library). The north facade of Casa Italiana partially abutted a seven story apartment building and the east facade partially abutted a four-story brownstone (both replaced by the International Affairs building in 1970), and therefore, the exposed parts of both facades were clad in brick. The east facade, a patchwork resulting from the demolition of the brownstone, was completed in brick during Buttrick White & Burtis 1996 restoration.</p><br>
<p>When the building opened in 1927, Dr. Charles Paterno generously gave 20,000 leather-bound books and funding for the Casa&#39;s library.</p><br>
<p>In 1991, the Italian Republic purchased the property for $17.5 million and leased it back to Columbia for 500 years. Renovations were undertaken, the remaining Paterno collection of books was moved to the Butler Library (many books had gone to Butler over the decades already, as the collection outgrew the Casa&#39;s Library early on), and the Italian Department was relocated from the Casa Italiana to its current home in Hamilton Hall, and The Casa building became the seat of the Italian Academy for Advanced Studies, a center for research in the humanities and sciences.</p><br>
<p>In 2012, a lawsuit filed by the Italic Institute, an advocacy group, in conjunction with the surviving Paterno Family, claimed that Columbia had breached its responsibilities in regard to the building&#39;s use. It claimed that the University violated the donative intent of 1927 by converting the building from a cultural center opened to the students of Columbia and the seat of the Department of Italian to a restricted research facility. The New York State Supreme Court dismissed the suit for “lack of standing" and did not rule on the substance of the complaint.</p><br>
<p>Casa Italiana is one of three buildings on Columbia&#39;s campus that is designated by the New York City Landmarks Preservation Commission, having achieved that status in 1978. It was also added to the National Register of Historic Places in 1982.</p><br>
<p>The Odd Fellows Hall in Beaver, Utah was built in 1903 in Early Commercial architecture style. Its original owner was probably Charles C. Woodhouse. It served historically as a clubhouse, as a meeting hall of Odd Fellows, and as a specialty store. It was listed on the National Register of Historic Places in 1983.</p><br>
<p>It is a two-story brick commercial building, one of only four surviving-with-integrity historic commercial buildings on Beaver&#39;s Main Street. Its first floor is a storefront with display windows and an indented entry; its second floor is mad eof pressed metal made to resemble stone. It has a pressed metal cornice with "IOOF" initials of the International Order of Odd Fellows.</p><br>
<p>The Independent Order of Odd Fellows Hall, also known as the I.O.O.F. Hall, is a historic clubhouse in Downtown, Salt Lake City, Utah, United States, that is listed on the National Register of Historic Places .</p><br>
<h2>Description</h2><br>
<p>The building was constructed at 41 Post Office Place (now West Market Street), but is now at 26 West Market. It was constructed in 1891 at a cost of $40,000 (equivalent to $ million in ). It was designed by George F. Costersian in Richardsonian Romanesque style.</p><br>
<p>The building served historically as a meeting hall</p><br>
<p>It was listed on the NRHP November 7, 1977.</p><br>
<p>In 2009, it was moved across the street (and rotated 180 degrees) to make way to the new Federal Courthouse. This work was performed by Layton Construction Company, Inc. as general contractor and Emmert International as specialty transport contractor.</p><br>
<p>The building mass was approximately 5 million pounds of stone and brick at the time it was moved.</p><br>
<p>In 2011 the building was purchased by a private party and the interior rehabilitated including extensive seismic upgrades and new HVAC and plumbing systems and all new interiors. Today the entire building is occupied by Dennis Group, an engineering and construction company that services the food processing industry.</p><br>
<p>Grand Prospect Hall, also known as Prospect Hall, was a large Victorian-style banquet hall at 263 Prospect Avenue in the South Park Slope neighborhood of Brooklyn, New York City. It was primarily an event space, hosting weddings, bar and bat mitzvahs, and high-school proms. The hall was housed in a building that architect Ulrich J. Huberty designed in the French Renaissance style.</p><br>
<p>The first Prospect Hall was built in 1892 by local entrepreneur John Kolle. The original structure burned down in 1900 and was replaced by a new building, which opened in 1903. It was operated by the Kolle family through 1940, when John Kolle&#39;s son, William, sold the building to a Polish-American organization. Greek-American couple Michael and Alice Halkias bought the hall in 1981 and renovated it, gaining some local celebrity for their cheaply produced television commercials. In 2020, it was sold to contractor Angelo Rigas, who announced plans to demolish and redevelop it, along with adjacent properties. Local activists organized to save the building, but the effort was unsuccessful and Grand Prospect Hall was demolished in February 2022.</p><br>
