<p>Saunders School, located at 415 North 41st Avenue in the Midtown area of Omaha, Nebraska, United States, was declared a landmark by the City of Omaha in 1985, and listed on the National Register of Historic Places in 1986.</p><br>
<h2>About</h2><br>
<p>Named for Alvin Saunders, Nebraskas last territorial governor and a member of the Board of Regents of Omaha High School, Saunders School was built in the Romanesque style in 1899. It was designed by prominent Omaha architect John Latenser, Sr. to reflect his interest in neo-classical form and detail. It was the first commission Latenser received among many for Omahas civic and commercial buildings.</p><br>
<p>The school&#39;s roof was torn off and the building was partially destroyed by the Easter Sunday Tornado of 1913.</p><br>
<p>After operating as a school for more than 80 years, the two-story brick building was renovated for use as apartments in the late 1980s.</p><br>
<p>Temple Ohabei Shalom Cemetery is a historic Jewish cemetery located at 147 Wordsworth Street in East Boston, Massachusetts.</p><br>
<h2>History</h2><br>
<p>In 1844, Boston&#39;s first synagogue, the Temple Ohabei Shalom in Brookline, asked permission from the Boston City Council to purchase the lot as a burying place. This cemetery was the first legally established Jewish cemetery in the state. Prior to this, Jews from Boston were buried in more distant locations such as Touro Cemetery in Rhode Island. In 1996, the Temple Ohabei Shalom ceded the property to the Jewish Cemetery Association.</p><br>
<p>It was added to the National Register of Historic Places in 2008. It became the first Jewish cemetery to receive the honor.</p><br>
<h2>Chapel</h2><br>
<p>The cemetery is home to the oldest surviving Jewish chapel in Massachusetts, dedicated in 1903. The Mystic River Jewish Project is currently restoring the Gothic Revival chapel for use as a museum.</p><br>
<p>Motor Square Garden, also known as East Liberty Market, is a building in Pittsburgh, Pennsylvania, United States, that is listed on the National Register of Historic Places.</p><br>
<p>Located at 5900 Baum Boulevard in the East Liberty neighborhood, it today serves as the headquarters of the Pittsburgh branch of the American Automobile Association, which owns the property. The exterior of the building features a large tin-clad, steel-framed blue dome and a yellow brick facade. The industrial interior has a large atrium with exposed steel girders and skylights above.</p><br>
<h2>History</h2><br>
<p>Financed by the Mellon family of Pittsburgh, the building was built from 1898 to 1900 as a city market—after one of their real estate subdivisions failed to sell enough houses—calling it East Liberty Market House. The Boston, Massachusetts architectural firm of Peabody and Stearns designed the building. Motor Square Garden soon failed as a retail space, but in 1915 the new Pittsburgh Automobile Association bought it as a site for its auto shows. In the 1920s, it came into use as a sports venue, especially for boxing, and was used intermittently as the home court of the University of Pittsburgh&#39;s basketball team until the opening of Pitt Pavilion inside Pitt Stadium in 1925. By the 1940s it was used as a new car dealership.</p><br>
<p>In 1988, AAA bought the property. Landmarks Design Associates of Pittsburgh redesigned it as an upscale shopping mall. The retail mall failed, but AAA expanded to occupy the building, along with a tenant, the UPMC Shadyside School of Nursing.</p><br>
<p>The Tulsa Fire Alarm Building is a historic Art Deco building at 1010 East Eighth Street in Tulsa, Oklahoma. It was built in 1931 and served as the central reporting station for the Tulsa Fire Department. Fires were reported from alarm boxes spread around town to this building and the firemen in this building would alert the fire station closest to the fire. At the time of its construction, this system was the best available alarm system. The building is just east of the Inner Dispersal Loop in Tulsa&#39;s Pearl District.</p><br>
<h2>Building design</h2><br>
<p>The building was designed by architect Frederick V. Kershner and inspired by Mayan temple design. It is relatively small, containing only 6,090 ft&sup2; of space. The building has a structural steel frame and masonry walls. It features an extensive terra cotta frieze program, with several fire-related motifs. A recurring theme on the front facade is a double-headed dragon. The large frieze over the front door depicts a half-naked male figure holding in his hands Gamewell alarm tape (part of the first alarm system used in this building; the paper tape was punched with the number of the fire alarm box making the call) and who is flanked by two helmeted firefighters. The building originally had two large art deco style lanterns above the front doorway. The back side of the building has four gargoyle-like figures topped with a hatchet on either side of nine windows.</p><br>
<p>The basement once housed an auxiliary generator system. Although the building was completed in 1931, it took three more years to complete the hookups to the alarm boxes that were dispersed throughout the city. The system went into service in 1934.</p><br>
<h2>Change to another use</h2><br>
<p>Advances in alarm system and dispatching technology made the Gamewell obsolete by 1958, although Tulsa maintained its system as a backup until 1966. The Fire Alarm Office moved to the newer Police & Municipal Courts Building at the Civic Center in 1981.</p><br>
<p>The building was used by the Fire department until 1984. It was left vacant and fell into disrepair. In 1994, it was purchased by Martin Newman, chairman of the Tulsa Preservation Commission. During the hiatus, it was damaged by a flood in 1984 and by vandalism. After purchase by the American Lung Association of Oklahoma around 2000, the group spent more than five years raising $3.2 million and rebuilding the facility, both as the group&#39;s new headquarters and as a showcase for the best construction methods and materials to promote healthy indoor air quality. The building was listed on the National Register of Historic Places in 2003, under Criteria A and C. The NRIS number is 03000879.</p><br>
<h2>Tulsa Fire Museum</h2><br>
<p>The Tulsa Development Authority reached a preliminary agreement to sell the building to the Firefighters Union for a museum in 1986–1987, but the union was unable to raise the necessary funding for the project.</p><br>
<p>Having instead been purchased by the American Lung Association of Oklahoma, the building was reported in March 2015 to be up for sale. A group of fire history buffs and other interested people wished to purchase and turn it into a museum that would display a large collection of fire fighting memorabilia.</p><br>
<p>The Tulsa World reported on July 29, 2015, that the building had been sold to The Carol Tandy Foundation, a private organization, which would donate it to Tulsa Firefighters Museum Inc.</p><br>
<p>As of the beginning of 2021, the Museum was still in the planning stages, with the Museum website indicating the main Fire Alarm Building will show artifacts from the history of Tulsas fire service, while the lower level will be an interactive kids area. The website of James Boswell, Architect shows more ambitious plans, which include not only renovation of the original building, but also the addition of more exhibit space and an outdoor event plaza.</p><br>
<p>The New York City Marble Cemetery is a historic cemetery founded in 1831, and located at 52-74 East 2nd Street between First and Second Avenues in the East Village neighborhood of Manhattan, New York City. The cemetery has 258 underground burial vaults constructed of Tuckahoe marble on the site.</p><br>
