<p>The Andrew Crockett House, also known as the Crockett-Knox House, is a property in Brentwood, Tennessee, United States that was listed on the National Register of Historic Places  in 1988.</p><br>
<p>It was built or has other significance in c. 1800, 1821, and c. 1847. The house was built by Andrew Crockett, an early settler. It includes Greek Revival architecture.</p><br>
<p>According to a 1988 study of Williamson County historical resources, the house was built by 1799 and was enlarged later (c. 1850). Crockett received the 640 acre land grant from North Carolina for his Revolutionary War services.</p><br>
<p>This house is one of five log buildings built during 1798 to 1800, during the earliest settling of the area, which survive to today. Others, also NRHP-listed, are: the William Ogilvie House, the David McEwen House, the Daniel McMahan House, and the William Boyd House.</p><br>
<p>The Old Masonic Hall in Louisville, Mississippi, also known as Community House, and as Chamber of Commerce, is a historic building built in 1851. It was listed on the National Register of Historic Places in 1994 It is a notable example of Greek Revival style architecture.</p><br>
<p>The building was constructed by Louisville Lodge No. 75 (a local Masonic lodge). Originally, the upper floor was used as a meeting hall for the lodge, while the lower floor housed the Masonic Female Institute. The lower floor was subsequently used as school and a community center. In 1922 the Masons moved to a new location, and the building was sold to the City of Louisville. Since 1958 it has housed the local Chamber of Commerce.</p><br>
<p>The Green Shutter Hotel is a historic hotel building located in downtown Hayward in Alameda County, California, United States. The building was listed on the National Register of Historic Places in 2004, and is on the California Register of Historical Resources.</p><br>
<h2>History</h2><br>
<p>The land where the building resides was first purchased in the mid 1860s by an immigrant named Joseph Rivers. Rivers opened a small blacksmith shop which he later sold in 1878 to Henry Eggert. Eggert expanded the building and sold plows and wagons out of it until the shop was inherited by his sons, Henry Jr., and Herbert. By 1920 the brothers would expand the structure which was first used as a hotel after a large addition in 1926 commissioned to the architect George L.F. O&#39;Brien. The hotel originally had 55 rooms on the second floor and retail space below.</p><br>
<p>The hotel officially opened on August 21, 1926. Existing near to the highly trafficked Lincoln Highway and being the largest hotel in Hayward at the time, the hotel saw high occupancy rates in its early years.</p><br>
<p>The hotel would become the site of downtown Hayward&#39;s first public parking lot.</p><br>
<p>By the 1970s, the hotel rooms would be converted to apartments.</p><br>
<h2>Today</h2><br>
<p>It is currently used commercially, and houses the Green Shutter Hotel (a single room occupancy) on the second floor, with retail businesses on the ground floor, including The Bistro, a pub and music venue, and The Book Shop, now closed, an independent bookstore and at the time the only bookstore in Hayward.</p><br>
<p>In 2017, the interior of the second floor of the building was largely gutted, shutting down the residential hotel. Some ground floor businesses are still operating. The building has 88 apartment units.</p><br>
<p>The Sherwood Green House is a property in Williamson County, Tennessee, near Nolensville, that was listed on the National Register of Historic Places in 1988.</p><br>
<p>It was built c.1810 and had significant developments also in c.1840, and c.1928. It includes Central passage plan and other architecture. When listed, the property included four contributing buildings, one contributing site, and two non-contributing structures, on an area of 8 acre.</p><br>
<p>Like the John Motheral House and the William Leaton House (also NRHP-listed in Williamson County), the house was built as a single story log pen building, and was later enlarged to achieve an "imposing" two story frame construction.</p><br>
<p>The house was expanded and covered with weatherboard in c.1840. A second story porch with square columns was added then. A first-floor one-story porch with square Doric-capital posts was added in 1928.</p><br>
<p>The interior includes a c.1840 stairway with a square newel post and square balusters, and fireplace mantles having simple Greek Revival design with Doric motif pilasters.</p><br>
<p>Contributing outbuildings include a log kitchen (c.1840) and a log smokehouse (c.1840), both with half dovetail notching, and a slave house (c.1840) later used as a milk house.</p><br>
<p>Sherwood Green was a surveyor who was paid in land for his services. Green came to own more than 1,000 acre in the area.</p><br>
<p>The Thomas L. Critz House, built c.1887, is a historic Italianate style house in Thompsons Station, Tennessee that was listed on the National Register of Historic Places in 1988. It is a two-story frame residence with a Central passage plan. It has a one-story porch with square chamfered columns.</p><br>
<p>When listed the property included one contributing building and one non-contributing site, on an area of 5.9 acre.</p><br>
<p>According to a 1988 study of Williamson County historical resources:Outside of Franklin, relatively few large brick and frame residences were built in the county. Notable exceptions include the Italianate style John Hunter House and Andrew Vaughn House. The Owen-Cox House on Moores Lane was also remodeled into an Italianate design during this period. One of the most significant houses built in the county after the war was the Y.M. Rizer House constructed on Del Rio Pike. Built ca. 1875, the house is a combination of Italianate and Second Empire detailing and is unique in the county. Important Italianate design frame dwellings built in the 1870s include the Henry Pointer House, Jordan-Williams House, the James Wilhoite House and the Thomas Critz House.</p><br>
<p>The James Wilhoite House is a historic Italianate style house in Allisona, Tennessee, United States, that was listed on the National Register of Historic Places in 1988. The property is also known as the Reed Corlette House. It was built, remodeled, or has other significance in, and.</p><br>
<p>It includes Italianate architecture. When listed the property included two contributing buildings and three contributing structures, on an area of 1.4 acre.</p><br>
<p>According to a 1988 study of Williamson County historical resources, it is one of a handful of notable, historic Italianate style residences in the county, others being the John Hunter House, the Andrew Vaughn House, the Owen-Cox House, the Y.M. Rizer House (c. 1875, a combination of Italianate and Second Empire design), the Henry Pointer House, the Jordan-Williams House, and the Thomas Critz House.</p><br>
<p>The Andrew C. Vaughn House, also known as the McCall House, is a circa 1873 Italianate style house in Franklin, Tennessee.</p><br>
<p>It was listed on the National Register of Historic Places in 1988. When listed the property included two contributing buildings on 5 acre.</p><br>
<p>According to a 1988 study of Williamson County historical resources, it is one of a handful of notable, historic Italianate style residences in the county, others being the James Wilhoite House, the John Hunter House, the Owen-Cox House, the Y.M. Rizer House (ca. 1875, a combination of Italianate and Second Empire design), the Henry Pointer House, the Jordan-Williams House, and the Thomas Critz House.</p><br>
<p>The Y. M. Rizer House, also known as Mapleshade, is an Italianate and Second Empire style house dating from c.1874 in Franklin, Tennessee that was listed on the National Register of Historic Places in 1988.</p><br>
<p>According to a 1988 study of Williamson County historical resources, it is one of a handful of notable, historic Italianate style residences in the county, others being the James Wilhoite House, the John Hunter House, the Owen-Cox House, the Andrew C. Vaughn House, the Henry Pointer House, the Jordan-Williams House, and the Thomas Critz House.</p><br>
<p>When listed the property included one contributing building and one non-contributing structure on an area of 2.2 acre.</p><br>
<p>The Jordan–Williams House is an Italianate style house in Nolensville, Tennessee that was listed on the National Register of Historic Places in 1988.</p><br>
<p>It was built or has other significance as of c.1855, and includes Central passage plan and Italianate architecture. When listed the property included one contributing building, one non-contributing building, and two non-contributing structures, on an area of 10 acre.</p><br>
<p>According to a 1988 study of Williamson County historical resources, it is one of a handful of notable, historic Italianate style residences in the county, others being the James Wilhoite House, the John Hunter House, the Owen-Cox House, the Y.M. Rizer House (c. 1875, a combination of Italianate and Second Empire design), the Henry Pointer House, the Andrew C. Vaughn House, and the Thomas Critz House.</p><br>
<p>The property is denoted as Williamson County historic resource WM-197.</p><br>
<p>The house "features an elaborate milled porch with extensive decoration and is one of the best examples of this style home in the county." Built by Edward J. Jordan, it became the home of his daughter Elizabeth and her husband Thomas G. Williams, who had served in the 20th Tennessee Infantry.</p><br>
<p>The Dr. Urban Owen House is a property in College Grove, Tennessee that was listed on the National Register of Historic Places in 1988.</p><br>
<p>When listed the property included one contributing building and one non-contributing structure on an area of 2.2 acre.</p><br>
<p>According to a 1988 study of Williamson County historical resources, the house is a "good example" of a "house with vernacular designs with fine Eastlake and Queen Anne decoration" and associated with a prominent resident of Williamson County.</p><br>
<p>The Marcus Curtiss Inn is a historic house and post office located near Galena in Genoa Township, Delaware County, Ohio, United States. A native of Connecticut, Curtiss moved to present-day Genoa Township in 1808, becoming the first settler in the area, along with his family, his brother&#39;s family, and a third family who also moved from Connecticut. Here, he established himself on 681 acre of land and began to farm; part of his land was very clayey, and Curtiss decided to start a brickworks on the site. Although he left home to serve in the War of 1812, he returned to modern Delaware County after the war and resumed construction on the present house.</p><br>
<p>Curtiss was a pioneering member of local society in multiple ways due to his new building: besides being the first brick house in the area, it was the township&#39;s first post office and one of the first inns. He designed the structure with a simple floor plan: measuring two-and-a-half stories tall, the building is laid out as a rectangle with a simple arrangement of rooms. The present building was completed in 1822.</p><br>
<p>To the present day, the Marcus Curtiss Inn remains in use as a private residence. In late 1976, the inn was listed on the National Register of Historic Places, both because of its historically significant architecture and because of its place in local history.</p><br>
<p>The British ambassador&#39;s residence in Washington, D.C. is located at 3100 Massachusetts Avenue, Northwest, Washington, D.C. in the Embassy Row neighborhood.</p><br>
<p>It was commissioned in 1925, and designed by Sir Edwin Lutyens in 1928. An example of Queen Anne architecture, the residence is the only building Lutyens designed in North America. Frederick H. Brooke, the on-site American architect, assisted with the design and oversaw the construction of the embassy, which was conducted by noted developer Harry Wardman. The full facade of the building was designed to face southwards towards its gardens.</p><br>
<p>The home is the most prominent part of a compound that also includes the offices of the embassy chancery and is a contributing property to the Massachusetts Avenue Historic District, which is listed on the National Register of Historic Places.</p><br>
<p>Prince Charles and Princess Diana stayed at the residence during their 1985 visit to Washington, D.C.</p><br>
<p>Its 2009 property value is $31,308,480. There are about 10,000 visitors each year. The residence, together with the embassy offices, underwent a 5 year renovation costing £118.8 million ending in 2023.</p><br>
<p>The French ambassador&#39;s residence in Washington, D.C. is located at 2221 Kalorama Road, N.W., in the Kalorama neighborhood of Northwest Washington, D.C.</p><br>
<h2>History</h2><br>
<p>The residence, built in 1910, was designed by the French-born American architect Jules Henri de Sibour for William Watson Lawrence (1859-1916), a paint and white lead manufacturer. The completion of the Reservoir Road embassy allowed the 400 employees of the French diplomatic mission at the time to work in a single location, rather than at the ten different offices scattered around Washington, where French diplomats had previously worked.</p><br>
<p>In 1941, the French government purchased additional lots of land overlooking Kalorama Circle, bringing the total size of the property to 3.6 acres. In 2017, however, the French government sold an empty tract of 0.58 acres of the property. The sale brought the total size of the property to about 3 acres, which is still the largest tract of land in Kalorama.</p><br>
<p>In February 2015, the manor house reopened after undergoing a $4.5 million, two-year renovation and restoration.</p><br>
<p>On Bastille Day 2021, a replica of the Statue of Liberty that used to reside at the Musée des Arts et Métiers in Paris was installed and dedicated on the grounds of the residence.</p><br>