<p>Grand Prospect Hall was four stories tall and faced in buff-gray brick, with pressed metal decoration that was originally colored to resemble limestone. The front portion of the building was arranged around a large central staircase and was designed with a bar, a banquet hall, and various reception and parlor rooms. The rear of the building was arranged around the ballroom, which was overlooked by two balcony levels. The basement also had facilities, including a bowling alley. The building was listed on the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<h3>Original Prospect Hall</h3><br>
<p>Prospect Hall was originally built by local entrepreneur John Kolle, a German immigrant. In 1890, he had built Tivoli Hall, a four-story concert hall in the part of South Brooklyn now known as Park Slope, for restaurateur Charles Feltman. In May 1892, Kolle announced plans for Prospect Hall, which was intended to cater to the German societies and organizations of the area. It was to be located on Prospect Avenue, between Fifth and Sixth Avenues, a few blocks from Tivoli Hall. Prospect Hall was constructed at a cost of $130,000.</p><br>
<p>An 1893 report from the Brooklyn Citizen cited the building as measuring, The Prospect Heights Athletic Club, a boxing club, formed at Prospect Hall shortly after it opened in November 1892. In its inaugural years, the hall hosted a range of events including plays, boxing tournaments, John Kolle&#39;s son, William D. Kolle, managed the hall.</p><br>
<p>On December 11, 1900, two hundred firefighters responded to a major fire at Prospect Hall. While the firefighters stopped the fire from spreading to neighboring buildings, the hall was destroyed. This was in part because, according to The New York Times, the two closest fire hydrants to the hall were frozen over. The bowling alleys on the ground and second floors formed natural flues for the flames and the fire spread very quickly, further aided by wind. While it had steel ceilings and iron girders, the walls were made of Georgia pine, and the stage and flooring of the hall contained flammable material. Only the brick and stone walls of the building were left standing, and they were ordered to be demolished afterward as they were too structurally unstable. The Brooklyn Daily Eagle described the fire as "spectacular", drawing thousands of people to watch. So despondent was John Kolle that he reportedly had to be restrained from jumping into the fire and killing himself, and later had to be looked after and medicated by physicians. The cause was not confirmed, but was suspected to be a lit cigar or cigarette thrown on the floor in one of the second floor dressing rooms near the main hall. The Eagle estimated the damage at over $300,000. Many of the hall&#39;s German societies lost trophies, keepsakes, and other property in the fire; they all sent letters of sympathy to Kolle.</p><br>
<h3>Reconstructed Prospect Hall</h3><br>
<h4>Kolle ownership</h4><br>
<p>John Kolle quickly decided to rebuild Prospect Hall on the same site and, in June 1901, opened a temporary beer garden next door. The New York City Buildings Department initially refused to grant a permit for the reconstruction because the blueprints included a drinking bar. According to building code, a bar could not operate on the same property as any building with stage facilities and over 300 seats. The owners appealed, and the Brooklyn buildings deputy commissioner indicated that he would approve the plans if the bar and some disallowed decorations were removed. In July 1901, the commissioner voted with the Board of Buildings to reverse his initial decision and approve the new plans.</p><br>
<p>The rebuilt Prospect Hall opened on February 2, 1903, and was also managed by John Kolle&#39;s son, William. Worried it would spread to the hall, the fire department sent an extra fire engine to help control it. While they successfully prevented damage to the hall, the house was destroyed. Firefighters had difficulty getting a sufficient stream of water due to a large eel which made its way into a fire hose, clogging it.</p><br>
<p>In its early years, according to the New York Times&#39; Christopher Gray, spaces like Prospect Hall "sounded the heartbeat of the city" by hosting a variety of public and private events. In 1911, singer and comedian Sophie Tucker performed. Organizations such as the Brooklyn Quartet Club and Brooklyn Rifle Club were also housed in the building.</p><br>