<p>The New York City Marble Cemetery, which was the city&#39;s second non-sectarian burial place, should not be confused with the nearby New York Marble Cemetery one block west, which was the first, having been established one year earlier. Both cemeteries were designated New York City landmarks in 1969, and in 1980 both were added to the National Register of Historic Places.</p><br>
<h2>History and description</h2><br>
<p>In 1830, recent outbreaks of yellow fever had led city residents to fear burying their dead in coffins just a few feet below ground, and public health legislation had outlawed earthen burials. The New York Marble Cemetery had met this circumstance by constructing and selling underground marble burial vaults. A year later, five partners – Evert Bancker, Henry Booraem, Thomas Addis Emmett, Garret Storm and Samuel Whittemore – organized a similar venture one block east.</p><br>
<p>Land was purchased from Samuel Cowdrey, who was a vault owner in the earlier venture, and Perkins Nichols was engaged to construct the marble vaults, as he had done previously. The first of the vaults were ready by summer 1831, the cemetery was incorporated on April 26, 1832, and it continued to purchase land on either side of the original plot until 1835, when it reached its current dimensions.</p><br>
<p>Unlike the earlier cemetery, in which no monuments or markers indicated the placement of the vaults, instead being indicated on marble tablet embedded in the surrounding wall, the new cemetery marked the position of each vault with a marble marker, or with monuments of various sizes, according to the vault owner&#39;s preference. At the time, the new cemetery was considered to be a fashionable place to be buried.</p><br>
<h2>Visiting</h2><br>
<p>According to the cemetery&#39;s website, it is open twice a year, on a Sunday in spring, and a weekend in the fall.</p><br>
<h2>Notable burials</h2><br>
<p>Stephen Allen, mayor of New York City and New York State Senator.</p><br>
<p>Preserved Fish, a noted merchant</p><br>
<p>David Sherwood Jackson, Congressman (1847–1849)</p><br>
<p>James Lenox, co-Founder of the New York Public Library and founder of Presbyterian Hospital</p><br>
<p>Edward Elmer Potter, Civil War Brigadier General</p><br>
<p>James Henry Roosevelt, founder of Roosevelt Hospital, and other members of his branch of the Roosevelt family</p><br>
<p>John Lloyd Stephens, archaeologist who was a pioneer in the study of Mayan culture</p><br>
<p>Moses Taylor, financier and backer of the Atlantic Cable</p><br>
<p>Isaac Varian, mayor of New York City (1839–1841)</p><br>
<p>Marinus Willett, hero of the Revolutionary War and Mayor of New York City (1807–1808)</p><br>
<p>The remains from the churchyard of the South Dutch Church were moved to the cemetery, which also contains the remains of the Kip family, after whom Kips Bay is named. Cemetery tradition holds the bones of the first European men to be buried on Manhattan island, the Dutch dominies, were moved to the "Ministers&#39; Vault".</p><br>
<p>John Ericsson, designer of, whose remains were subsequently moved to Sweden in 1890</p><br>
<p>James Monroe, president of the United States, whose remains were subsequently moved to Hollywood Cemetery in Richmond, Virginia in 1858</p><br>
<p>131 Charles Street is a Federal style townhouse on Charles Street and near Greenwich Street in the West Village neighborhood of Manhattan, New York City. The red brick Federal two-story-over-raised-basement townhouse with a dormer attic was built in 1834 by David Christie, a stone cutter, for about $2,600. The brick is laid in the Flemish bond pattern.</p><br>
<p>"These residences of the 1820s were almost all builders, carpenters, or stonemasons homes, and there were several blocks of them at one time. In 1899 Montgomery Schuyler, the critic, wrote that they were the most respectable and artistic pattern of habitation New York has ever known.&#39;" The house was listed April 19, 1966, as a New York City Landmark.</p><br>
<p>The structure retains all original window frames and lintels (except in the dormers). At least until 1971, when the property was nominated to the National Register of Historic Places, the trim was white and many original interior features of the house remained. Some minor exterior changes were made during the Victorian period. The house was added to the National Register of Historic Places in 1972 for its architecture.</p><br>
<p>From 1959 to 1968, the photographer Diane Arbus lived in the former stable behind the main house at 131 Charles St. The address of the back house is 131½ Charles St.</p><br>
<p>The Edward R. Hills House, also known as the Hills–DeCaro House, is a residence located at 313 Forest Avenue in the Chicago suburb of Oak Park, Illinois. It is most notable for a 1906 remodel by architect Frank Lloyd Wright in his signature Prairie style. The Hills–DeCaro House represents the melding of two distinct phases in Wright&#39;s career; it contains many elements of both the Prairie style and the designs with which Wright experimented throughout the 1890s. The house is listed as a contributing property to a federal historic district on the USA National Register of Historic Places and is a local Oak Park Landmark.</p><br>
<p>Since construction, the home has undergone many changes. During the 1906 remodel, the original late 19th century Stick style structure was moved and essentially completely rebuilt. Alterations carried out between 1912 and 1965 obscured some of Wright&#39;s intended design. In 1976, a major fire destroyed or damaged much of the house. The house was immediately reconstructed and partially restored. This was furthered by another partial restoration by the current home owners. As a result of the remodels, the house today bears the work of at least four different architects. The house remains a private residence, but it is occasionally opened for special tours.</p><br>
<h2>Early history</h2><br>
<h3>Frank S. Gray House (1883–1900)</h3><br>
<p>In 1883, Dr. William Cunningham Gray commissioned architect Charles C. Miller to build the house which would eventually become the present Hills–DeCaro House on two lots along Forest Avenue. Gray was a prominent professional writer and publisher and was the grandfather of famed Prairie School architect, William Gray Purcell. The three-story, Stick style home featured tall sash windows topped by bracketed hoods, a covered porch which extended across the front façade, and flared gables filled with decorative, fan-shaped trusses (). The first and second floor each contained four principle rooms around a stair hall in the northeast corner. Dr. Gray sold the house to his son Frank Sherwood Gray, but William Gray was again the owner by 1898.</p><br>
<h3>Relocation and remodel (1900–1907)</h3><br>
<p>Two years later in 1900, the Gray house changed hands again. It was purchased by attorney Nathan Grier Moore, the owner of the large residence on two lots to the immediate north. As stated in his autobiography, Moore intended to remodel the adjacent house as a future wedding present for his eldest daughter, Mary. Frank Lloyd Wright, whom Moore had previously contracted to design his own house in 1895 (see also Nathan G. Moore House), was soon commissioned to carry out the redesign work. The 1900 date on an early set of architectural drawings indicate that Wright began work on the project immediately. However, any thought of construction would have to wait, as complications with the land title delayed the total transfer of the property until 1903. In 1905, Moore acquired another house to the south of the Gray house which had been previously owned by D.L. McDaniels. This final purchase expanded Moore&#39;s Forest Avenue frontage to 250 feet (72.6 m), and was the last necessary piece of his plan. The following year, Moore had the McDaniels house demolished. The Gray house moved south and rotated counterclockwise ninety degrees to take its place. Once it was sited in its present-day location, Wright assigned draftsman Barry Byrne to oversee the remodel of the home.</p><br>