<h2>Description and use</h2><br>
<p>It is the largest single-family home in the Kalorama neighborhood; a 1980 guidebook published by Smithsonian Institution Press describes the home&#39;s setting as "a dramatic and beautiful site high above Rock Creek." Constructed of brick and limestone, the mansion house is described in National Register of Historic Places papers as an "imposing structure" with irregular massing, with its most prominent feature being a "dominant entry bay with large gables is anchored by two flanking square towers, each capped by a stone balustrade." Its architectural style has been variously described as Tudor Revival Jacobean Revival, and French Eclectic. In 2015, the estimated value of the property was $25&ndash;30 million. The home is 27,000 ft2 in size and has 19 bedrooms.</p><br>
<p>Known for its elegant parties, the home features art and decoration in both formal/traditional styles and modern styles. The main floor features several large reception rooms, including a dining room, an Empire Salon in the formal style, a "Winter Salon" in the modern style, and the Salon des Boiseries (paneled room) and, to the rear of the building, a terrace. The main floor also includes a huge entrance hall and grand staircase. Three guest rooms and the ambassador&#39;s private apartment are on the floor above; additional guest rooms are on the topmost floor. The art includes pieces borrowed from Versailles and the Louvre. Works are mostly by French artists such as Pierre Bonnard, but also by non-French artists such as Igor Mitoraj. The residents hosts some 10,000 people annually for receptions, cocktails, cultural events, and other occasions.</p><br>
<p>It is designated as one of many contributing properties to the Sheridan-Kalorama Historic District, a historic district roughly bounded by Connecticut Avenue, N.W., Florida Avenue, N.W., 22nd Street, N.W., P Street, N.W., and Rock Creek. The district was listed on the National Register of Historic Places in 1989.</p><br>
<p>The Swetland House is a historic residence in London, Ohio, United States. Built in 1871,</p><br>
<p>Jeriah Swetland passed through London in 1843 and settled there permanently in 1856. Founding a business with his brother-in-law, he quickly prospered; within a decade, he had become one of the city&#39;s richest men. In the late 1860s, he purchased a large tract of undeveloped land southeast of downtown London and platted it for resale; among the houses built in this area was his own, which was completed in 1871. Built of brick with an asphalt roof, the house features many clear Italianate elements, such as multiple bay windows, a hip roof, multiple verandahs, and ornate hoodmolds. Two-and-a-half stories tall, the house is divided into fourteen rooms.</p><br>
<p>For a time in the late twentieth century, the Swetland House was used as an arts center, the London Community Arts Center. In early 1983, the house was listed on the National Register of Historic Places, qualifying because of its connection to a leading local citizen and because of its distinctive historic architecture.</p><br>
<p>McCormick House is the current residence of the Brazilian ambassador to the United States. It is located at 3000 Massachusetts Avenue, Northwest, Washington, D.C. in the Embassy Row neighborhood.</p><br>
<h2>History</h2><br>
<p>The design of the house was first commissioned in 1908 to well known American architect John Russell Pope (1874–1937) by diplomat Robert Sanderson McCormick (1849–1919) and wife, Katherine Etta ("Kate") Medill McCormick (1853–1932). Both Robert and Katherine hailed from well-heeled backgrounds, being members of a Nouveau riche class of nineteenth century Americans that came into sudden wealth as the nation industrialized. Married to Robert in 1876, Katherine hailed from a prominent Chicago family which included her father Joseph Medill (1823–1899), the co-owner of the "Chicago Tribune" and one-term mayor of Chicago following the Great fire of 1871. The McCormick side of the future McCormick-Medill publishing dynasty came into money through the business successes of Robert&#39;s father Cyrus McCormick, the inventor of the revolutionary McCormick reaper machine which transformed American and world agriculture.</p><br>
<p>The McCormick – Pope mansion was not completed until 1931, 23 years after the commencement of construction.</p><br>
<p>The Brazilian embassy purchased the Neoclassical architectural style home in 1934, three years after it was completed, for two hundred thousand dollars ($200,000).</p><br>
<p>Brazil was the second nation after the United Kingdom to have an embassy on what is today Embassy Row.</p><br>
<p>In 1971, a new chancery was constructed next door. The very modernist mirrored glass walled structure was designed by famous Brazilian architect Olavo Redig de Campos (1906–1984).</p><br>
<p>Eureka Historic District is a historic district in Eureka, Nevada, United States, that is listed on the National Register of Historic Places.</p><br>
<h2>Description</h2><br>
<p>Of the many mining boomtowns in Nevada, Eureka is one of the best preserved, primarily due to the gradual decline of mining in the area, with the last mine in the area closing in 1970. "The very gradual decline in the towns fortunes is primarily responsible for the unusual state of preservation of the town. There was always just a little money coming in to keep things in repairs but not enough money to tear down the old buildings and replace them with new ones."</p><br>
<p>The district was listed on the National Register of Historic Places in 1973. It is also Nevada Historical Marker number 11.</p><br>
<p>The name Eureka came from an old Greek term which means “I have found it”. Historical establishments of Eureka Historic District include Eureka High School,, the Colonnade Hotel and the Opera House. Starting from 1864, the leading industry of Eureka is mining. It is the home for many outdoor activities like fishing, hunting, camping, hiking, horseback riding and many more for the tourists.</p><br>
<h2>History and Context</h2><br>
<p>In the year of 1864, only a few silver mines were opened and that’s when Eureka started its journey. The processing of silver was very hard though, because of its amalgamation with lead ore.</p><br>
<p>The circumstances improved in 1869 because an advanced smelter was set up which could successfully separate the silver from the lead. Excessive amount of heat was necessary for this proceeding. In the next few years, several other smelters were constructed which led to the increase of mining activity step by step. The constant development kept the town stable and made it possible to get going as a lasting mining town. Some sources stated that from 1871 to 1885, the population grew to about eight thousand to nine thousand. A new local government separated from Lander County, Eureka turned out to be the seat of Eureka country in 1873. In 1880, a magnificent Italianate courthouse was constructed which is in use till date.</p><br>
<p>After the year of 1885, the activity of mining became slow because of the exhaustion of silver in the mines. At the beginning of 1890s, most of the mines were shut down. Though the discoveries of ore were limited, luckily because of the continuation Eureka remained on the map. This slow-going continuation came up with a secured flow of earning. And this is the sole reason for preserving the town, because there were insufficient earnings to build new buildings, tearing down the old establishments. In the 1970s, the remaining mines were shut down. Afterwards in the 1980s, gold was discovered in the Carlin Trend, that’s why several new mines were opened. The restoration of the historic buildings was possible because Eureka was getting a handsome amount of revenue from the mines and these mines led Nevada to be the highest gold producer in the United States.</p><br>
<p>The New York State Pavilion is a pavilion at Flushing Meadows–Corona Park in Queens, New York City, United States. Constructed for the 1964 New York World&#39;s Fair, it was designed by the architects Philip Johnson and Richard Foster, with Lev Zetlin as the structural engineer. The pavilion consists of three reinforced concrete-and-steel structures: the Tent of Tomorrow, observation towers, and Theaterama. It is owned by the New York City Department of Parks and Recreation  and listed on the National Register of Historic Places.</p><br>
<p>The New York State Pavilion was first proposed in January 1960. After the New York state government agreed to host an exhibit at the Worlds Fair in early 1962, work on the structures began on October 8, 1962. It opened on April 23, 1964, and operated as a Worlds Fair attraction for two years. NYC Parks took over the structures in 1967 and leased out the Theaterama as a performing-arts theater in 1969. The Tent of Tomorrow briefly served as a concert venue and roller rink in the 1970s, while the observation towers never reopened. After briefly reopening in the 1980s, the Tent of Tomorrow was abandoned through the 21st century. Following years of preservation efforts, the Tent of Tomorrow was repainted in 2014, and the structures underwent rehabilitation starting in 2019.</p><br>
<p>The Tent of Tomorrow is a elliptical structure measuring 250 by across, with a cable suspension roof and a terrazzo highway map of New York state on its floor. There are three observation towers, the tallest of which is 226 ft high. The Theaterama, a drum-shaped reinforced concrete structure, has housed the Queens Theatre performing arts center since 1989. The New York State Pavilion was used for TV and movie sets over the years, and it has had generally positive architectural reception.</p><br>
<h2>Development</h2><br>
<p>Flushing Meadows–Corona Park, a former ash dump in the New York City borough of Queens, was used for the 1939/1940 New York Worlds Fair. At the conclusion of the fair, it was used as a park. The Flushing Meadows site was selected in 1959 for the 1964 New York Worlds Fair. Gilmore David Clarke and Michael Rapuano, designers of the original Worlds Fair layout, were retained to tailor the original 1939 park layout for the new fair. New York City parks commissioner Robert Moses was president of the Worlds Fair Corporation, which leased the park from the city until 1967, after the fair&#39;s completion.</p><br>
<h3>Planning</h3><br>
<p>Moses had proposed a Worlds Fair pavilion for the government of New York state as early as January 1960, four months before he became the president of the Worlds Fair Corporation. By late 1960, Moses was drawing up plans for exhibits at the pavilion, including exhibits about tourism, New York state geography, and the New York Power Authority. The corporation&#39;s officials discussed the location of the proposed pavilion for over a year, and they ultimately selected a site known as Block 46 in May 1961. The site covered 129,392 ft2 and was chosen specifically because it was slightly larger than Block 45, which was to be occupied by the government of New Jersey. Negotiations over potential exhibits, including discussions over a potential fashion exhibit, continued through 1961.</p><br>
<p>New Yorks lieutenant governor, Malcolm Wilson, signed a contract with the Worlds Fair Corporation in February 1962, allowing the government of New York state to sponsor an exhibit at the 1964 Worlds Fair. The pavilion was one of two structures that the New York state government would erect for the Worlds Fair, along with the New York State Theater in Manhattan.</p><br>
<p>Five architects participated in an unofficial architectural design competition. was hired to design the pavilion in mid-1962. Johnson later stated that Rockefeller had personally selected him for the project. At the time, the Worlds Fair Corporation had already created preliminary plans for structures on Block 46. Although the structures were initially meant to be temporary, Moses and Johnson had agreed to create a permanent theater for the site by June 1962. Another change to the original plans was the addition of observation towers, since Rockefeller wanted the New York State Pavilion to be the tallest structure in the fair. Initially, the Worlds Fair Corporation would not allow any structures higher than 80 ft in the fair&#39;s federal and state section. After Johnson persisted, the corporation agreed in August 1962 to allow the New York State Pavilion to include taller structures.</p><br>
<h3>Construction</h3><br>
<p>Details of the New York State Pavilion were announced on October 8, 1962, when Rockefeller drove a deep foundation into the ground during a groundbreaking ceremony for the pavilion. The state government allocated $11 million to the Worlds Fair, expecting to earn revenue by selling tickets to the pavilions restaurants and observation deck. Officials estimated that the pavilion would have 12 million to 13 million visitors during the World&#39;s Fair, which was to last two years. Revisions to the design continued through early 1963, when the foundations were modified to allow the structures to remain standing for a longer period.</p><br>
<p>In November 1962, fashion firms had asked the state government for permission to stage fashion exhibits in the Tent of Tomorrow, but there was initial uncertainty about whether these companies would use the New York State Pavilion or get their own pavilion. The state government allowed fashion companies from New York to use the pavilion in 1963, after Wilson asked the New York State Commission on the Worlds Fair to make space for the fashion exhibits. Wilson opposed the addition of some other exhibits (such as those themed to parole and correction), saying that he did not want to create a "Madame Tussauds Waxworks" for attention. Joseph Love was hired to organize the fashion exhibits in the pavilion. Although Love reached out to 20,000 companies to determine their interest in the pavilion, only 50 companies had responded by the end of 1963.</p><br>