<p>To the west of the main building, the Hour Motion Picture Theatre opened in 1910. The space to the east was converted into a Venetian garden in 1913 and was used for movie screenings. According to the New Yorker, it became one of the first film production lots in the world after one of John Kolle&#39;s sons, Herman Kolle, founded the Crescent Film Company with Fred J. Balshofer and began making movies for nickelodeons. Old advertisements for Prospect Hall described the "high-class motion pictures and vaudeville" that were displayed every night, as well as "country butcher shops" on Tuesdays and "safe and sane" Independence Day events every July 4. Over the years, the frequency of high-profile events at Prospect Hall, including political meetings, decreased. It continued to be used for events such as an October 1929 debate between mayor Jimmy Walker and ex-governor Al Smith, as well as Works Progress Administration productions during the 1930s. The main ballroom was used for vaudeville and movie screenings during the summer between 1936 and 1940.</p><br>
<h4>White Eagle ownership</h4><br>
<p>William L. Kolle, son of William D. Kolle, sold the building in 1940 to the White Eagle Society, a group formed by Polish immigrants. White Eagle converted it into a Polish-American community center. The organization repainted and repaired the building by 1949. Prospect Hall was used by fraternal societies and labor unions throughout this time. The immediate vicinity began to decline in the 1950s, following the construction of the Prospect Expressway immediately across the street.</p><br>
<p>White Eagle started to sell off some decorations by the 1960s to pay for repairs. By then, Prospect Hall hosted occasional boxing matches. The building, at that point known as the Polish Community Center, was renovated in 1970. The United Polish Societies of South Brooklyn called it their headquarters as of 1971, meeting one evening a month. Dances and concerts were also hosted in Prospect Hall until the 1970s. It was completely shuttered by 1981, at which point it had deteriorated so much that there were barrels throughout the space to catch rain from the leaking roof. The ground-floor restaurant saw little business but continued to operate nevertheless.</p><br>
<h4>Halkias ownership</h4><br>
<p>Greek-American couple Michael and Alice Halkias bought the hall in 1981. He was a former real estate agent, travel agent, and employment agent who helped Greek people immigrate to the United States. Under the Halkiases ownership, Prospect Hall was renamed Grand Prospect Hall. The couple renovated the hall in a piecemeal fashion over the following 18 years, with a staff of 30 to 90 restorers. Michael Halkias chose to redesign the main ballroom in "happy colors" rather than the original paint scheme, with carvings of fruit in different colors based on what he shouted to the painters. Brownstoner wrote that "the Halkias never met gilding and ostentation that they didn&#39;t like". Michael also attempted to clean the facade several times, but ultimately decided to paint it in 1998. He recovered the original murals after a chance encounter while waiting in line at a bank in Bay Ridge, Brooklyn, when a stranger mentioned that he had purchased them.</p><br>
<p>In 1983, Borough President Howard Golden proclaimed March 10 to be an annual "Grand Prospect Hall Day" in Brooklyn. Starting in 1986, the Halkiases gained a measure of local fame for producing and starring in cheaply shot commercials for the hall which aired regularly on local television. The ads contained various shots of the interior spaces, showing events held there, set to orchestral music, with a sales pitch from the Halkiases typically including a phrase which became associated with them: "We make your dreams come true!" The tagline, according to Brooklyn Paper, is "instantly recognizable to any New Yorker who owned a television set." The commercials have been parodied on both Jimmy Kimmel Live! and Saturday Night Live. Kimmel paired the Halkiases with Pete Alonso of the New York Mets, spoofing the commercials. Kimmel was quoted in The New York Times saying "If you live in New York, and if youve ever owned a television, youve probably seen these commercials," joking that they "are wonderful, but they&#39;ve been running the same ones for 125 years."</p><br>
<p>In 1999, Grand Prospect Hall was listed on the National Register of Historic Places (NRHP). The listing describes the hall as "probably the largest and best-preserved example of its type, the Victorian assembly hall set within a great ethnic community facility, remaining in the country". However, NRHP status does not restrict what non-federal owners can do with a property. At the time, the building was not granted official city landmark status from the New York City Landmarks Preservation Commission (LPC), which would grant protections from redevelopment. In 2001, the Halkiases reopened the original bar on the first floor after restoring it.</p><br>