<h2>Wright&#39;s design</h2><br>
<p>Wrights design for the repositioned home – now in its third revision – utilized the Gray home foundation and framing for several walls and floors but otherwise entirely engulfed the original building. The existing stair hall was retained and extended to serve as the central circulation spine for the first and second levels. As a result of turning the structure during the move, the hall was made to traverse the lot from side to side, or from north to south. This unusual orientation inconspicuously placed the front door halfway down the north elevation instead of directly facing the street. The first floor hall was divided into three sections; a small vestibule inside the entrance was followed by a narrow passageway lined by French doors on one side which terminated in an open space with broad doorways into each of the homes principle rooms. Of these, the living room, library and kitchen were carved out of the original house, while a rear addition housed a dining room and pantry. Two staircases – one a wide, open, public stair in the central hall, and the other a narrow, winding, and closed service stair – connected the first and second floors. The second floor contained five bedrooms around a single hall bathroom. A finished third story, accessed by the tight service stair, contained two servant bedrooms and a second bathroom. All in all, the remodeling and expansions brought the house to a gross floor area of approximately 1800 square feet (170 m) on the first floor 1600 square feet (150 m) on the second.</p><br>
<p>The interior rooms were finished in keeping with the Prairie style. Walls and ceiling were plastered with ample oak trim throughout on both surfaces. Floors in most rooms were also of oak. Large Roman brick fireplaces dominate the living room and master bedroom. As with most of his houses, Frank Lloyd Wright designed several built-in furnishings, including oak radiator covers, bookshelves in the library and living room, and a china cabinet with glass doors in the dining room.</p><br>
<p>On the exterior, Frank Lloyd Wright traded the dual-pitched, cross-gable roof in the Stick style for a more distinctive dual-pitched hip roof with deep eaves and thick wood fascia boards. The form and style of the roof exemplified Wright&#39;s Japanese influence, and has been likened to the design of Asian pagodas. The unique design was furthered by a tierred surface of cedar shingles created by furring strips under every fifth row.</p><br>
<p>Existing and new walls, alike, were covered in uniform, lightly textured, pale stucco from the ground up to – and including – the eave soffit. A continuous canted ledge of painted redwood stretched around the house below the second floor windows. Additional redwood trim was employed in rectangles to wrap around each corner on the second floor. All windows and doors in the home were fashioned in leaded glass with nickel caming. The unvarying glass pattern was a variation of the typical Prairie muntin bar design and consisted of a frame of narrow rectangular and trapezoidal panes surrounding a single large glass pane. Wright arranged most windows into one of two ensembles – one for each floor – to unify his design. In five locations on the first floor, double casement windows or full length French doors were flanked by two more isolated, narrow casements. All openings on the second floor were composed of paired casements topped by a single transom light. A cantilevered, rectangular bay, which formed a focal point on the second level of the street (east) elevation, contained a band of four such three-piece windows and was subtly bookended by two deeply inset casements.</p><br>
<p>The remodel brought ample exterior space to the house. Matching porches extended into the front and rear yard on either side of the north-facing, vertical entry and stair tower. Both porches were terminated in a broad stair between elongated planting piers. Aside from additional planters below the living room window and outside the stairway window, the yard was simply landscaped. A low concrete wall topped by a similarly short wrought iron fence was incorporated sometime after construction to enclose the yard along the south and east lot lines. This fence continued along the eastern edge of Nathan Moores property to the corner of Forest Avenue and Superior Street. The sidewalk at the front entrance was demarcated by Roman brick piers topped by glass-globed light fixtures. The yard additionally featured an original ticket booth from the 1893 Worlds Columbian Exposition which Moore had purchased and relocated to the site.</p><br>
<h2>Hills ownership and alterations (1907–1965)</h2><br>
<p>Although construction was completed sometime in late 1906 or early 1907, Nathan Moore&#39;s daughter did not move in right away. In fact, Mary was not wed to lawyer Edward Rowland Hills until January 1908. Instead, two successive families rented the house from Moore. The Hills resided at 335 Superior Street, a house located north of the Moore House until sometime in 1911 or 1912.</p><br>
<p>Mary Hills was not particularly fond of her wedding gift. First, Wright was not commissioned to design furniture for the Hills; according to their eldest of five sons, John Moore Hills, they felt that "it was their house and they would furnish it for their own taste and comfort." Sibling Nathan Grier further related that his mother found the entire house too "stern and austere" and she immediately hired neighborhood architect Henry Fiddelke to make alterations. Over the next eight years, the rear kitchen wing was extended with the addition of a pantry and breakfast room (c. 1912), the rear porch was enclosed with glass (c. 1917), a second bathroom was inserted above the kitchen, and a small second floor balcony was enlarged and covered to form a sleeping porch. The space under the rear porch was excavated to form a children&#39;s playroom and billiards room. Most notably, the second floor front (east) bay window – which was initially split between two bedrooms – was reconstructed as two separate bay windows in 1915. In later alterations, the cedar shingle roof was replaced by asphalt shingles which failed to replicate the distinctive tiered pattern. Also, the front porch was expanded and piers on either side of the front steps were replaced by simple iron handrails. (see floor plans at right for details on the alterations)</p><br>
<p>When Nathan Moore had split his property in 1910, he deeded the southern 60 feet (18.3 m) of his original 250 ft of Forest Avenue frontage to his daughter. Since the two yards remained contiguous, the fact that the dividing lot line was tight up against the side of the Hills House posed no problem. However, in 1946, Nathan Moore died and his estate passed to the Hills family. Mary and Edward sold the Moore house the next year, but retained an additional 40 feet (12.2 m) of land to provide space for a side yard and garden north of their home. Following her husband&#39;s death in 1953, Mary Hills continued to reside in the house until she sold it and moved to an apartment in 1965.</p><br>
<h2>Fire and reconstruction (1975–1977)</h2><br>
<p>In 1975, Tom and Irene DeCaro purchased the house and began a diligent restoration with the aid of architect John Tilton. However, work was abruptly halted in 1976 when a fire devastated much of the structure. Cleaning fluids and paint fumes ignited by an electric sander on the second floor were determined to be the cause of the blaze. Irene DeCaro was injured in the fire when she returned to the burning home to search for her pet cat. The entire second and third floors were completely destroyed and the first floor was badly damaged. Despite the extensive destruction, several of the first floor built-in furnishings and both fireplaces survived the fire.</p><br>