<p>Workers began pouring concrete for the observation towers columns in June 1963, and the layout of the Tent of Tomorrow had been finalized by the middle of that year. Each column was built atop 50 deep foundations. Workers constructed the columns by pouring concrete around cylindrical forms that measured 12 ft across and 3 ft high. Civil rights groups protested the New York State Pavilions construction in mid-1963, after a study found that only two of the 68 workers there were African Americans, and they sued in an attempt to halt construction. In October 1963, Johnson hired 10 avant-garde artists to create artwork for the Theaterama; the Hudson Valley Art Association characterized the art as "at best a farce". Simultaneously, the cable suspension roof of the Tent of Tomorrow was constructed at ground level, and workers began installing the roof panels before the roof was raised. The suspension roof was raised to the top of the tent&#39;s columns at the end of October, using jacks that lifted the roof 2.5 ft at a time.</p><br>
<p>The flags of New York state and the USA were hoisted to the top of the highest observation tower at a ceremony in December 1963. The New York State Council on the Arts also announced plans for two art exhibits at the pavilion, one during each of the Worlds Fairs two operating seasons. By January 1964, the pavilions predicted final cost had increased to $13.8 million. The New York State Legislature was reluctant to allocate a $4.6 million appropriation to complete the pavilion, but eventually granted the appropriation. The cost increases prompted an investigation from Louis J. Lefkowitz, the states attorney general, who looked into the records of several hundred subcontractors.</p><br>
<h2>World&#39;s Fair use</h2><br>
<p>The Tent of Tomorrow hosted concerts, and it was one of two locations (along with the Better Living Center) where fashion shows were staged. The main level had a restaurant, a fine arts exhibit, and a New York Power Authority exhibit. in addition to exhibits with art relating to the state. Corning Glass, General Electric, American Bridge Company, and Schweizer Aircraft were among the companies that exhibited at the pavilion.</p><br>
<h3>1964 season</h3><br>
<p>Moses and Rockefeller formally opened the Worlds Fair on April 23, 1964. Moses also wanted the New York State and USA pavilions to be preserved. During the opening ceremony, hundreds of civil rights activists organized a sit-in at the pavilion and were arrested. During the 1964 season, the New York State Pavilion displayed a visual-art exhibit called The River: People and Places, with 50 works that represented the states early history or early artists. More than 500 talent show performances were scheduled at the pavilion during the 1964 season. Many of these performances were grouped according to geographic location or cultural background, so that acts with a similar theme were performed on the same day. Thirteen fashion magazines staged shows on the Tent of Tomorrow&#39;s ramp.</p><br>
<p>At the midpoint of the 1964 season that July, The New York Times reported that the New York State Pavilion was one of the fairs most popular exhibits. Admission to the Theaterama cost 25 cents each, In the Theateramas first eight weeks of operation, 200,000 people paid to watch the short film there. By that August, nearly 1.4 million people had ridden the observation towers elevators. The pavilion closed for the season on October 18, 1964. According to a National Park Service report, toward the end of the 1964 season, nearly one-quarter of all visitors to the Worlds Fair were recorded as having visited the New York State Pavilion, or about 55,000 people daily. The exhibit was reportedly the Worlds Fairs third-most-popular pavilion, which also made it a frequent location for civil rights protests.</p><br>
<h3>1965 season</h3><br>
<p>In early 1965, Moses wrote to the Mayors Committee on the Future of Flushing Meadow, asking them to retain the New York State Pavilion after the Worlds Fair ended; most of the fairs other structures were to be demolished. Moses proposed converting the pavilion to a concert venue and recreational facility. That March, the New York State Comptrollers office launched an investigation into the construction costs of the pavilion. Comptroller Arthur Levitt ultimately determined that the pavilion had cost $12,292,225 to erect, slightly lower than the predicted final cost of about $12.4 million but much higher than the original budget of $3.825 million.</p><br>
<p>The pavilion itself reopened at the beginning of the Worlds Fairs second season on April 21, 1965. As with the preceding season, the New York State Pavilion hosted live entertainment throughout the day. An art exhibit called The City: People and Places was displayed at the New York State Pavilion for the 1965 season; it consisted of 50 pieces created between 1880 and 1958. Absent during the 1965 season were several companies that had hosted fashion shows at the pavilion during the 1964 season. Additionally, though the New York state government had predicted that the pavilion&#39;s Wing of Fashion would attract thousands of fashion companies, only 132 firms had signed up for space during the 1965 season.</p><br>
<p>The mayors committee recommended in mid-1965 that the New York State Pavilion be demolished after the fair, The fairs second and final season ended on October 18, 1965. The Worlds Fair Corporation mandated that most exhibition buildings in Flushing Meadows Park be demolished within 90 days of the fairs closure, but city officials were negotiating to preserve the New York State and USA pavilions. In December 1965, the New York City Board of Estimate voted to preserve the New York State Pavilion, and the state government agreed to spend $750,000 upgrading the pavilion to meet New York City building codes. Johnson later recalled that the pavilion was preserved largely because of the high cost of demolition.</p><br>
<h2>After the fair</h2><br>
<h3>Late 1960s to 1980s</h3><br>
<p>Discussions over the future use of the New York State Pavilion and other nearby pavilions continued for months after the Worlds Fair closed. For example, city officials proposed converting Flushing Meadows into a "sports park" in 1966 and converting the pavilion into a sports venue, but this never happened. In the years immediately after the fair, the Tent of Tomorrow hosted events such as a judo competition. Despite parks commissioner Thomas P. F. Hovings reluctance to take over ownership of the New York State Pavilion, the New York City Department of Parks and Recreation (NYC Parks) ultimately acquired the pavilion when Flushing Meadows Park was dedicated in June 1967. The pavilion, along with the other remaining World&#39;s Fair structures in the park, was rededicated in 1968 as part of a proposed cultural center.</p><br>
<h4>Reopening of Theaterama and Tent of Tomorrow</h4><br>
<p>The Board of Estimate voted to allow Joseph Kutrzeba&#39;s theatrical group, Queens Playhouse, to use the Theaterama in December 1967, and NYC Parks leased the Theaterama to Queens Playhouse the next month. NYC Parks also promised to fund up to $200,000 in renovations, as well as removal of some of the original decor. Due to difficulties in raising funds, the Queens Playhouse did not move into the Theaterama until October 1972. During the 1970s, several groups took turns operating the Theaterama.</p><br>
<p>A Newsday reporter wrote in early 1969 that the observation towers and the Tent of Tomorrow had been locked, though the tent was being used for concerts by the middle of 1969. Led Zeppelin and the Grateful Dead hosted rock concerts in the tent, and the music promoter Bill Graham also booked pop concerts there. The Tent of Tomorrow was temporarily closed in 1970 due to concerns that the plastic roof was decaying. The next year, the Queens Council on the Arts sought to convert the pavilion into a performing-arts center. In early 1972, NYC Parks and the New York City Department of Cultural Affairs announced that they would lease the Tent of Tomorrow to a roller-rink operator, and a local company offered to pay $6 million to renovate the tent into a roller rink. Queens Community Board 4 threatened to request an injunction to prevent the tent from being leased until public hearings were hosted. David Oats and Eric Ierardi, the leaders of the Friends of Flushing Meadows group, also circulated a petition to save the pavilion, obtaining 20,000 signatures by that February.</p><br>
<p>The Tent of Tomorrows roller rink opened in March 1972 and was operating at capacity within three months. People skated directly above the tents terrazzo floor, prompting concerns that it would deteriorate, Because the rink was an open-air facility, it had to close during the winters. By August, there were calls to convert the rink into a year-round facility, although the rink&#39;s operators estimated that the city would have to spend as much as $50,000 to build a temporary bubble over the rink. Queens Playhouse also stored its equipment and furniture in the pavilion. The observation towers were still unused. In advance of the United States Bicentennial, in 1973, the Queens Bicentennial Commission proposed converting the New York State Pavilion into a venue for exhibits, performances, and events.</p><br>
<h4>1970s and 1980s changes</h4><br>
<p>The New York City government abruptly closed the Tent of Tomorrow and canceled Robert Jelins lease in July 1974 after finding severe damage to the roof. Jelin proposed spending $50,000 to dismantle the roof. The city government approved the rinks reopening on the condition that the roof be removed first, and the Tent of Tomorrows roof panels were removed in the late 1970s. This left the Queens Playhouse as the pavilions only occupant. Another rink ultimately opened in 1978 at the Worlds Fairs former Post Office building. Drums of hazardous waste from the Post Office building were relocated to the New York State Pavilion, where they remained until mid-1979.</p><br>
<p>By the late 1970s, Oats was petitioning state officials to find a company to restore the terrazzo map on the Tent of Tomorrows floor, which was decaying. According to Oats, the film director Sidney Lumet had offered to repair the pavilion when he was shooting his 1978 film The Wiz there. The New York City government rejected Lumets offer, telling him to restore the pavilion as he found it. The Theater in the Park was renovated for $150,000 between 1981 and 1982, and the rest of the pavilion was cleaned and repaired during early 1983. The pavilion reopened as a venue for children&#39;s entertainment in mid-1983. The city also asked the state and federal governments for money to further renovate the pavilion. During the 1980s, Hoving wanted to raze the tent and towers. A local architect proposed converting the tent into a theater in the round, while another proposal called for the pavilion to be renovated into a branch of the National Museum of the American Indian.</p><br>
<p>The Theater in the Park closed in 1985 and stood abandoned for several years. During the same decade, the tent was closed to the public altogether due to safety concerns. By then, the theater needed extensive structural repairs; the roof had a hole in it, and the walls were covered in graffiti. The map in the Tent of Tomorrow was also deteriorating.</p><br>
<h3>1990s and 2000s</h3><br>
<p>By the late 20th century, the tent and towers were completely abandoned, and one of the towers&#39; elevators was stuck in midair. The Theaterama was renovated beginning in 1992, and the project was completed in October 1993 for $4 million. The project was designed by Alfredo De Vido and included a new lobby and entrance, as well as upgrades to the mechanical systems, catwalk, stage, seating, and rehearsal spaces. and the Queens Theatre also wanted to convert the rest of the pavilion into additional rehearsal and performance spaces. The terrazzo map in the tent would have been restored as well. In 1994, the city government announced that it would spend $208,000 to hire a consultant to prepare a feasibility study for the observation towers and Tent of Tomorrow. The feasibility study was conducted during the late 1990s.</p><br>
<p>The New York City Department of Design and Construction hired Caples Jefferson Architects in 2000 to renovate the Theaterama, and planning for that project continued for several years. By then, preservationists wanted the New York City Landmarks Preservation Commission (LPC) to designate the structures as a city landmark, though the commission did not hold hearings on the proposed designation for several years. Many parts of the Tent of Tomorrows terrazzo floor map were covered with cement The observation towers stairs were also extensively deteriorated. Henry Stern, the city&#39;s park commissioner at the time, described it as "too good to tear down, but not good enough to spend $20 million to restore". In late 2001, two Arizona men proposed converting the pavilion into an aviation museum; although Johnson favored the proposal, several officials called it infeasible.</p><br>
<p>The city announced plans in 2004 to renovate the Theaterama building for $5.2 million, adding a new cabaret and entrance hall. NYC Parks began soliciting proposals for the tents renovation that year, Work on the Theaterama began in 2005. The next year, an aviation obstruction light on the tallest observation tower was broken for several months but NYC Parks 2008 master plan for Flushing Meadows–Corona Park called for its preservation.</p><br>