<p>The Halkiases proposed new construction on the property in 2011: an eleven-story building including a hotel and large parking garage. The flyers upset some neighbors, who viewed it as a threat, while Michael Halkias described it as an economic necessity. The request for a zoning exception was not approved.</p><br>
<p>The hall was primarily an event space, hosting weddings, bar and bat mitzvahs, corporate events and high-school proms. It has also hosted events such as Flame Con, an LGBTQ comic book convention, and the rock band Arcade Fire held an Everything Now album release concert there for 1,500 fans.</p><br>
<h4>Sale to Rigas</h4><br>
<p>Business suffered during the COVID-19 pandemic, and Grand Prospect Hall closed in March 2020. Two months later, on May 6, Michael Halkias died at the age of 82 due to complications from COVID-19. In June 2021, the building was sold, along with eleven other adjacent properties, to contractor Angelo Rigas for $30 million. The interior was largely auctioned off before the sale was announced, with some of the decorations and fixtures sold to other local businesses and antiques sellers.</p><br>
<p>On August 19, 2021, the Brooklyn Paper reported that Rigas, through Gowanus Cubes LLC, had filed permits to demolish the properties, including Grand Prospect Hall. Local activists began a petition to try to save the building from demolition and asked the LPC to hold hearings for landmark status. Among the LPC&#39;s reasons for denying the request were that the fourth-floor pediment had been removed, the frieze above ground level had been modified, and the entrance portico had been enclosed. Much of the interior had also been demolished already.</p><br>
<p>The demolition permits were approved in November 2021, though at that time there was not a concrete timeline for it to move forward. Brooklyn Magazine reported in February 2022 that it would be replaced with a five-story residential building. The demolition was completed by February 25, 2022.</p><br>
<h2>Building</h2><br>
<p>The later building was designed in the French Renaissance style by architect Ulrich J. Huberty, who also designed the Prospect Park Boathouse and Tennis House. The building carried the address 263 Prospect Avenue. Grand Prospect Hall faces the Prospect Expressway (NY 27) to the south. Originally, there was a beer garden around the building, which may have contained a Ferris wheel as well as an "electric tower", but these were removed around 1914.</p><br>
<h3>Facade</h3><br>
<p>The building was four stories tall and faced in buff-gray brick, with pressed metal decoration that was originally colored to resemble limestone. The windows were surmounted by pediments, while the top of the building had a cornice with a sculpted pediment in the center. The first floor was designed with storefronts, as well as an entrance with columns at the center; these were subsequently modified.</p><br>
<p>It was designed with a frontage of and a depth of. A one-story annex continued east of the main structure. The side and rear facades were clad with brick and did not contain any ornamentation, while the roofs of the building were flat.</p><br>
<h3>Features</h3><br>
<p>Grand Prospect Hall could fit 8,000 people in total, or 5,925 people when used as a dining venue. The elevator cab was constructed like a cage and was wrapped by a staircase on the western side of the building. The basement was also designed with a bowling alley, a billiard room, a kitchen, and a laundry. Electric dynamos, engines, and boilers were installed beneath the sidewalk. There was also a roof garden.</p><br>
<p>The front portion of the building was arranged around a large central staircase. The main entrance was designed with an entryway measuring wide. The central staircase, made of cast iron with marble treads, connected the entrance foyer with a two-story-high hallway on an upper level. At the first landing was a pair of decorative box offices. The first floor of the front portion was designed with a restaurant, club room, "Alt Deutsche" beer hall, bar room, and womens parlor. The bar, east of the main staircase, had an oak countertop as well as a plaster and marble bar. There was also a banquet hall measuring, which was spanned by large steel girders. The second floor of the front portion had a cafe, loggias, cloak rooms, and womens parlor. The third floor had more reception and cloak rooms and other women&#39;s parlors. The fourth floor had two elaborately decorated lodge rooms with auxiliary spaces, anterooms, and preparation rooms.</p><br>