<p>Following a neighborhood fundraiser in May 1976, Mr. and Mrs. DeCaro resumed their extensive reconstruction. The restoration returned the front elevation to its 1906 design yet retained most alterations made by the Hills towards the rear, including the enclosed porches and enlarged kitchen wing. In cases where blueprints differed from historic photographs, the owners chose to follow Wrights plans. For instance, the main chimney was known to have always been exposed brick, yet was stuccoed in the reconstruction per Wrights original plans. Inside, some changes were made to accommodate the DeCaro&#39;s modern lifestyle. On the main level, an updated kitchen replaced the breakfast room and pantry. On the second floor, several walls were moved to widen the hallway and to create a master suite in place of two front bedrooms (see post-reconstruction plans at right). On the third floor tight servants quarters were exchanged for a single bedroom suite. For their part in the restoration, the Oak Park Landmarks Commission voted in 1977 to rename the completed structure as the Hills-DeCaro House.</p><br>
<h2>Recent years (1977 to present)</h2><br>
<p>Following the DeCaros, the house passed through three owners before it was purchased by Mark and Sallie Smylie in 2001. The Smylies hired Von Dreele-Freerksen Construction for restoration and remodeling work of the interior and exterior. On the interior, the modern kitchen and main floor bath were remodeled to match the style of the other ground floor rooms. In the basement level, the floors were lowered to increase ceiling height and stone foundation walls from the 1884 house were re-exposed. Outside, previous owners had installed a wood band below the first floor to match the ledge on the second floor, had capped some of the exterior planters, and had again replaced the cedar roof with asphalt shingles. All of these historically inaccurate modifications were reversed. Additionally, trim and stucco were sampled to reveal the original exterior colors. The determined paint scheme consisted of off-white stucco and wood trim in dark "creosote" brown.</p><br>
<p>On January 7, 2002, the Hills-DeCaro House was declared a landmark by the Village of Oak Park. The residence had already been listed as a contributing property to the Frank Lloyd Wright-Prairie School of Architecture Historic District.</p><br>
<p>In early 2009, the Smylies embarked on their most significant exterior project. Records at Taliesin showed plans for a long pergola and pavilion which would have spanned between the Nathan G. Moore House conservatory and the northwest corner of the Hills-DeCaro House backyard. Further research yielded a period photograph which proved the structure&#39;s existence. Subsequent digging uncovered the limestone foundation for the pavilion. The Smylies and Von Dreel-Freerksen set about recreating the pavilion and the first section of the pergola (the portion which falls within the property lines of the Hills DeCaro House). Roman bricks for the new construction were matched to remnants found near the buried foundations. As part of the project, a large modern garage built in 1978 was replaced by a smaller, more historically sympathetic garage.</p><br>
<h2>Comparison to other Wright works</h2><br>
<p>The Hills-DeCaro House is most significant for its architecture which represents the transition and integration of Wrights early experimental style and his mature Prairie style. Among features which reference his earlier designs are the windows; instead of the elaborate, geometric art-glass patterns which Wright first introduced in the Frank W. Thomas House, Wright employs simpler leaded frames with clear glass. The design is most similar to that of the Robert G. Emmond House or the wood muntin configuration of the Thomas H. Gale House, two of Wrights first works. Additionally, the house has a finished basement and attic, both of which Wright would avoid whenever possible following the development of his Prairie house.</p><br>
<p>Elements which are purely Prairie in style include the extensive use of stucco contrasted with dark wood banding. Several later works, such as the Stephen M. B. Hunt House and Robert W. Evans House share similar detail work and employ the same rectangular frames at each corner. The horizontal emphasis created by this banding, as well as the deep overhangs and window groupings is also a hallmark of the Prairie style. The arrangement of rooms in the first floor of the Hills House and extended porches are evocative of the pinwheel shape found in the Ward W. Willits House, Darwin D. Martin House and other works. As Wright broke away from the conventional, rectangular floor plans with the development of his Prairie homes, the hidden entrance also became more common and can be found in nearly every one of his Prairie houses.</p><br>
<p>One component which epitomizes the transitional nature of the Hills-DeCaro House is the dual-pitched, Japanese inspired roof which recalls similar roof designs for the Harry C. Goodrich House and George W. Smith House, both completed ten years prior. However, the cantilevered eaves of the Hills-Decaro house are even deeper – stretching 5.5 feet (1.67 m) on the upper story – and the fascia is even thicker than those of its early predecessors. When paired with the unique, stepped shingle pattern, these adjustments further accentuate the Prairie style horizontality of the house.</p><br>
<h2>Other Wright house remodels in Oak Park</h2><br>
<p>1894 Dr. H. W. Bassett House (demolished 1922)</p><br>
<p>1895 Harrison R. Young House</p><br>
<p>1896 Charles E. Roberts House</p><br>
<p>1896 Charles E. Roberts Stable</p><br>
<p>1906 Peter A. Beachy House</p><br>
<p>1909 William H. Copeland House</p><br>
<p>1922 Nathan G. Moore Residence (original house had also been designed by Wright in 1895)</p><br>
<p>The Nathan G. Moore House, also known as the Moore-Dugal Residence, is a house designed by Frank Lloyd Wright. The house was built one block south of Wrights home and studio at 333 Forest Avenue in the Chicago suburb of Oak Park, Illinois. It was originally completed in 1895 in the Tudor Revival style at the request of client Nathan Moore. Wright obliged his clients wishes, but long after disliked the house for its adherence to historical styles.</p><br>
<p>A 1922 fire gave Wright the opportunity to redesign the house. The structure was completely rebuilt above the first or lowest floor in a manner in keeping with Wrights other works of the late 1910s and early 1920s. While the new design stayed evocative of Tudor architecture, the house was heavily ornamented by details of Sullivanesque, Mayan, and other exotic origins. Wrights second scheme remains largely intact today and the house continues to be a private residence despite a brief period as a tour home.</p><br>
<h2>History</h2><br>
<p>In 1886, Nathan Grier Moore bought a small, wood-framed house on a 50 feet by 150 feet lot at the southwestern corner of Forest Avenue and Superior Street. Moore had been born in 1853 in Cherry Tree, Pennsylvania and had attended law school in La Crosse, Wisconsin. He had recently been hired into the office of Chicago attorney John P. Wilson. However, Moore chose to reside in Oak Park with his wife Anna and first daughter Mary (born in 1883) instead of Chicago. The couple&#39;s second daughter, Marjorie, was born in 1889 while they lived in their first Oak Park house.</p><br>
<h3>First Wright design</h3><br>