<p>Researchers from the University of Pennsylvania began restoring a small number of the Tent of Tomorrows terrazzo tiles in 2008. and the elevators were left to rot in Flushing. The pavilion was added to both the New York State Register of Historic Places and the NRHP in 2009. Robert Silman Associates completed an engineering report on the Tent of Tomorrow that year, finding severe damage to wooden beams, walls, concrete, and cables. The firm estimated that it would cost up to $29 million to restore the tent, compared with $9.7 million to raze it. During 2009, volunteers began repainting the tents base, clearing debris, and covering the terrazzo map with gravel and sand. That year, the Pavilion Paint Project was also established to repaint the pavilion.</p><br>
<h3>2010s to present</h3><br>
<p>In late 2013, NYC Parks indicated that it would cost $73 million to restore the site, as opposed to the $14 million cost of demolishing the structure. NYC Parks decided against demolishing the New York State Pavilion due to large amounts of public opposition to demolishing the structures. NYC Parks devised plans to update the equipment systems and rebuild the towers perimeter walls, and the design firm Perkins + Will created a proposal for the adaptive reuse of the structures. Preservationists founded the People for the Pavilion group in the early 2010s to advocate for the pavilions restoration.</p><br>
<h4>2014–2016: Repainting and further restoration proposals</h4><br>
<p>Local officials announced plans in March 2015 to illuminate the pavilion and began testing out a lighting system that month. In May 2015, several labor unions announced that they would repaint Tent of Tomorrow. The majority of the labor was done by union trainees, and contractors donated $3 million worth of materials to repaint the tent yellow. Workers spent over 8,000 man-hours on the repainting, which required 1,600 gal of paint. All work was completed by August 2015. By that October, the city was awarding a design contract for the pavilion&#39;s structural stabilization and electrical upgrades.</p><br>
<p>People for the Pavilion and the National Trust for Historic Preservation launched an international ideas competition for the pavilion in March 2016. The competition garnered 250 submissions, which ranged from facetious proposals to those submitted by professional architects. The winning design called for the structures to become a hanging garden; this proposal, and three others, were displayed at the nearby Queens Museum. Two proposals from the contest received New York City&#39;s 2018 Annual Awards for Excellence in Design.</p><br>
<h4>2017–present: Renovation</h4><br>
<p>The city announced in May 2017 that it would spend $14.25 million on the New York State Pavilion. Katz and Mayor Bill de Blasio each allocated $6.45 million in taxpayer monies, while the other $800,000 was allocated by the New York City Council. The project was to include stabilization, waterproofing, electrical upgrades, and new lighting. Meanwhile, the city government began looking for a contractor to restore the pavilion in early 2018. The city had trouble hiring a contractor; by July, only two companies had submitted bids for the restoration of the pavilion. That December, the Federal Emergency Management Agency provided $16.5 million to fix damage that had been caused in 2012 by Hurricane Sandy.</p><br>
<p>The city government announced in September 2019 that it would begin renovating the three towers and the Tent of Tomorrow; The suspension cables in the Tent of Tomorrow, the drainage system, and the floor of the pavilion were also replaced. In addition, the lighting was restored, the stairs in the towers were renovated, and the concrete was replaced. Originally, the work was supposed to be finished in early 2021, but the first phase of the project was not completed until April 2023.</p><br>
<p>The Tent of Tomorrow and the towers were illuminated at night starting in 2023, when the first phase of the restoration was finished. The New York Landmarks Conservancy gave its Lucy G. Moses Preservation Award to the first phase of the restoration. By that October, workers had begun repairing the towers as part of a second phase of the renovation, which was planned to be completed in late 2025.</p><br>
<h2>Description</h2><br>
<p>The New York State Pavilion consists of three reinforced concrete-and-steel sets of structures: the Tent of Tomorrow, observation towers, and Theaterama. The Tent of Tomorrow is at the center of the site, the observation towers are to the northwest, and the Theaterama is to the northeast. The pavilion was primarily designed by the architectural partnership of Philip Johnson and Richard Foster. The structural engineer Lev Zetlin is credited with designing the Tent of Tomorrow&#39;s roof.</p><br>
<h3>Site</h3><br>
<p>The pavilion is in the central section of Flushing Meadows–Corona Park. It is northeast of the interchange between the Long Island Expressway and Grand Central Parkway, about 700 ft from the LIE and 400 ft from the GCP. Two World&#39;s Fair time capsules are buried near the pavilion, and there is a skatepark nearby as well.</p><br>
<p>The adjacent section of the park includes paved pathways centered around the Unisphere. while four other exhibition areas surrounded it. Block 46 was one of the largest plots of land in the federal and state section of the 1964 World&#39;s Fair. The pavilion is one of several structures from the 1964 fair that remain in Flushing Meadows–Corona Park, along with the Unisphere, Queens Museum, Terrace on the Park, and the New York Hall of Science.</p><br>
<h3>Tent of Tomorrow</h3><br>
<p>The Tent of Tomorrow is elliptical and measures either 240 by, or 250 by across. The columns are variously cited as measuring 98 ft or 100 ft tall. There are slots for beams within each of the columns. When the 1964 World&#39;s Fair was open, the tops of each column contained two flags, each displaying the names of counties in New York. There were also catwalks leading to the flagpoles.</p><br>
<h4>Main level and mezzanine</h4><br>
<p>The main floor of the tent had a large-scale Texaco highway map of New York state, made of 567 terrazzo panels. The top of the map faced east. Letters denoted various towns and cities, ranging in size from 2 to 12 in based on how large the municipality was. There were also motifs of stars, which measured 5 in across and were made by Texaco. Following severe damage due to neglect and vandalism, the original terrazzo was replaced with a layer of methacrylate starting in 2019. A small number of the original terrazzo tiles have been preserved. Several small planters were originally also placed around the map.</p><br>
<p>A mezzanine surrounds the main floor. There are no stairs leading outside of the Tent of Tomorrow.</p><br>
<p>The wall around the main floor, below the mezzanine level, was composed of red and white panels made of steel or canvas, although they have since been replaced with concrete blocks. There were originally also exhibit spaces under the mezzanine. At the main level, there are entrances from the north, west, and east; all of these are closed off. In the early 1990s, a 125-seat rehearsal room for the Queens Theatre was added within part of the former exhibit space.</p><br>
<h4>Cable roof</h4><br>
<p>The columns at the tents exterior support a cable suspension roof weighing 2,000 ST. Designed by Zetlin, the cable roof was based on a similar roof at the Utica Municipal Auditorium in Utica, New York. The roof was intended to eliminate the need for internal columns while remaining stable in high winds, and it was also much lighter than comparable roofs, at 9 psf. The roof is 50,000 ft2 or 55,000 ft2, and, at the time of construction, was described as the largest cable suspension roof in the world. When the pavilion was erected, cable-suspended roofs could not be built in other parts of New York City, but the Worlds Fair was exempt from New York City building code. The city&#39;s building code was changed in the mid-1960s, allowing the pavilion to retain its roof, as well as new cable-suspended roofs elsewhere in the city.</p><br>
<p>The cable roof consists of 48 pairs of cables. Near the outer edge of the roof are two elliptical girders; the outer girder is thicker than the inner girder. The outer girder contains web plates shaped like battle axes, onto which the ends of the cables are mounted. A pair of cables is mounted to each web plate, with one cable each connected to the top and bottom, and there are smaller vertical stringers connecting the top and bottom of each pair of cables. The outer girders are connected to the reinforced-concrete columns by steel brackets.</p><br>
<p>The entire roof was covered by multicolored translucent plastic panels, The plastic panels were manufactured in one shade of blue and three shades of red. In total, there were 1,400 or 1,500 panels. There were also 800 spotlights mounted above the panels.</p><br>
<h3>Observation towers</h3><br>
<p>The towers rise from a single, circular base made of concrete, surrounded by a concrete enclosure. Originally, there was a railing and lighting along the enclosure; a chain link fence was added around the enclosure after the fair closed. There is also a disused ramp at the western end of the enclosure, which provided access to the bases of each tower.</p><br>
<p>Each observation tower is supported on a reinforced concrete column with steel stairways inside. Vertical slits divide each column into two sections of equal size, and horizontal beams connect each half of each column. The elevator shafts are located opposite each other: the nonstop elevator was on the western side of the tallest tower, while the local elevator was to the east. The elevator shafts were removed in 2008, but there are steel tracks in each elevator shaft, which remain in place.</p><br>
<p>Each tower has roof beams, which extend outward from a central pillar; the decks of each tower are suspended from the roof beams.</p><br>
<h3>Theaterama</h3><br>
<p>The original part of the Theaterama is a reinforced-concrete cylindrical structure, Since 1989, the Theaterama has housed the Queens Theatre, a performing arts center that produces theater, dance, and children&#39;s and cultural programming.</p><br>
<h4>Exterior</h4><br>
<p>The theater building&#39;s facade originally contained rectangular openings at ground level, which have been variously infilled with masonry or glass bricks. The exterior was originally wainscoted with steel beams. There were three doorways to the building on the western facade.</p><br>
<p>On the upper stories are setbacks around the perimeter of the structure, which double as service walkways. The Theaterama was originally topped by a wooden dome. Globe-shaped blue lamps were placed around the dome as well. The wooden dome was covered with an aluminum dome in the early 1990s, upon which the blue globe-shaped lamps were removed.</p><br>
<p>After the Theaterama was converted into a venue for the Queens Theatre, three structures were added to the original cylindrical massing during the early 1990s and late 2000s. is located northwest of the relocated main entrance and contains a flat roof, as well as a glass facade with a diagonal ramp-shaped structure around it. There are also a pair of two-story structures to the north, which have a concrete facade. These structures contain offices and performance spaces. The larger structure is to the east and contains a terrace on its western facade, as well as sash windows.</p><br>
<h4>=Exterior artwork=</h4><br>
<p>Ten artists were hired to design art for the Theaterama, which was mounted outside the building, above the first story. The lights on Indiana&#39;s "Eat" mural were turned off because some visitors mistakenly believed that they could actually eat there.</p><br>
<p>The most contentious artwork was Warhols mural Thirteen Most Wanted Men, which featured silkscreened mugshots of gangsters. Warhols mural was removed before the fair opened, though there is disagreement on why. A 1964 New York Times article said Warhol requested the removal himself. Later versions of the story cite interference from government officials, including fears that Italians would not vote for Rockefeller in the 1966 New York gubernatorial election, or that state officials were worried about lawsuits. Supposedly as retribution for the removals, Warhol created silkscreened portraits of Robert Moses, to which Johnson objected.</p><br>
<h4>Interior</h4><br>
<p>The modern theater is accessed through the "nebula" annex. The nebula contains a reception space with a curved ceiling (which is painted yellow with red edges) and a skylight. There are windows around the reception area, which overlook the other pavilion structures. The nebula also includes a 75-seat cabaret room, a catering space, and back of house functions. Within the original structure, a circulation corridor runs between the facade and the "inner drum". The original entrance to the theater&#39;s main auditorium, a red oak door, is still extant. There are two mezzanine levels with walls made of concrete masonry units and plain concrete. On the second story is a projection booth for the main auditorium. When the theater was built, steep staircases led from the eastern side of the ground-level corridor to the mezzanines.</p><br>
<p>The inner drum of the theater contains the main auditorium, the main auditorium was converted into a 500-seat venue with a partial thrust stage. The seating area was reconfigured into 14 rows. The existing seats were replaced in 1993 with red velvet seats, salvaged from a former Loews cinema in Manhattan. After Caples Jefferson renovated the theater in 2009, the main auditorium was expanded to 600 seats. The modern main auditorium has a catwalk, acoustic wall panels, and raked seating. Parts of the inner drum wall have been removed to accommodate the stage.</p><br>