<p>The rear of the building was arranged around the ballroom, which was at the top of the staircase. Measuring across by tall, or 1,700 seats. Two levels overlooked the space: a lower balcony and an upper gallery, both accessed by marble stairs. Both of these levels were supported on marble columns and surround the ballroom on all sides except the front. They had decorative elements such as garlands and cartouches. The balcony consisted of a set of theater boxes that are sloped slightly downward to the front of Grand Prospect Hall. It was designed with 26 private boxes and four larger proscenium boxes. The gallery had a steeper downward rake and contained wooden benches and plaster rails. The ceiling was mostly flat, though it was surrounded by a cove. The central dome, which contained direct and indirect lighting, was across. The rear of the ballroom, near the northern end, had a stage inside a plaster proscenium, which in turn had a cornice atop it. There were auxiliary spaces, such as dressing rooms, adjacent to the stage.</p><br>
<p>A one-story wing extended east of the main hall and was added not long after Grand Prospect Hall&#39;s rebuilding in 1902. Known as the rathskeller, it had been used as a restaurant since its opening. The walls of the rathskeller contained decorated oak paneling, canvas murals, and a tin ceiling.</p><br>
<p>The Elgin National Watch Company Observatory is a historic building in Elgin, in the USA state of Illinois. It was built in 1910 to serve the Elgin National Watch Company two blocks to the west. The two-story observatory provided data on time that was scientifically accurate to a tenth of a second. Manufacturers could then produce a more accurate watch. The observatory was an important part of the company&#39;s legacy, and they even changed their motto to reflect this. By 1950, the Elgin National Watch Company could no longer compete with wristwatch companies. The observatory was donated to a local school district and became known as the School District U-46 Planetarium/Observatory. The building was added to the National Register of Historic Places in 1994.</p><br>
<h2>History</h2><br>
<p>Elgin was first settled in 1834. In 1850, the Galena and Chicago Union Railroad connected to the city, bolstering the economy. Fourteen years later, two employees at the American Watch Company decided to build their own watch factory with Chicago watchmaker John C. Adams. The National Watch Company was incorporated on August 18, 1864 with $100,000 in capital. Former Chicago mayor Benjamin Wright Raymond suggested Elgin as a location for the factory. The first watch model, named after Raymond, first reached retailers on April 1, 1867. Watches were a burgeoning industry, as the American industrial age demanded efficient timing. The watches were an instant success, and became so synonymous with its hometown that the company re-branded itself the Elgin National Watch Company in 1874. By 1907, the company sold over 600,000 watches—almost one-third of the market share—and employed 3,200 people.</p><br>
<p>Prior to the creation of time zones, cities had substantial differences in the standards of time—in Wisconsin alone, over thirty-eight times were used at a given moment. In 1908, Theodore Roosevelt finally demanded that the United States Bureau of Standards encourage precise timing across the nation. In 1910, the Elgin National Watch Company decided to respond by building its own observatory so that the timing in its watches would be scientifically accurate. Dr. William W. Payne of the Goodsell Observatory was named the first director. Sidereal time was determined on Riefler Clock No. 220 by measuring the position of the stars in the night sky based on the position of the telescope (which could only move north-south along a meridian line). Eleven vertical wires were inside the telescope eyepiece. An astronomer would press a button every time a star appeared to cross one of the wires, which would send an impulse to the clock. This was compared with the solar time observed on the Riefler Clock No. 224 and results published by the American Ephemeris and Nautical Almanac. The result was a clock that was accurate to the hundredth of a second. In the factory, the sounder audibly ticked off the seconds so that workers could set the watches accurately. After the opening of the observatory, the Elgin National Watch Company adopted the slogan: "Elgin Takes The Time From The Stars And Puts It In Your Pocket". The Illinois government also equipped the observatory with thermometers, a thermograph, barometer, barograph, rain gauge, and weather vane. This was intended to provide data on weather to Springfield, but was also reproduced in local newspapers. The company was watchful of humidity, as this could affect delicate processes.</p><br>