<p>Nathan Moore purchased the neighboring lot to the south in 1891 after the previous house on that site had been destroyed by fire. He soon announced his intention to build a new home on his expanded property. Frank Lloyd Wright accounted in his autobiography that Moore had been approached by many architects, including Norman S. Patton, before Wright himself was asked to design the project in 1894. Mr. and Mrs. Moore reportedly traveled to Wrights newly opened downtown Chicago studio in the Schindler Building to request his services rather than simply calling at the emerging architects house across the street.</p><br>
<p>Moore had apparently not come to Wright in admiration of his design style. According to Wright, he proclaimed that "I dont want you to give us anything like the house you did for Winslow" referring to the recently completed house that Wright had designed for William Winslow in River Forest, Illinois. "I dont want to go down backstreets to my morning train to avoid being laughed at." Moore then proceeded to show Wright pictures of English half-timber buildings as inspiration for the proposed dwelling. Wright was apprehensive to design a house in a historical style, but he accepted the commission because of his financial obligations to his family (as he said, his "three children were now running around the streets without proper shoes").</p><br>
<p>The first plan proposed a remodel of the home Moore had bought in 1886. Plans changed and the existing structure was instead moved three lots west to front Superior Street. This made way for the construction of a three-story Tudor Revival house which was completed in 1895. The three-story structure was built tight against the northern lot line which allowed for maximum yard space to the south. Walls on the main floor were faced in golden-tan Roman brick while the upper floors were finished in typical, dark-stained half timbering over light stucco. A steep, gabled roof and two slender, tall, brick chimneys topped off the composition. The main house was symmetrically proportioned with few exceptions – including the chimneys and window openings flanking the Superior Street entrance. A garage connected the residence to a garden house at the northwestern corner of the property. Wright also designed a matching stable building across an alley to the southwest. The interior was paneled in dark wood yet was amply lit by bands of diamond-patterned, leaded casement windows which opened the rooms up to the south garden. Inside also featured eight fireplaces, each with unique custom surrounds. (See more period images of the ).</p><br>
<p>Nathan and Anna Moore "were delighted with the house." Unfortunately the same cannot have been said for Wright. He came to regard the design with embarrassment and admitted that his "heart wasn&#39;t in it." His decision caused further regret after he was asked on more than one occasion to devise similar Tudor inspired houses for other clients. Like his mentor and former employer, Louis H. Sullivan, Wright considered the copying of historic styles to be "uncreative" and completely contrary to American freedom. Even so, Wright managed to work a few interpretive deviations into the design of the Moore House. These included a broad, south-facing porch complete with brick end piers, Sullivanesque details on the balustrades, and his signature bowl-shaped urns. "It was the first time...an English, half-timbered house ever saw a porch," Wright stated and further conceded that "the porch was becoming to the house."</p><br>
<h3>Property expansion and Edward R. Hills House</h3><br>
<p>Soon after the new house was finished, Moore resumed the expansion of his property. In 1900 he bought the house on a 100 ft wide lot to the south from prior owner William C. Gray. That same year, Wright was rehired to remodel this recent purchase for Moore&#39;s eldest daughter. Actual construction waited until yet another house was acquired south of the former Gray house in 1905. This last house had been owned by a Mr. and Mrs. D.L. McDaniels. With an estate that now measured 250 feet by 150 feet, Moore was able to demolish the McDaniels house and move the Gray house south where it was subsequently refurbished and enlarged. The house, along with 60 ft of Forest Avenue frontage, was deeded to Mary and her husband Edward Rowland Hills in 1910 (see also Edward R. Hills House).</p><br>
<h3>Fire and second Wright design</h3><br>
<p>Nathan G. Moore House viewed from the corner of Superior Street and Forest Avenue.</p><br>
<p>In the early morning of December 23, 1922, an electrical fire destroyed the third floor and caused significant damage to the lower floors of the Nathan G. Moore House. At the time, Wright was engaged in the construction of several projects in California, but he accepted Moore&#39;s request to design the reconstruction and appointed Charles E. White, Jr. as local coordinator. Within a year the house was again ready to be occupied.</p><br>
<p>While Wright took this opportunity to completely redesign the house, he retained the essence of the Tudor style. The foundations as well as most of the first floor walls and south porch were retained. A slate roof and masonry chimneys were rebuilt in almost identical form to the originals, but Wright chose to leave out the second floor walls. The new roof sat directly on the first floor, thus making the entire structure significantly shorter. The pitched roof of the previous porch was traded for a second floor terrace with two open lightwells to the porch below.</p><br>
<p>This second house was more imbued with integral ornament than the first. A simple, first floor bay window in the east elevation was exchanged for one with a Gothic motif. Each side featured paired lancet windows and a facing of intricately adorned terracotta. While half-timbering was limited to the peaks of three gables, the remaining surfaces were replaced by banding of terracotta and heavily carved, geometrically patterned wood. In these details, Wright not only drew inspiration from English Tudor, but also from Mayan architecture and the elaborate, organic style of Louis Sullivan. The result showed similarities to other Wright designs of the period, including Midway Gardens (1913), the Imperial Hotel (1915–23), the Hollyhock House (1917–1921), and the four textile block houses (1923). The stables and garden house, which both survived the fire and retained original detailing, serve as a comparison between the styles of the earlier and later designs.</p><br>
<h3>1946 to present</h3><br>
<p>On August 16, 1946, Nathan Moore died; his house and property were left to Mary Hills. The Hills did not keep the estate, but instead sold it the following June to Milton J. and Mary Summerville. During the transaction, the Hills retained the southern 40 feet of land to expand their own narrow lot. The homes most recent owner was Robert Dugal, who opened the house for seasonal public tours. However, these tours ceased operation in 2001 due to the progression of his Friedreichs ataxia disease. Mr Dugal died in 2020.</p><br>
<p>Chatham Manufacturing Mill was built by the Chatham Manufacturing Company. The former textile mill is located in Winston-Salem in North Carolina.</p><br>
<h2>History</h2><br>
<p>The Chatham Manufacturing Company was founded in 1877 in Elkin North Carolina. The original Mill was on Elkin Creek, but moved alongside the Yadkin River to take advantage of the railroad.</p><br>
<h2>Growth</h2><br>