<p>The theaters lower level had exhibition space for visual art, as well as service rooms, during the Worlds Fair. The exhibit space had a coffered ceiling and wall partitions, parts of which are still extant in the 21st century. Offices, rehearsal space, and offices were built below the auditorium in the 1972 renovation; the office space was located in the southeastern portion of the lower level. Part of the lower-level space became a 100-seat lower auditorium for experimental theater in 1993. The lower auditorium was expanded to 125 seats following the 2009 renovation, and an elevator to the northeast was added around the same time.</p><br>
<h2>Impact</h2><br>
<h3>Reception</h3><br>
<p>When the 1964 Worlds Fair opened, Ada Louise Huxtable of The New York Times wrote: "The runaway success, day or night, is the New York State Pavilion, a sophisticated frivolity by Philip Johnson, seriously and beautifully constructed. This is carnival with class." In a later article, Huxtable praised the pavilions carnival-like architecture but questioned whether its design fit with that of the fair&#39;s other structures, such as the Hall of Science. Max Kozloff, writing for Nation magazine, compared the pavilion favorably with the New York State Theatre despite regarding the towers and Tent of Tomorrow as kitschy.</p><br>
<p>The New York State Pavilion became an unofficial landmark of Queens after the World&#39;s Fair, even before it was added to the NRHP. In 1988, the art historian Robert Rosenblum quoted another writer as saying that the pavilion was "both grandly serious and ironic at the same time". Christopher Gray of The New York Times wrote in 1990 that the pavilion, "for all its size, had an appropriately gay, gaudy character", despite the discrete characteristics of the theater, tent, and observation towers. Writing retrospectively in his 1995 book New York 1960, Robert A. M. Stern wrote that "the pavilion was so seductively garish that only hard-core purists could resist its fun-loving spirit." The next year, Stern cited the New York State Pavilion as one of 35 modern-style buildings that he thought should be designated as city landmarks.</p><br>
<p>David W. Dunlap described the New York State Pavilion in 2001 as "a modern Colosseum, its columns towering over a thick pine grove". That year, Herbert Muschamp described the structure as "a double agent of a building", which combined standard elements of modern architecture with more whimsical elements such as the Tent of Tomorrows roof, the observation towers elevators, and the Theateramas avant-garde art. By the mid-2000s, the pavilions deterioration led one writer to say: "If this was built to evoke the future, then may the gods have mercy on us all". Another writer described the towers as having "a distinctly apocalyptic aura". Verena Dobnik of the Associated Press wrote in 2014 that the buildings were "sleek, Space-Age visions of the future" when they opened. Paul Goldberger wrote for Vanity Fair magazine the same year that the New York State Pavilion was one of the 1964 Worlds Fairs more memorable structures, along with the IBM, Spanish, and USA Rubber pavilions.</p><br>
<h3>Media</h3><br>
<p>The New York State Pavilion has been used as a setting for movies and TV shows. For example, the Tent of Tomorrows interior was used as the filming location for the 1978 film The Wiz and a 2009 episode of the TV series CSI: NY. The pavilions exterior was also a setting in the 1997 film Men in Black, in which the towers stood in for flying saucers, and a replica of the observation towers was built at Universal Studios Florida as part of the Men in Black: Alien Attack attraction. The pavilion was also used as a filming location for the 2010 film Iron Man 2, where the structure was used as an exhibit for Stark Industries. The pavilion was the subject of a documentary by Matthew Silva, Modern Ruin: A World&#39;s Fair Pavilion, which premiered in 2015.</p><br>
<p>Since the early 1990s, the New York State Pavilions ledges, steps, and fountain grates have been utilized by skateboarders and featured in skateboarding videos. The artist Gary Simmons depicted the abandoned pavilion in his 2009 mural Reflection of a Future Past, where he drew the pavilion with blurred lines to signify the themes of "erasure and memory". Additionally, a picture of the pavilion was used for the cover of a 2002 monograph about Johnsons work, and Christian Kellbergs 2010 book The New York State Pavilion: An Enduring Landmark detailed the pavilions history. Kellberg wrote another book about the pavilion in advance of the Worlds Fairs 50th anniversary in 2014.</p><br>
<p>The Eanger Irving Couse House and Studio—Joseph Henry Sharp Studios, also known as the Couse/Sharp Historic Site, is a property on the USA National Register of Historic Places. It includes the home and art studio of E. Irving Couse  and two studio buildings owned by Joseph Henry Sharp , both founding members of the Taos Society of Artists. It was added to the NRHP on September 28, 2005.</p><br>
<h2>History</h2><br>
<p>E. Irving Couse, who studied art in New York and Paris, was introduced to Taos by fellow artist Ernest Blumenschein in 1902. He became part of the Taos artist colony and bought the house on Kit Carson Road in 1909. A wing was added to the house for Couses studio and his wife developed a noteworthy garden. Following E. Irving Couses death in 1936, no more changes were made to the house and it remains much as it did when Couse lived there, which made it "the significant building to survive from the early days of the Taos art colony."</p><br>
<p>Prior to Couses purchase of the house in 1910, it was owned by parish priest Gabriel Ussel in the 1860s; He operated a boys school from the house. Prior to Ussel, the house was owned by James Quinn, who in the 1850s was a scott captain serving under Kit Carson. The house was originally built by Pedro Luna in 1839.</p><br>
<p>Having spent some summers in New Mexico and having grown to appreciated the area, in 1909 Joseph Henry Sharp purchased a former Penitente chapel in Taos near the home of E. Irving Couse for use as a studio. He then built a two-story house with studio near the chapel</p><br>
<p>The site open to the public by appointment.</p><br>
<p>The Nicolai Fechin House in Taos, New Mexico, is the historic home of the Russian artist Nicolai Fechin, his wife Alexandra and daughter Eya. After purchasing the house in 1927, he spent several years enlarging and modifying the two-story adobe structure, for instance, enlarging the porch and adding and widening windows to take advantage of the views. He carved many of the fittings of the house and its furniture, using typical Russian design elements such as "triptych windows and intricately carved doors." The whole reflects a modernist sensibility combined with Russian, Native American, Spanish, and Art Deco traditions.</p><br>
<p>The Fechins divorced in 1933, after which Alexandra stayed at the house until a few years before her death in 1983. Eya returned to Taos in the 1970s and began restoration of the house. She opened it to visitors beginning in 1981, under the auspices of the Fechin Institute, which she founded in her father&#39;s memory.</p><br>
<p>The house was added to the USA National Register of Historic Places on December 31, 1979. After Eya Fechin&#39;s death in 2002, the house passed to her daughter and son-in-law. They sold it to a foundation, which established the house museum and the Taos Art Museum.</p><br>
<p>Loudon Town Hall is a historic New England meetinghouse at 433 Clough Hill Road in Loudon, New Hampshire. Built in 1779 and extensively restyled in 1847, this Greek Revival structure was used for many years for both religious and civic purposes; it now serves principally as a church, housing a Free Will Baptist congregation. The building was listed on the National Register of Historic Places in 1990; it is one of the oldest civic buildings in Merrimack County.</p><br>
<h2>Description and history</h2><br>
<p>The former Loudon Town Hall is located in a rural setting near the geographic center of Loudon, at the northwest corner of Clough Hill and Youngs Hill roads. It is a 2½-story rectangular wood-frame structure, with a gabled roof and clapboarded exterior. The building corners are articulated by broad pilasters, which also separate the three bays of the front façade. The front has a fully pedimented gable, with a central tympanum void of decoration. Above it rises a two-stage tower. The first stage of the tower is a plain square, topped by a railing. The slightly smaller second stage houses the belfry, with louvered openings and corner pilasters. It is also topped by a railing, with a slender steeple capping the structure.</p><br>
<p>The town of Loudon was incorporated in 1773 out of Canterbury, its residents complaining that it was difficult or impossible to attend religious services or town affairs in Canterbury. By September 1779 the new town had finally decided on a location, appropriated funds, and built the shell of this building sufficient to hold a town meeting there. The building was not substantially completed until 1794. In 1847, the town reached an agreement with the local Free Will Baptist congregation to fund alterations and modernizations of the building, in exchange for the congregation&#39;s use of the upper hall. It is at this time that the building received its Greek Revival styling, and the basics of its present interior were laid out.</p><br>
<p>Town offices were moved out of the building in the 1970s, first to an adjacent public works building which no longer stands. The present-day town hall for Loudon is located at 29 South Village Road in the center of Loudon village, and this building now serves exclusively as the home of the Freewill Baptist Church congregation. It has undergone only modest modifications since about 1922.</p><br>
<p>The William O. Munsell House in southeast Portland in the USA state of Oregon is a 1.5-story single dwelling listed on the National Register of Historic Places. Built in an eclectic mixture of Bungalow, American Craftsman, and Colonial Revival styles in 1902, it was added to the register in 1989.</p><br>
<p>Situated on the western edge of a proposed Buckman Historic District, the Munsell House features large pedimented gable dormers facing the cardinal points. The oval window in the facade dormer includes ornamental keystones, also facing the cardinal points, in the manner of many Colonial Revival structures. Houses similar to this one were built throughout southeast Portland from about 1900 through 1926.</p><br>
<p>The home&#39;s interior has four rooms on the main floor and three on the second floor. Interior features include an open staircase with turned balusters, pocket doors, dual fireplaces in the living and dining rooms, and an oriel window.</p><br>
<p>Munsell, the homes original owner, lived in it for two years before selling it to Henry B. and Ellen Adams. Born in Indiana, Munsell moved to Portland in 1896. Starting as a clerk for Acme Harvester, by 1932 he had become president and manager of Mitchell, Lewis and Staver, a farm-implement business in Portlands eastside warehouse district.</p><br>
<p>The Hartwell B. Hyde House, also known as Solitude, is a property in Triune, Tennessee that was listed on the National Register of Historic Places  in 1988.</p><br>
<p>Hartwell Hyde was an early settler of the Triune area. He and William Jordan arrived in 1810; Jordan&#39;s log home is the location of the Newton Jordan House, also NRHP-listed.</p><br>
<p>The Hyde House was an early plantation homes and had a flour mill and a cotton gin on the property. The Hyde plantation, with 900 acres, when owned by Mrs. E.B. Hyde, was one of a number of "productive and prosperous" antebellum plantations in the county.</p><br>
<p>The Hyde House includes Double pen, dog trot, and Italianate architecture. When listed the property included two contributing buildings on an area of 1.1 acre.</p><br>
<p>The John Herbert House, also known as Breezeway, is a property in Franklin, Tennessee, United States, that was listed on the National Register of Historic Places in 1988. A 1988 study of historic resources in Williamson County identified the Herbert house as one of the "best examples", along with the Beasley-Parham House, of double pen dogtrot houses in the county: "Both houses were built with two log pens joined by an open breezeway or dogtrot and each pen has an exterior chimney. Both residences had the breezeways enclosed with weatherboard siding by the end of the 19th century. The original form and plan of the double pen dogtrot style is evident in both residences."</p><br>
<p>It was built, remodelled, or has other significance in c.1830 and c.1910. It includes double pen and Dogtrot architecture. When listed the property included three contributing buildings on an area of 5.5 acre.</p><br>
<p>The property is denoted as Williamson County historic resource WM-152.</p><br>
<p>The Lebanon Lutheran Church in South Dakota was established by Norwegian immigrants to the Sisseton-Wahpeton  Sioux Indian Reservation. It was the first Norwegian Lutheran church in that area predating congregations in nearby Ortley and Summit. It was added to the National Register of Historic Places in 1977.</p><br>
<p>During the mid-1960s, Lebanon Church experienced a decline in its rural population. Consequently, it merged with Zion Lutheran Church (Ortley) and Summit Lutheran Church, forming a new entity known as Hope Lutheran Church in Summit, SD.</p><br>
<p>Regular Sunday services ceased at that point, although the property continues to be maintained and is utilized periodically for special events relating primarily to the history of the church or descendants of the parishioners.</p><br>
<p>The Hamilton-Brown House, in Franklin, Tennessee, also known as the Elijah Hamilton House or as Cottonwood, is a historic two-story brick house that was listed on the National Register of Historic Places in 2006.</p><br>