<p>The Great Depression hit the Elgin National Watch Company badly. Following World War II, Swiss manufacturers began to dominate the pocket watch industry. The final blow came in 1950, when the United States Time Corporation introduced a cheap wristwatch that could be discarded and repurchased for less than the cost of repair. The Elgin National Watch Company ceased watch production in the late 1950s. The observatory was donated to the Elgin Area School District U46 in 1960, who added a planetarium in 1963. This was the first school district planetarium in the State of Illinois. Donald Tuttle (1920–2010) was the first planetarium director. He served from 1963 to 1985. The second director of the Planetarium/Observatory was Gary L. Kutina. He served as director from 1985 to 2009. The observatory was added to the National Register of Historic Places by Gary L. Kutina, Director of the Observatory, on August 16, 1994.</p><br>
<h2>Architecture</h2><br>
<p>The Elgin National Watch Company Observatory is on the northeast corner of Watch and Raymond Streets, two blocks east from where the factory once stood. It was constructed on a gravel base, which could absorb surface vibrations. Concrete piers were dug 60 ft down into this layer to secure the telescope and Riefler clocks. The two-story building can be split into three segments: the entrance, the observatory, and the office. The entrance segment connects the other two segments. The walls are made of lath and plaster and the room features a lavatory. The second floor above the entrance is the chronograph room, with one of the two Riefler clocks on a pier. A switchboard in this room directed signals from the observatory to the offices in Chicago. The south wall features a double-hung window. Also to the south is a Warner & Swasey chronograph, used to record the star observations. Also found in the chronograph room were the two auxiliary clocks to the master clocks. These too were Rieflers. One was No. 237 and the other was No. 240. Both clocks are no longer present in the building.</p><br>
<p>A steel doors leads to the entrance of the observatory segment, where there is a stairway to the second floor and a small lavatory. A set of airlock style doors leads to a temperature controlled room with two of the four Riefler clocks on one of the piers. In the clock vault there were 58 light bulbs positioned on the floor. The bulbs would go on and off in accordance to the demand for temperature. The vault was to be maintained at a constant 81 degrees F. These bulbs along with a ventilation shaft could maintain a temperature to within a half of a degree of 81. The two Riefler clocks found in the vault was No. 220 and No. 224. Above the room is a Warner & Swasey celestial transit instrument, on its own pier. The observatory segment is a two-story, concrete, domed octagon, covered with sheet metal. A 3 ft opening allows observations by the telescope. Steel shutters can close this through a system of chains. Each steel shutter weighed one-half a ton. It was written that the gearing used to open the doors were so easy a child of six could do it.</p><br>
<p>The office segment is to the west. The first floor segment is 15 by with two double-hung windows on both the south and west walls. Shelves and cabinets remain in the room from when it was in use. The floor is carpet-covered hardwood and the walls are lath and plaster. The second story of the office segment was the sleeping room, where astronomers could sleep. It originally featured a basin and a cot, with two double-hung windows again on the south and west. In 1926, this room was converted into a radio room to transmit short-wave signals. A vintage 1947 Collins transmitter is still in the room. A staircase in the northeast of this room leads to the tin roof, now covered with aluminum paint. A decorative metal rail surrounds the exterior of the office segment roof. The 1963 planetarium 39 by addition is on the rear of the building. It features a perforated aluminum dome and a Spitz A-3-P Star Projector. Up to 65 people can be seated in the addition.</p><br>
<p>The Odd Fellows Hall in La Grange, California, was built in 1880. Also known as the I.O.O.F. Building, it was listed on the National Register of Historic Places in 1979. It served historically as a clubhouse and as a meeting hall.</p><br>
<p>It is described as a "good example of the vernacular Greek Revival–style found in 1850s California" and "Significant also for its social function as the I.O.O.F. hall for the pioneer community."</p><br>
<p>It has a porch, likely added later in the century, decorated with jigsaw work.</p><br>
<p>It is a tall two-story wood building on a rubble stone foundation. The slope of its roof, together with its front-facing gable with box cornice returns, gives the impression of a pediment; this is one of its vernacular Greek Revival elements. Other such elements are its narrow pilasters and its three bay front with a central doorway. Its trim, which a photo shows is now painted blue, seems to have been originally painted green, contrasting with white for the building&#39;s clapboard siding, in a New England–style color scheme often used in California in the mid-1800s.</p><br>