<p>A second factory would be built in Winston-Salem, North Carolina in 1907 and expanded through 1951. The factory complex consists of a series of interconnected one to five-story heavy timber frame, brick, steel, and concrete industrial buildings. The complex also includes a coal trestle (1907); two small buildings erected in the 1940s (a brick fire pump house and a concrete block workshop); an electrical substation (1948-1954); and a one-story brick office building (1937). The Chatham Manufacturing Company consolidated its operations at Elkin in 1940, and the Winston-Salem plant was subsequently purchased by the United States Government. It was occupied by National Carbon Company (1943-1945) and Western Electric (1946-1966), who manufactured equipment for the United States military.</p><br>
<p>The Winston-Salem complex was listed on the National Register of Historic Places in 2011.</p><br>
<p>During the first part of the century the primary focus of company sales were blankets but by the 1930s the company started producing automotive upholstery. By the 1980s the company had plants located in Eden, North Carolina and Charlotte, North Carolina along with the Elkin plant.</p><br>
<h2>Current use</h2><br>
<p>The mill complex has been redeveloped into luxury apartments.</p><br>
<p>The Reebie Storage Warehouse was built for the Reebie Storage and Moving Co. in Chicago, Illinois, in 1922. Located at 2325 North Clark Street #300 in the Lincoln Park neighborhood, it is a widely recognized example of Egyptian Revival architecture. It was named to the National Register of Historic Places on March 21, 1979, and was designated a Chicago Landmark on September 1, 1999.</p><br>
<p>Architect George Kingsley (1870-1956) and sculptor Fritz Albert designed the warehouse. Albert was responsible for the exterior&#39;s terra cotta ornamentation. The moving company founders, John and William Reebie, are represented by the two statues of Ramses II that flank the main entrance. William Reebie (1859-1921) founded the company in 1880. The Reebie brothers wanted a building in a distinctive style, and John Reebie had seen another Egyptian Revival storage building in Stockton, California (designed in 1918 by Glenn Allen for the Dawson-Mayflower Moving Company). John Reebie had also visited Egypt at some time before 1921 as well.</p><br>
<p>The George W. Smith House is a home in the Chicago suburb of Oak Park, Illinois, United States designed by American architect Frank Lloyd Wright in 1895. It was constructed in 1898 and occupied by a Marshall Field & Company salesman. The design elements were employed a decade later when Wright designed the Unity Temple in Oak Park. The house is listed as a contributing property to the Ridgeland-Oak Park Historic District which joined the National Register of Historic Places in December 1983.</p><br>
<h2>History</h2><br>
<p>The George W. Smith House was designed in 1895 by architect Frank Lloyd Wright as one of a series of low-cost homes for engineer and inventor Charles E. Roberts. However, like several others for Roberts, the Smith house was not built at the time of its design. The home&#39;s eventual owner and namesake, George W. Smith, was a salesman for the Chicago firm Marshall Field & Company.</p><br>
<h2>Architecture</h2><br>
<p>The home is cast in Shingle style, a variation on Queen Anne, and predates the full maturation of Wrights early Prairie style architecture. However, no early photographs exist to determine if the homes exterior was ever altered.</p><br>
<p>The Smith House is similar to the Harry Goodrich House through its high pitched and double sloped roof. The Goodrich House, an 1896 Wright design, may have also been one of the unbuilt homes Wright designed for Roberts. The shingles stand in contrast to the style Frank Lloyd Wright was using by the time the house was built in 1898. By that period he began to employ horizontal boards with batten siding, which emphasized the linear, horizontal effects of his later work. The design for the G.W. Smith House, very stylistic, is clearly an example of Wright&#39;s early period.</p><br>
<p>The home features elements from Shingle style and demonstrates early experimentation by Wright which ultimately led to his unique Prairie style. Wright&#39;s early experimentation with elements that became hallmark to Prairie style can also be seen in the Smith House. The broad, flat chimney that dominates the front elevation as well as minimal horizontal banding are both evident elements found in the home and within the Prairie School of architecture.</p><br>
<h2>Significance</h2><br>
<p>The house is an early example of Frank Lloyd Wright&#39;s work. It is included as a contributing property within the Ridgeland-Oak Park Historic District which was listed on the USA National Register of Historic Places on December 8, 1983.</p><br>
<p>Strehlow Terrace, also called the Terrace Garden Apartment Complex and Ernie Chambers Court, is located at 2024 and 2107 North Sixteenth Street in the Near North Side neighborhood of North Omaha, Nebraska. Designed by Robert Strehlow and reputed local architect Frederick Henninger, Strehlow was added to the National Register of Historic Places in 1986.</p><br>
<h2>History</h2><br>
<p>Constructed between 1905 and 1916, the buildings were owned and erected by Omaha master builder Robert C. Strehlow. The six buildings that comprise the complex are designed in the Prairie School style. The complex includes the Majestic, the Strehlow, and the Roland, built in 1905, 1907, and 1909, respectively. There is also a one-story apartment, a two-story residence, and a garage/apartment, built between 1910 and 1920. According to the City of Omaha, the complex is the state&#39;s earliest known example of an integrated grouping of related apartment buildings. It is arranged around a central courtyard and includes a concrete fountain and benches.</p><br>
<p>Robert Strehlow, an Omaha-based builder, was a renowned builder during Omaha&#39;s 1898 Trans-Mississippi Exposition and the Panama-Pacific Exhibition in San Francisco in 1915. Strehlow developed his apartment complex during that period, incorporating aspects of turn-of-the-century design, including an axial court arrangement, a sculptured fountain, and landscaped grounds.</p><br>
<p>The Strehlow House, recreation center and The Roland, all at Strehlow Terrace, were finished in the same year as another of Strehlow&#39;s buildings, The Margaret. However, The Margaret was completed with a different design, including red bricks instead of a distinctive tan.</p><br>
<h2>Redevelopment</h2><br>
<p>Strehlow Terrace was redeveloped starting in 1996, and received continuous redevelopment throughout the 1990s. In 2005, it was renamed the Ernie Chambers Court in honor of Nebraska State Senator Ernie Chambers.</p><br>
<p>The Omaha National Bank Building was built in 1888&ndash;89 at 1650 Farnam Street in Downtown Omaha, Nebraska. Built in the Italian Renaissance style, the building was saved from demolition by a rehabilitation in 1978. Listed on the National Register of Historic Places in 1972, the building was originally known as the New York Life Insurance Building; it was renamed in 1906.</p><br>
<h2>History</h2><br>
<p>Originally occupied by the New York Life Insurance Company, the building was purchased by the Kountze Brotherss Omaha National Bank in 1909. Constructed in 1888–89, the building was designed in the Renaissance Revival style by Frederick Elmer Hill (1857&ndash;1929) of the New York City architectural firm of McKim, Mead, and White. The firm designed an identical office tower, the New York Life Building in Kansas City, Missouri, and was Omahas first 10-story structure.</p><br>
<h3>Omaha National Bank</h3><br>
<p>Started in 1856, Omaha National Bank&#39;s original location was at 212 South 13th Street. In 1906 they purchased the building from the New York Life Insurance Company and renovated it completely.</p><br>
<p>Omaha pioneer Ezra Millard was the first president of Omaha National Bank. Future Omaha mayor and Nebraska Senator Joseph H. Millard was president of the Omaha National Bank after Millard&#39;s departure in 1871.</p><br>