<p>It was built between 1792 and c.1800, making it one of the very oldest houses in Williamson County. It originally had a hall-and-parlor plan. A brick one-story east wing was extended in c. 1850 and c. 1940. A one-story brick and log north wing was extended from the east wing in c.1960 and c.1997.</p><br>
<p>When listed the property included four contributing buildings and two contributing sites on an area of 5 acre.</p><br>
<p>The property is denoted as Williamson County historic resource WM-56.</p><br>
<p>The Franklin Hardeman House is a property in Franklin, Tennessee that was listed on the National Register of Historic Places in 1988. The property is also known as Sugar Hill and is denoted as Williamson County historic resource WM-291.</p><br>
<p>It was built or has other significance as of c.1835. It includes Greek Revival architecture. When listed the property included one contributing building, two non-contributing buildings, and one non-contributing structure, on an area of 8.1 acre.</p><br>
<p>The property was covered in a 1988 study of Williamson County historical resources.</p><br>
<p>Mount Nebo Baptist Church is a historic Southern Baptist church located at Pilot Grove, Cooper County, Missouri. It was built in 1856, and is a one-story, antebellum, braced frame, Southern Protestant Church with restrained Greek Revival style detailing. The congregation of the church refurbished and added on in 1856, but the congregation existed since 1820.</p><br>
<p>Mount Nebo Baptist Church was listed on the National Register of Historic Places in 1990.</p><br>
<p>Ropers Knob Fortifications were constructed by Union Army forces between February and May 1863 in Franklin, Tennessee. According to Tennessee Archaeology, "Ropers Knob served as part of a chain of signal stations that provided a communications link from Franklin to Murfreesboro. Additionally the knob had a large redoubt capable of holding four large artillery pieces, a blockhouse, cisterns, and a magazine.... "</p><br>
<p>Artillery at Fort Granger, another fortification in Franklin, played a role in the November 1864 Battle of Franklin, but it is believed that Roper&#39;s Knob was not then occupied. It is nonetheless believed that artillery had at some point been hoisted into the fortification, in part on the archeological evidence of an artillery fuse found there, but was removed in 1864 when the battlefronts moved south.</p><br>
<p>The area was investigated by an archeological dig in 2000.</p><br>
<p>A letter written by a 22nd Wisconsin soldier - Herman L. Cunningham - on June 28, 1863, from atop Ropers Knob, reveals in part, "Company H, K, & G occupy a Knob about three hundred feet high, with breastworks, stockade, and 125 pounder (cannon). The rest of the Regiment is over to the other fort 3/4 of a mile from here, that and the 85th Indiana command this post." The letter header says "Ropers Knob, Franklin."</p><br>
<p>In a study of Civil War Historic and Historic Archeological Resources in Tennessee, it is noted that Winstead Hill, Fort Granger, the Carter House, and Carnton comprise the Franklin Battlefield National Historic Landmark area, but Ropers Knob is not included. The document describes criteria for listing of fortifications on the National Register of Historic Places which applied to the later Ropers Knob nomination. The property was listed on the National Register of Historic Places in 2000. The listing was for an area of 58.4 acre.</p><br>
<p>The Roswell Butler Hard House is a house located at 815 W. First St. in Antioch, California. Roswell Butler Hard, a prominent early resident of Antioch, built the house in 1869. Hard was the first chairman of the Antioch town council, which originally met in his house; he also served as county sheriff and supervisor. The two-story Italianate house was built entirely from brick made in the city. It was split into smaller housing units after Hart&#39;s death; in 1979, the city of Antioch took ownership of the building, and it has fallen into disuse since.</p><br>
<p>The house was listed on the National Register of Historic Places on September 30, 1993.</p><br>
<p>The Robert Hodge House, also known as Sullivan Farm House, is a c. 1900 Queen Anne and Colonial Revival house in Franklin, Tennessee.</p><br>
<p>It was listed on the National Register of Historic Places in 2005. When listed the property included one contributing building and one non-contributing building, on 1.1 acre.</p><br>
<p>The property&#39;s listing is identified by the National Register as consistent with historic resource standards covered in a 1988 study of Williamson County historical resources.</p><br>
<p>The Borland–Clifford House, also known as the Clifford House, is a historic Carpenter Gothic house located at 339 Ralston Street in Reno, Washoe County, Nevada. The house is one of the few extant houses in Reno which were built in the 19th century.</p><br>
<h2>History</h2><br>
<p>Built in 1885 by James Borland, it remained in his ownership until 1902. It 1907 it was bought by O. J. Clifford and it remained in his family until 1984 and is still in private ownership. On March 7, 1983, it was added to the National Register of Historic Places as the Clifford House. On June 24, 2008, additional documentation was added to include Borland&#39;s name in the listing title.</p><br>
<h2>Location</h2><br>
<p>The house was one of the first houses to be built in the Reno&#39;s Western Addition Neighborhood. It has been moved several times, to places including Ralston, 4th street, Arlington Avenue, and Plumb Lane.</p><br>
<p>In 2018, the house was disassembled and moved to downtown Reno.</p><br>
<h2>Ownership</h2><br>
<p>In 2018, the house was purchased by Jacobs Entertainment for 720,000 dollars. The company later sold the house to Archie Granata for 10 dollars.</p><br>
<p>The John Crafton House  is a historic property in Franklin, Tennessee, United States, that was listed on the National Register of Historic Places on April 13, 1988.</p><br>
<p>It was built, remodeled, or has other significance in about 1813 and c. 1830. It includes Hall-parlor plan and other architecture. When listed the property included one contributing building, one contributing structure and one non-contributing structure on an area of 2.8 acre.</p><br>
<p>It is a one-story a one-story, brick house was built in two stages. The original section was built c.1813 and includes its original nine panel door, with a main facade built in Flemish bond and side facades laid in five- and seven-course common bond.</p><br>
<p>The property was covered in a 1988 study of Williamson County historical resources.</p><br>
<p>The Jacob Critz House is a c. 1835 center-hall house in Thompson&#39;s Station, Tennessee, United States. It was listed on the National Register of Historic Places in 1988. When listed the property included one contributing building, one non-contributing building, and one non-contributing structure, on 1.7 acre.</p><br>
<p>The home was likely leased in 1866 by carpetbagger James Wood King in his attempt to raise cotton in the south after the American Civil War.</p><br>
<p>The Joseph Elliston House, also known as the Cohen House, is a c. 1817 Federal-style center-hall house in Brentwood, Tennessee.</p><br>
<p>As of 1988, it had original weatherboard siding, and it has large exterior end limestone chimneys.</p><br>
<p>It was listed on the National Register of Historic Places in 1988. When listed the property included one contributing building, two non-contributing buildings, and one non-contributing structure, on 2 acre.</p><br>
<p>Dortch Stove Works is an historic stove manufacturing plant in Franklin, Tennessee. It was built in 1929 by Allen Manufacturing Company, then based in Nashville, Tennessee. During its manufacturing prime, the plant produced stoves and ranges under Allen Manufacturing Company, Dortch Stove Works, and Magic Chef Inc., as well as bedding and furniture under Jamison Bedding Company. Now, the plant is known as The Factory at Franklin, and operates as a mixed dining, retail, and entertainment center.</p><br>
<p>The property was listed on the National Register of Historic Places in 1997. When listed the property included five contributing buildings, one contributing structure, two non-contributing buildings, and one non-contributing structure, on 30 acre.</p><br>
<h2>Description</h2><br>
<p>The Dortch Stove Works plant is an industrial plant that was designed by Robert & Company of Atlanta in 1929. The main body of the plant consists of the large horseshoe shaped foundry, originally taking up around 245,000 square feet. To accommodate the intensive work involved in manufacturing, the foundry was built with immense stretches of unobstructed floor space, poured concrete floors, high ceilings, and rows of clerestory windows and skylights that were necessary for venting hot air from the building. Several additions were made by Dortch Stove Works between 1935 – 1940, as well as by Jamison Bedding Company in the early 1960s. Now, the open floor plan of the foundry has been converted into a mixed retail and dining center.</p><br>
<p>The plant also includes the original brick boiler room with a 1960s metal addition made by Jamison Bedding, as well as a spacious assembly room with a wood roof, wood support beams, and poured concrete flooring that was likely built between 1935 and 1940. Renovations included the addition of outdoor seating areas on the first and second floors.</p><br>
<p>The most prominent feature of Dortch Stove Works is its water tower. It stands at the front of the plant and has been repainted twice – once to a brick red in 1997, and then to a dark green in 2020.</p><br>
<p>The plant could be accessed by road, fronting Franklin Road (also known as USA Route 31, the Jackson Highway, and the Franklin and Nashville Highway), or by rail, fed by two spur tracks (no longer extant) that serviced the Louisville & Nashville Railroad and the Franklin Interurban Railway.</p><br>
<h2>History</h2><br>
<p>Allen Manufacturing Company</p><br>
<p>Dortch Stove Works began as a stove manufacturing plant for Allen Manufacturing Company, then helmed by W. F. Allen. In the late 1920s, Nashville-based Allen Manufacturing Company decided to move its production to Franklin, citing a need for upgraded machinery and Franklins appealing labor market. In 1929, Allen Manufacturing Company hired Robert & Company, an Atlanta architectural firm, to design their new plant. Construction began in October 1929 and finished in the spring of 1930. Limited production started as early as June 1930. The new plant was fully operational by February 12, 1931, and employed 250 people. At the height of production, Allen Manufacturing Company employed 300 people at their Franklin location, at least 75% of whom were locals, and could produce 65 stoves a day. Notable products of Allen Manufacturing Company were the Allen Parlor Furnace and Allens Princess Range.</p><br>
<p>However, Allen Manufacturing did not remain in Franklin long. A combination of lawsuits, the high cost of construction, and the looming reality of the Great Depression resulted in Allen Manufacturing Company and the Allen Corporation (formed to sell stocks for the construction of the new plant), declaring bankruptcy in 1932. In late April, Allen Manufacturing Company entered receivership, naming Joe Briggs of the Williamson County Banking and Trust Company and Richard Herbert, the clerk and master of the Franklin chancery court, as the receivers.</p><br>
<p>Dortch Stove Works</p><br>
<p>The plant did not remain inactive long. In December 1932, O. L. Dortch, a prominent Tennessee businessman, purchased what was, at the time, one of the most modern stove manufacturing plants in the country. Dortch purchased the plant and most of the new machinery that Allen had installed for $60,000. O. L. Dortch also announced early in the process that he intended to hire locally as much as possible, encouraging potential employees to move to Franklin and advertising for housing for new employees in the local newspaper.</p><br>
<p>Dortch Stove Works drove the industrial and economic development of Franklin throughout its tenure. By December 1933, stoves had become the second largest export from Franklin behind flour, which was largely produced by Lillie Mill Flour Company, the countys oldest industry. Popular lines produced under Dortch were the Royal Line, the "Modern as Tomorrow" ranges, and the Pan-American. Throughout the Great Depression, Dortch helped to stabilize the economic landscape of Franklin and the greater Williamson County area by providing steady employment. Dortch was consistently the largest employer in Williamson County: in 1947 it was the only industry in Williamson County to employ 100 or more employees, and in 1949, with a peak of around 450 employees, Dortch was one of the countrys largest stove works. The economic impact of Dortch Stove Works and its diversification of Franklin&#39;s agrarian economy aligned closely with the development of other towns across the South in the New South era.</p><br>
<p>Magic Chef Inc.</p><br>
<p>However, as technology evolved and electricity reached the countryside, the need for wood- and coal- burning stoves dropped. Households moved towards more modern electric appliances, and Dortch lacked diverse enough offerings to weather the drop in demand. In October 1955, it was announced that Dortch Stove Works would merge with Magic Chef Corporation of St. Louis, Missouri. Magic Chef produced a wide range of electric and gas appliances, as well as products like large signs and emblems that were made for Coca-Cola.</p><br>