<p>The Odd Fellows Building in Red Bluff, California was built during 1882–83. It was the fourth home of the I.O.O.F. Lodge #76, one of the oldest Odd Fellows groups in Northern California.</p><br>
<p>It is a two-story 100 ft by 45 ftred brick building with Italianate style designed by architect A. A. Cook of Sacramento.</p><br>
<p>It was listed on the National Register of Historic Places in 1976.</p><br>
<p>A.A. Cook also designed the NRHP-listed Cone and Kimball Building at 747 Main St. in Red Bluff and the</p><br>
<p>NRHP-listed Pleasants Ranch at 8212 Pleasants Valley Rd. in Vacaville, California and the NRHP-listed Wheatland Masonic Temple, at 400 Front St. in Wheatland, California.</p><br>
<p>The Odd Fellows Hall in Santa Ana, California, United States, also known as Odd Fellows Building, was built in 1906. It has served both as a clubhouse and as a commercial building.</p><br>
<p>It was built by the Santa Ana Lodge No. 236, Independent Order of Odd Fellows. The Santa Ana Register, which became the Orange County Register, was the first tenant, on in its ground floor, and stayed until moving to larger quarters in 1913.</p><br>
<p>In 1982, before a planned rehabilitation of the building, all of the "elaborate classical woodwork" in the Odd Fellows&#39; lodge room on the second floor had survived and the building was one of the last remaining Late Victorian commercial buildings in the city.</p><br>
<p>It was listed on the National Register of Historic Places in 1983.</p><br>
<p>Its NRHP nomination states: "The Odd Fellows&#39; building is a fine building with much character and fine architectural</p><br>
<p>design, unique in Santa Ana&#39;s large commercial district."</p><br>
<p>The I.O.O.F. Building is an Independent Order of Odd Fellows building located in Woodland, Yolo County, Northern California.</p><br>
<h2>History</h2><br>
<p>The building was built in 1905 in the Mission Revival style, making it the first prominent building in Woodland to use the style. It originally served as a store and a business college in addition to an Odd Fellows hall. The ground floor of the building has housed businesses, including the offices of the local telephone company, and various county offices; the second floor served as the Odd Fellows&#39; social hall, and the third floor was used for their meetings. The third floor currently contains offices, and the largest of those once served as the offices of the Yolo County Traffic Court for a number of years, in the latter part of the 20th century. The building also has one floor below the street level, with offices and storage. The Odd Fellows Lodge in Woodland formed in 1863 and had 207 members and two associated chapters of the Rebekahs at the time its building was constructed.</p><br>
<p>The building is located in the Downtown Historic District of Woodland, California, on the Southwest corner of Main Street and Third Street, with its primary address on record at 725 Main Street. The building property extends to the rear all the way to Dead Cat Alley, directly adjacent to the Main Woodland Post Office. The building also has a rear address of 770 Dead Cat Alley.</p><br>
<p>The Woodland I.O.O.F. Building was listed on the National Register of Historic Places in 1982.</p><br>
<p>The I.O.O.F. Hall in Woodbridge, California is a historic Odd Fellows hall and commercial block building that was built in 1861 and expanded in 1874 in Early Commercial architectural style. It served historically as a clubhouse and as a business. It was listed on the National Register of Historic Places in 1982.</p><br>
<p>It is a two-story brick rectangular block building. Exterior detail on the building, believed to have been wooden, has been lost: an upper cornice, window heads, and a belt course between the two floors. The date "1874" and the letters "I.O.O.F." remain.</p><br>
<p>It was built as a one-story brick building, the Lavinsky Store, in 1861, then expanded in 1874 to add a second story to accommodate the Odd Fellows&#39; meeting hall.</p><br>
<p>The Independent Order of Odd Fellows Hall in Ashton, Idaho, also known as the Ashton State Bank Building was constructed in 1907 in Early Commercial architectural style. Its historical use was as a meeting hall and for businesses. It was registered on the National Register of Historic Places in 1997.</p><br>
<p>The building is made of pressed red brick and features a sandstone foundation, and it has a large brick cornice capped with sandstone. Three commercial spaces are on the first floor, with meeting room for the local Benevolent and Protective Order of Elks lodge above. The first businesses were the Ashton State Bank, a hardware store, and a furniture store.</p><br>
<p>It is the only early building in Ashton, which developed quickly after the Oregon Short Line Railroad arrived in the Upper Snake River Valley in 1905, that retains its historic character.</p><br>