<h2>Present</h2><br>
<p>Omaha National Bank merged with another bank and moved out of the building in 1972. After being vacated it was slated for demolition. However, the building was rehabilitated in 1978 and converted to office space. Today, the building is called The Omaha Building, and it is home to the law firm Kutak Rock.</p><br>
<p>The Jean Hasbrouck House is a historic house on Historic Huguenot Street in New Paltz, New York. Built in 1721, it is one of the best examples of colonial Dutch architecture in stone in the United States. The house is a National Historic Landmark and is part of the larger Huguenot Street Historic District, also a National Historic Landmark.</p><br>
<h2>History of the house</h2><br>
<p>The house was built in 1721 by Jean Hasbrouck&#39;s son Jacob, and perhaps incorporates elements of a timber-framed home built by Jean Hasbrouck on the same site circa 1678. The Hasbroucks were Huguenots who fled persecution in France and co-founded New Paltz. Their house is considered an excellent example of Hudson Valley Dutch architecture and is well preserved. It received its current designation in 1967.</p><br>
<p>Significant features include a wide center hallway, a substantial attic space, originally used as a garret, and the only original 18th century jambless fireplace found in the houses of Historic Huguenot Street. The north wall underwent a substantial restoration in 2006, which included the installation of reproduction Dutch-style casement windows.</p><br>
<p>The house served as both a home for family members and a store for the small village. Several enslaved individuals owned by the Hasbroucks also lived on the site, three of whom were named in Jean Hasbrouck&#39;s will as "Gerritt," "James," and "Molly." Several generations of Hasbrouck family members lived in the house, including Josiah Hasbrouck, who served in USA Congress during the Thomas Jefferson and James Madison administrations, and who built the substantial Locust Lawn Estate just outside New Paltz.</p><br>
<p>The house was purchased by the organization known today as Historic Huguenot Street in 1899, and has been used as a museum ever since. Guided tours are available to the public by appointment.</p><br>
<p>Slabsides is the log cabin built by naturalist John Burroughs and his son on a nine-acre  wooded and hilly tract in 1895 one mile  west of Riverby, his home in West Park, New York. From the time of its construction to the last year of his life, Burroughs received many visitors at the cabin, ranging from Theodore Roosevelt and Henry Ford to students from Vassar College, just across the Hudson River.</p><br>
<h2>Building and site</h2><br>
<p>Slabsides is a one-story log cabin with an open floor plan with a partitioned bedroom. It is located in a relatively low stretch of the Marlboro Mountains, perched on the west side of a hill in the wooded John Burroughs Nature Sanctuary. There is no direct access by motor vehicle; to reach it, visitors must park on the gravel road up the hill and follow a gated logging road slightly downhill, then level, approximately 0.3 mile (500 m) to the cabin.</p><br>
<h2>History</h2><br>
<p>"Life has a different flavor here", Burroughs wrote of the cabin in his essay "Far and Near". "It is reduced to simpler terms; its complex equations all disappear." The name "Slabsides" came from the rough bark-covered lumber strips covering its outer walls. "I might have given it a prettier name, but not one more fit, of more in keeping with the mood that brought me thither". Much of the cabin remains as he and his son built it, including the red cedar posts holding up the porch.</p><br>
<p>After his death in 1921, the property was presented to the John Burroughs Association, which had just been formed to preserve his legacy. When nearby logging operations and proposed development threatened the property in the mid-1960s, the association purchased the properties with money raised from supporters. This has resulted in an expansion of the property into the 170 acre (68 ha) John Burroughs Sanctuary. The cabin was designated a National Historic Landmark in 1968, joining Riverby and Woodchuck Lodge as Burroughs-associated properties carrying that designation.</p><br>
<h2>Access</h2><br>
<p>To reach the cabin, visitors must park at the base of the road to it on Burroughs Drive and walk up a half-mile (800 m). The cabin itself, furnished exactly as it was when Burroughs left it, is only open to visitors twice a year, from noon to 4:30 p.m. on the third Saturday in May and the first one in October. Hiking trails have been constructed for visitors to enjoy for themselves the woods that inspired Burroughs. The sanctuary is open year-round.</p><br>
<p>Wilson Butte Cave is located on the Snake River plain in Jerome County northeast of Twin Falls and southeast of Shoshone, Idaho. Listed on the National Register of Historic Places as an archeological site, it is maintained by the Bureau of Land Management .</p><br>
<p>A round bubble in appearance, it pops up from a flat wide bed of ancient basalt lava. An inflationary or uplift cave is inside the bubble. While archeologists are uncertain of exact dates prior to 10,000 years ago, evidence has been found that native peoples lived at Wilson Butte Cave at least 10,000 years ago. Artifacts found here provide the oldest evidence of human presence on the Snake River Plain and are among the oldest such evidence in all of North America. Archeologists are fairly certain that the reason the cave was settled so early is that it was used as a base from which to hunt bison. Vegetation in the region was very similar to modern times. Camels and giant ground sloths once roamed this region. Deposits here are believed to have been undisturbed until amateurs discovered them in 1958. Two of the major excavations of the cave were conducted by teams led by Ruth Gruhn; one in 1959–1960 and one in 1988–1989. Gruhn dates the site&#39;s earliest occupation to 14,000–15,000 years ago.</p><br>
<p>The lava of the area is a dark gray to black fine-grained basalt. The cave is a lava tube developed in a pressure ridge in the flowing lava. The source of the lava is Wilson&#39;s Butte, which is about one half mile southeast of the cave. The lava is more than 15,000 years old, as determined by radiocarbon dating of a camel bone from within a lava tube cave. The bone had tool markings indicating working by humans.</p><br>
<p>The Emil Bach House is a Prairie style house in the Rogers Park neighborhood of Chicago, Illinois, United States that was designed by architect Frank Lloyd Wright. The house was built in 1915 for an admirer of Wrights work, Emil Bach, the co-owner of the Bach Brick Company. The house is representative of Wrights late Prairie style and is an expression of his creativity from a period just before his work shifted stylistic focus. The Bach House was declared a Chicago Landmark on September 28, 1977, and was added to the USA National Register of Historic Places on January 23, 1979.</p><br>
<h2>History</h2><br>
<p>On December 5, 1914, Emil Bach and his wife Anna purchased the site of the Bach House from Amelia Ludwick and her husband. In 1915 Bach commissioned Frank Lloyd Wright to design the house. Joseph Peacock purchased the house from the Bachs in 1934 and owned it until 1947. The property changed hands twice in 1951; the final sale was in December to Manuel Weiss who held the property until 1959. That year he sold the house to Joseph Blinder.</p><br>
<p>In 2003, Toulabi put the home up for sale with a price of US$2.5 million, it was later listed at $1.9 million. Preservationists expressed concern surrounding the auction and the question of the final destiny for the expansive 45 ft (13.72 m) by 150 ft (45.72 m) side yard. When the home finally sold at auction, "well above the opening bid of $750,000," the new owners revealed that they intended to live in the house and preserve the yard.</p><br>