<p>By 1956, Magic Chef had moved the entirety of its domestic gas range production to Franklin. Ownership of the company changed hands twice during its time in Franklin, once in August 1957 to Food Giant Markets of Los Angeles, and again in October 1958 to Dixie Products Inc., of Cleveland, Tennessee. In 1958, in a bid to keep the industry from moving operations to Cleveland, the city of Franklin purchased the plant and offered to lease the property to Magic Chef at a more affordable rate. Magic Chef continued to operate out of Franklin until January 1961, at which point a recession in market appliances led to the closing of the plant. The city of Franklin was concerned about the loss of the industry and the potential impact it would have on other manufacturing powers in the area.</p><br>
<p>Jamison Bedding Company</p><br>
<p>Five months later, Nashville-based Jamison Bedding Company announced plans to expand into Franklin and solved the problem of the citys idle plant. Jamison leased the property from the city and modified the stove manufacturing plant for the production of upholstered furniture. Under Jamison, the plant continued to be a major source of employment in Franklin and the greater Williamson County area. Jamison operated out of the Franklin plant until 1991, and with 30 years of manufacturing was the longest running tenant at the plant. In 1991, Jamisons production moved to Tupelo, Mississippi. While Jamison maintained a few offices on the property until 1995, the rest of the plant sat dormant until 1996.</p><br>
<h2>Adaptive Reuse</h2><br>
<p>In 1995, the city began accepting design ideas for the redevelopment of the site. By the summer of 1996, a plan for the adaptive reuse of the site that had been submitted by local businessman Calvin LeHew was accepted. Local news reported that he intended to rehabilitate the plant and convert it into a retail and entertainment center. Renovations on the property, to be known as The Factory at Franklin, began in 1997, with the first businesses opening in January 1998. Completion of the renovation was officially announced on January 18, 2005. During this time, the Factory was home to over 70 tenants.</p><br>
<p>In 2012, the plant was sold to billionaire Brad Kelley, who operated the Factory for nine years, until it was sold to Holladay Properties in 2021. Today, the Factory operates as a mixed retail, dining, and entertainment space.</p><br>
<h2>National Register Listing</h2><br>
<p>On November 13, 1997, Dortch Stove Works was entered in the National Register of Historic Places. The listing included nine buildings and structures, six contributing and three non-contributing. The plant was listed under Criteria A for its significance to the commercial and industrial development of Franklin. At the time of its entrance to the National Register, Dortch Stove Works was also entered into the Tennessee Register of Historic Places.</p><br>
<p>Douglass-Reams House is a c. 1828 center-hall house in Franklin, Tennessee.</p><br>
<p>It was listed on the National Register of Historic Places in 1988. The notability of the property was mentioned in a 1988 study of Williamson County historical resources:</p><br>
<p>The greatest number of early brick residences were built in central hall or central passage plan arrangements. In these homes the main entrance opens onto a central hallway flanked by two large rooms. Each of these rooms contains a</p><br>
<p>fireplace and often decorative Federal styls mantels. One-and one-half or two-story central hall plan residences generally have the main staircase located in the central hall. Examples of this style in the county constructed before 1830 include the William Allison House (WM-232), Newton Jordan House (WM-259), Mordecai Puryear House (WM-287) and the Douglass-Reams House (WM-540). All of these houses are noteworthy examples of this style and retain their original detailing. The Allison, Jordan and Puryear House are all of single pile or one room deep construction with rear ells or wings while the Reams House is double pile or two rooms deep and lacks a rear addition.</p><br>
<p>The Mordecai Puryear House is a center-hall house in Franklin, Tennessee, United States, built around 1830. Mordecai Puryear was one of the ten original investors in the National Bank of Franklin in 1871. The bank "was one of the primary financial institutions of the county" until it failed in 1926.</p><br>
<p>The property was listed on the National Register of Historic Places in 1988. At the time of listing it included two contributing buildings on an area of 4 acre.</p><br>
<p>The house was built circa 1830 and was expanded twice, around 1850 and in 1907.</p><br>
<p>The DuBose Conference Center, formally known as the DuBose Memorial Church Training School, is a historic site and former conference center associated with the Episcopal Church at Fairmont and College Streets in Monteagle, Tennessee. It was historically an Episcopal Church training and conference center. On April 29, 2023, the conference center permanently ceased operations when the Episcopal Diocese of Tennessee deconsecrated the property.</p><br>
<p>The mission of DuBose Conference Center was to "offer hospitality, programming, and sacred space to groups of all faiths and backgrounds for education, creativity, and renewal."</p><br>
<h2>History of DuBose Conference Center</h2><br>
<h3>1921 to 1944: DuBose Memorial Church Training School</h3><br>
<p>In 1921, Reverend William Stirling Claiborne (1877-1933) and Dr. Mercer P. Logan founded the DuBose Memorial Church Training School on the former site of Fairmount College. Its curriculum emphasized practical rather than scholarly teaching, including such courses as “The Bible in English,” “Church History,” and “The Contents and Use of the Book of Common Prayer.” In addition to living at DuBose, many of them with established families, they raised vegetables and cattle to help maintain the school and its buildings.</p><br>
<p>The centers main building, Claiborne Hall, was rebuilt in 1924 after a large fire burned the schools original frame building.</p><br>
<h3>1950s to 2023: DuBose Conference Center</h3><br>
<p>In the early 1950s, the Episcopal Diocese of Tennessee (which at that time encompassed the Episcopal Diocese of West Tennessee, the Episcopal Diocese of Tennessee (sometimes referred to as "the Episcopal Diocese of Middle Tennessee"), and the Episcopal Diocese of East Tennessee) purchased the buildings and grounds of the old Church Training School and reopened as the DuBose Conference Center. In 1953, an Episcopal youth camp established in the 1920s, moved from its earlier venues to find a permanent home as an in-house program at DuBose.</p><br>
<p>The Diocese began capital improvements to the school, including the construction of four new cabins and a swimming pool. In 1958, a new outdoor pavilion was constructed to accommodate the growing. The Diocese of Tennessee built Bishop&#39;s Hall, a hotel-style lodging facility, in 1973 and expanded the “Stack Room” in the Pell Library Building to create the Large Chapel. In 1975 Camp Gailor-Maxon constructed the outdoor chapel and campfire area. Four cabins for housing youth and camp groups were also constructed.</p><br>
<p>DuBose Conference Center was added to the National Register of Historic Places in 1980.</p><br>
<p>In the early 1990s a decision was made to reconfigure the board to include several “at large” members who would represent constituent user groups of the center; and to actively pursue increased utilization by other denominations and secular groups to improve business results.</p><br>
<p>In 2009, the conference center elected to transition to a 501(c)3 Nonprofit organization but still affiliated with the three Tennessee Episcopal Dioceses and was run by a 21-member Board of Directors.</p><br>
<p>Another in-house program, was established in 2006 for high school aged Episcopalians throughout the state of Tennessee. In 2016 an on-site farm-to-table garden was established. This laid the foundation for the creation of a third in-house program in 2019, which focuses on health and wellness outreach and serves the nearby South Cumberland Plateau communities of Grundy County, Franklin County, and Marion County.</p><br>
<h3>Closure of DuBose Conference Center</h3><br>
<p>On April 29, 2023, the conference center permanently ceased operations when the Episcopal Diocese of Tennessee deconsecrated the property. Reasons cited included decreased demand for camp and conference facilities, with the additional challenges that DuBose faced during the COVID-19 pandemic.</p><br>
<h2>DuBose Conference Center Namesake</h2><br>
<p>DuBose Conference Center was named after William Porcher DuBose, an American priest, author, and theologian in The Episcopal Church in the United States who married Mrs. Louise Yerger, headmistress at Fairmount College and served as the schools Chaplain. It was during this period of DuBoses life, while caring for the little chapel in Monteagle and serving at Fairmount, that Dr. DuBose wrote some of his greatest literature. After his retirement in 1908, he wrote a number of books which established him as a "major New Testament theologian" from his study in Monteagle. He remained at the School until this death in 1918.</p><br>
<p>The Starling Childs Camp is a historic cottage on the south shore of Doolittle Lake in Norfolk, Connecticut. Built in 1923, it is significant as an idiosyncratic design of architect Alfredo S.G. Taylor. It was listed on the USA National Register of Historic Places in 1982, for its association with the architect.</p><br>
<h2>Description and history</h2><br>
<p>The Starling Childs Camp is located at the southern end of Doolittle Lake, an exclusive summer retreat area. Deerfield Road provides access to this and several other private summer properties that face the lake. The camp&#39;s main house is a -story frame structure set on a full-height rubble fieldstone foundation. The lake-front facade has rounded-arch openings in the basement level, one of which houses the main entrance. The upper level has a broad gable end, with a porch extending across much of the width, adorned by a pierced balustrade. Side-facing stairs provide outside access from the porch level to the ground on the right side of the facade.</p><br>
<p>The land on which the camp stands was part of a large landholding of the Benedict family, prominent farmers in northern Norfolk. In the late 19th century this area began to be developed as a summer resort area after the railroad arrived in Norfolk in 1871, and Doolittle Lake was developed as a colony of exclusive private retreats. The Childs camp was built in 1923, to a design by Alfredo S.G. Taylor, a New York City-based architect who summered in Norfolk, and eventually designed a significant number of buildings in the town. Six of Taylor&#39;s designs were for camps on Doolittle Lake, all of which exhibit the rustic elements exhibited by this one. Taylor also executed a number of other designs for the Childs family in Norfolk, including the Childs Sports Building and the Tom Thumb House.</p><br>
<p>The Frederick W. Rockwell House is a historic house on the west side of Laurel Way in Norfolk, Connecticut. Built in 1927 to a design by Alfredo S.G. Taylor, it is a finely detailed example of Adamesque Federal Revival architecture. The house was listed on the National Register of Historic Places in 1982 for its association with the architect.</p><br>
<h2>Description and history</h2><br>
<p>The Rockwell House stands in a residential area northeast of Norfolks central village, on the southwest side of Laurel Way just east of its junction with Maple Avenue. Its main block is a -story wood-frame structure, oriented facing south, five bays wide, with a slate roof. The main facades bays are separated by two-story pilasters, which are also found at the corners. A full entablature extends above the pilasters just below the roof line. The main entrance is centered, with a Palladian window above. Its features are in a strongly Adamesque variant of the Federal Revival. It includes a number of Taylor quirks, including a dumbwaiter for hauling firewood. A gambrel-roofed servant wing extends north from the main block.</p><br>
<p>The house was designed by architect Alfredo S.G. Taylor, a New York City architect who spent many summers in Norfolk. This house is one of more than 30 buildings commissioned from Taylor in the town. It is one of the most academically correct of his Norfolk designs, although it exhibits a number of characteristic flourishes, including the use of elliptical arches.</p><br>
<p>The Durant House or Durant–Peterson House is a historic residence in unincorporated St. Charles Township, Illinois near St. Charles. It was listed on the National Register of Historic Places in 1976.</p><br>
<h2>History</h2><br>
<p>Bryant Durant was born in Ware, Massachusetts in 1808. He began work as a bricklayer when he was 13, but needed to leave Massachusetts in the 1830s to pursue better economic opportunity. Durant moved to St. Charles in 1837 to work at a family store. He purchased a 195 acre lot near the city to build a house in 1843. He lived in the house until 1881, when he sold it to Godfrey Peterson. Peterson repaired and remodeled the house throughout the following decade. The Peterson family owned the lot until 1934. It was sold to the Sheldon family, who sold it to the Kane County Forest Preserve District in 1964. The district voted to restore the house as a historic site, and furnished it with 19th-century furnishings. It was listed on the National Register of Historic Places on June 18, 1976, as an example of a typical modest home of the mid-19th century, and is open for free (with a suggested donation) to the public by the Preservation Partners of the Fox Valley.</p><br>
<h2>Architecture</h2><br>
<p>The two-story house was originally built with locally fired brick, originally featuring three rooms downstairs, four rooms upstairs, and a basement. Peterson installed a wooden three-room addition on the first floor upon buying the house in 1881. The original windows were replaced sometime after 1898, but replicas of the original were installed during the restoration in the 1970s. The basement has a fieldstone wall, but its dirt floor had to be covered with concrete to accommodate a heating unit. A keeping room was added to the basement during the Peterson renovation, and now features a staircase leading to the exterior. The kitchen and the first floor bathroom are in original room with little modernization. The third original room needed to be reconstructed, as it had been remodeled to function as a garage at some point.</p><br>
<p>Berkeley Springs station is a historic railway depot located at Berkeley Springs, Morgan County, West Virginia. The depot is a one-story, rectangular red brick building with a bell-cast, red tile roof and measures approximately 80 feet long by 20 feet wide. It features Mission Revival style details.</p><br>
<h2>History</h2><br>
<p>It was built in 1915 by the Baltimore and Ohio Railroad. At its peak in the 1920s and 1930s the railroad spur was used for shipping produce and pulpwood. Up until the 1990s, the town&#39;s administrative office, municipal court and police department were housed in the depot. After that it was used as a music shop and art gallery, among other things. It is located within the Town of Bath Historic District, listed on the National Register of Historic Places in 2001 as the Berkeley Springs Train Depot. It is owned by the Town of Bath along with the adjoining 2.1 acres acquired from CSX.</p><br>
<h2>Rehabilitation</h2><br>
<p>A group of volunteers organized in 2008 to rehabilitate the depot. In 2009 and 2010, the West Virginia State Historic Preservation Office and the Governors Office of Economic Development provided a grant to the town for initial work to repair the roof and in 2010, the WV Eastern Panhandle Regional Planning and Development Council awarded the town a $32,000 West Virginia Energy Efficiency & Conservation Grant to pay some of the cost of installation and replacement of the HVAC system and insulation. That year, extensive carpentry repair of the roof sheathing was performed and during the summer, most of the historic roof tiles were removed and stored for incorporating into a roof rehabilitation. Then, in 2011, the depot was issued a Federal Highway Administration Transportation Enhancement grant to refurbish the distinctive tile roof, restore the interior to its 1915-era look and rehabilitate some of the surrounding land. Work on the first phase of the rehabilitation, dealing with the exterior and the roof, begin in April 2015. The tiles that were removed and those that were missing were an exact match to those from 100 years ago. In 2016, the Town received a federal Transportation Alternatives grant toward design of the interior restoration; hazardous material remediation; waterproofing of the structures cellar; electrical-system and plumbing upgrades; and design of a new heating, ventilation and air-conditioning system.</p><br>
<p>Suggested uses of the structure include a welcome center for the state, county and town or a local museum that focuses on the railroading history of the town.</p><br>
<p>Morgan County Courthouse was a historic courthouse building located at Berkeley Springs, Morgan County, West Virginia. It was built in 1907 and was a two-story, three-bay, building constructed of yellow brick with limestone accents in the Neoclassical style. It featured a centered, octagonal clock tower that extended above the second story flat roof and dominated the main elevation. Also on the property were an annex  and former jail . The courthouse building was damaged by fire in 2006 and was subsequently demolished.</p><br>
<p>It was listed on the National Register of Historic Places in 2005.</p><br>
<p>T. H. B. Dawson House is a historic home located at Berkeley Springs, Morgan County, West Virginia. It was built in 1880 and is an L-shaped, two-story, brick house with highly ornate porches at the front and side elevations. It features Gothic Revival and Italianate decorative elements. The house was built for T. H. B.  Dawson , a native of Berkeley Springs who attained prominence in community service and business affairs. It 1866, he was elected county clerk of Morgan County and held that position for 36 years.</p><br>
<p>It was listed on the National Register of Historic Places in 1983. It is located within the Town of Bath Historic District, listed on the National Register of Historic Places in 2009.</p><br>
<p>Clarence Hovermale House, also known as Hovermale-Mendenhall House and most recently the, is a historic home located at Berkeley Springs, Morgan County, West Virginia. It was built in 1884, and is a two-story, brick Queen Anne style dwelling that follows a modified, ell-shaped "I"-house plan. Also on the property is a shed, built about 1860.</p><br>
<p>It was listed on the National Register of Historic Places in 2003. It is located within the Town of Bath Historic District, listed on the National Register of Historic Places in 2009.</p><br>
<p>John Herbert Quick House — also known as "Coolfont Manner House" — is a historic home located near Berkeley Springs, Morgan County, West Virginia, US. It was built in 1913, and is a large -story mansion in the Colonial Revival style. The front facade is two stories and features a pediment, with a one-story rounded portico topped by a balustrade. It was built by author John Herbert Quick .</p><br>
<p>In 1961 the house and about 1200 surrounding acres were acquired by businessman Sam Ashelman, who went on to establish a hotel called the Coolfont Resort in 1965. The property, including the house, was sold to a real estate developer in 2005. In 2017 the house sold to an unnamed bidder for $225,000 as part of an auction of the entire former resort property.</p><br>
<p>The house was listed on the National Register of Historic Places in 1984. It was called Coolfont Manner House after the springs of the same name.</p><br>
<p>The Spring Street Historic District encompasses surviving elements of the 19th-century commercial and surviving residential areas of Portland, Maine. Encompassing a portion of the citys Arts District and an eastern portion of its West End, the district has a significant concentration of residential and commercial buildings that survived the citys devastating 1866 fire. The district was listed on the National Register of Historic Places in 1970.</p><br>
<h2>Description and history</h2><br>
<p>The Spring Street District is bounded on the south and west by Danforth and Brackett Streets. To the northwest it is bounded by a line extending from Brackett and Pine Streets, along Pine Street, across Congress Street to a point on Forest Avenue roughly midway between Cumberland and Congress Streets. To the northeast, it extends along Forest Avenue, splitting blocks to reach the junction of Spring and Oak Streets, and then running along Oak Street and across another block to reach Danforth Street.</p><br>
<p>Prominent buildings from the early 19th century include the Charles Q. Clapp House, the McLellan-Sweat Mansion (later incorporated into the Portland Museum of Art), and the 1833 Park Street Church. Also located in the district are the former fire station housing the Portland Fire Museum, the home of John Neal, the home of Prentiss Mellen later converted into a monastery, and an 1805 mansion designed by Alexander Parris later converted to the Portland Club. Commercial buildings in the district include the flatiron Charles Q. Clapp Block. Notable later buildings include the Italianate Victoria Mansion, built in 1860 and now also a museum. Many of the properties in the district were built during periods of prosperity before the 1866 fire.</p><br>
<p>In 1988, 7 protesters, include State Representative James V. Oliver, were arrested while trying to block the demolition of an 1857 building on Park Street. A month later, Portland&#39;s City Council passed a significantly enhanced anti-demolition ordinance which blocked the destruction of buildings in all Historic Districts unless the buildings were found to be dangerous and unusable.</p><br>
<p>Christeele Acres Historic District is a residential subdivision in Orem, Utah, built in 1943 as housing for workers at the Geneva Steel plant during World War II. The historic district includes 62 single-family houses and three duplexes. The houses were built to Federal Housing Administration  "minimum house" standards, which were considered to be the minimum size of a house necessary for a family with three persons or a family with two small children. The houses had two bedrooms and approximately 700 ft&sup2; of living space.</p><br>
<p>In May 1941, the United States government asked USA Steel to ramp up plans to build steel plants to service shipyards on the Pacific Coast. Most of the steel plants in the United States at this time were in the eastern United States, and there was not enough railroad capacity to bring all of the necessary steel westward. At the same time, a steel plant located directly on the coast would have been vulnerable to a coastal invasion, so the decision was made to build the plant inland. On February 4, 1942, the government announced plans to build the steel plant in Orem.</p><br>
<p>The construction and operation of the steel plant required several thousand construction workers, which in turn required housing. The situation in Orem was similar to that in many other cities where defense industries were located. The housing shortage was most acute in 1942, where workers flocked to cities where war production was thriving, only to find that there was not enough housing available. President Franklin D. Roosevelt established the National Housing Agency to oversee sixteen government programs that were responsible for housing. This included the Federal Housing Administration (FHA). The Federal Public Housing Authority was assigned to build the necessary public housing for the war effort, while the FHA provided mortgage underwriting.</p><br>
<p>The FHA "minimum house" program was an outgrowth of the Great Depression, when the home building industry slowed severely and mortgage foreclosures were rising sharply. The FHA sponsored a conference targeted at reforming the home financing structure in the United States, improving the affordability of housing for the middle and lower income groups, and stimulating the homebuilding industry. In 1936, the FHA published a book, Principles of Planning Small Houses, which featured five different home patterns. The main design principle was, "providing a maximum accommodation within a minimum of means," so the floor plans omitted nonessential spaces and unnecessary ornamentation. The conference also planned labor- and time-saving construction methods, standard building codes, and basic requirements for heating, ventilation, and air conditioning, plumbing, and electrical systems. The house plans could be built with a variety of materials, such as wood, brick, concrete block, shingles, stucco, or stone. Houses could be customized by varying the external finish types, placement on the lot, or other changes, giving the neighborhood a more pleasing appearance. The experience of builders who built homes on a large scale gave rise to the trend of tract housing.</p><br>
<p>The War Production Board had jurisdiction over raw materials that could be used to produce houses, so the FHA had to justify the need for those materials. At the same time, the National Housing Agency did not want to build temporary dormitories or shanties that would end up abandoned after the war. The war workers had families and needed to be treated as civilians, not as soldiers. The FHA wanted the housing to remain as livable communities long after the war ended. During the process of negotiation with the War Production Board, tight standards were enacted, in order to reduce the amount of lumber and metal in the production process. One standard even specified how many brass keys could be made per lock. An April 1945 report noted that over 800,000 houses had been built and would remain a permanent part of the nation&#39;s housing stock.</p><br>
<p>The district is considered significant within the history of Orem, at a time when the city was evolving from a farm village into a large city with industrial and commercial development. The government programs, which produced wartime defense housing, later influenced postwar subdivision development. The National Register nomination cites its importance within social history, politics and government, industry, and military areas.</p><br>
<p>Sloat-Horn-Rossell House, also known as "The Manor," is a historic home located at Berkeley Springs, Morgan County, West Virginia. It was built in 1879, and is a large two-story Second Empire style dwelling with board-and-batten siding. It is roughly L-shaped consisting of a roughly square main unit and a smaller rectangular kitchen and servant quarter extension.</p><br>
<p>It was listed on the National Register of Historic Places in 1984. It is located within the Town of Bath Historic District, listed on the National Register of Historic Places in 2009.</p><br>
<p>Judge John W. Wright Cottage, also known as "Wisteria Cottage," is a historic home located at Berkeley Springs, Morgan County, West Virginia. It was built in 1872, and is a two-story, frame residence of board-and-batten construction in the late Italianate style. It features a simple hipped roof and a three-sided Victorian-era verandah and a one-story gable-roofed kitchen wing. The house was originally built as a summer home for John W. Wright, an influential 19th-century Federal jurist and associate of Abraham Lincoln.</p><br>
<p>It was listed on the National Register of Historic Places in 1986. It is located within the Town of Bath Historic District, listed on the National Register of Historic Places in 2009.</p><br>