<p>In 2009, according to Crains Chicago, Jennifer Pritzker paid $1.7 million to acquire the house. "The seller, Jane Elizabeth Feerer, bought the famous architects Prairie-style home at a 2005 auction for $1.17 million. She financed the acquisition with a loan for just under that amount from a trust controlled by Ms. Pritzker, president and CEO of investment firm Tawani Enterprises Inc., according to property records."Following an extensive restoration, the house was re-opened to the public in 2014. It is no longer open to the public or available for rent.</p><br>
<h2>Architecture</h2><br>
<p>The Bach House is one of the homes that Wright designed after his late 1910 return from Europe which is still extant in the city of Chicago. The home is part of a series of geometric, cubic homes with overhanging, flat roofs designed by Wright in the early 20th century. These details were first published by Wright in a 1907 Ladies Home Journal article. The first was the Laura Gale House in Oak Park, Illinois, followed by the Oscar Balch House, also in Oak Park, Coonley Kindergarten, the Frederick C. Bogk House and then the Bach House. Of the houses of this type in Chicago, with cubic masses and a slab roof, the Bach House is the only one left standing.</p><br>
<p>The 2,700 ft (250.84 m) house was designed as a two-story single family residence with a basement. When the house was constructed it was a "country home" with a clear view of Lake Michigan from its rear (east) facade. Due to the changing nature of the Rogers Park neighborhood, the house now stands among commercial properties and apartment buildings on a busy city street (North Sheridan Road). Because of the lake view, the original building had a large rear porch and sun deck; they were both enclosed when houses were built between the Bach House and the lake, obstructing the view. The enclosure of the sun deck and porch utilized mainly glass, to aid in the alterations melding with Wrights intended vision. Nonetheless, the current owner intends to restore the rear porch and sun deck. Other alterations included the removal of some of Wrights signature built-in features. A built-in seat was removed from the living room and a built-in counter removed in the dining room. Both have since been restored. On the second floor, the servants room was converted into a second bathroom.</p><br>
<h2>Significance</h2><br>
<p>The Bach House is an example of Frank Lloyd Wright&#39;s late Prairie style and was designed in the period just prior to his transition to a more expressionist, Japanese influenced aesthetic.</p><br>
<p>The Bach House is on prime Chicago real estate, one block from Lake Michigan.</p><br>
<p>The Philadelphia Quartermaster Depot, now known as the Defense Logistics Agency Troop Support, was founded as the Schuylkill Arsenal in 1799.</p><br>
<h2>History</h2><br>
<p>The Schuylkill Arsenal was built in 1800 to function as a quartermaster and provide the USA military with supplies. One of its most famous tasks was outfitting the Lewis and Clark Expedition. It was the third federal facility in the young nation.</p><br>
<p>The arsenal made clothing and flags for all the military&#39;s needs for the next 150 years.</p><br>
<p>In 1926 the Schuylkill Arsenal was renamed the Philadelphia Quartermaster Depot. The original site at Grays Ferry Avenue and Washington Avenue was closed and the site was razed in 1963. The functions of the Quartermaster Depot were all moved to West Oregon Avenue & South 22nd Street</p><br>
<p>In 1965 the operation was reorganized into the Defense Personnel Support Center. In 1993 the government closed the textile factory and moved the remaining part of the South Philadelphia operation to the Naval Support Station in Northeast Philadelphia. It was renamed the Defense Supply Center Philadelphia (DSCP) in 1998, and was renamed Defense Logistics Agency Troop Support, or DLA Troop Support, in 2010.</p><br>
<p>The Philadelphia Quartermaster Depot consists of eleven extant buildings built between 1939 and 1942. The buildings are of varying heights and sizes, but are consistently clad in tan or brown brick and are in the Art Deco-style.</p><br>
<h3>Placement of this property on the National Register of Historic Places</h3><br>
<p>Philadelphias application to place the Philadelphia Quartermaster Depot on the National Register of Historic Places was reviewed by the Historic Preservation Board of the Pennsylvania Historical and Museum Commission at its meeting on October 6, 2009, along with applications for: the Hamburg Historic District in Hamburg, Pennsylvania, the Hamnett Historic District in Wilkinsburg, Pennsylvania, the Newville Historic District in Newville, Pennsylvania, the Pennsylvania State Office Building in Philadelphia, the Experimental and Safety Research Coal Mines in Allegheny Countys South Park Township, and the Cheney Farm, Hopewell Farm, and Chandler Mill Road Bridge in Chester County.</p><br>
<p>The Philadelphia Quartermaster Depot was then officially listed on the National Register of Historic Places later in 2010.</p><br>
<p>The Brigham Young Complex is a collection of buildings historically associated with the second President and leader of the LDS Church Brigham Young, on East South Temple in the center of Salt Lake City, Utah.</p><br>
<p>The complex, the surviving part of a once-larger compound belonging to Young, includes the Beehive House, Young&#39;s family residence, the Lion House, his official residence as church leader and governor of the Utah Territory, and two small office buildings he used for official business. The complex is a National Historic Landmark District for its association with Young, whose leadership included the rapid expansion of Mormon settlement across the American West. It is located at the southeastern corner of the enlarged Temple Square area, occupying the northwest corner of East South Temple and State Street.</p><br>
<h2>History</h2><br>
<p>The Brigham Young Complex is set apart from later construction by a rubble wall, portions of which were originally placed when Brigham Young designated the site in the 1850s, and portions are relocated to the areas north and west boundaries due to road widening projects. From right to left, the complex consists of the Beehive House, the Presidents Office, the Governor&#39;s Office, and the Lion House. The buildings are stylistically reminiscent of earlier 19th-century New England styles, with some Gothic detailing. Truman O. Angell was responsible for the design of the buildings, all of which were built in the 1850s. The right three buildings are now joined by a modern ell in the rear.</p><br>
<p>These houses were the residence of Brigham Young from 1852 until his death in 1877. As President of the Church of Jesus Christ of Latter-day Saints (LDS Church) at the time of the Mormon settlement of the Salt Lake Valley, Young and his home were pivotal in the development of the Church, Utah, and the American west. The two houses were designated as a National Historic Landmark in 1964, and the landmark designation was later expanded to include the two office buildings.</p><br>
<p>Prior to the construction of these buildings, Young housed his family and conducted the affairs of the church and territory from log structures which no longer stand. The first of the surviving buildings to be finished was the Governors Office, built in 1852–4. It was used by Young to house his civic administration of the Deseret Territory, later the Utah Territory. The Presidents Office and Beehive House were completed in 1855; the former was the seat of church business, while the Beehive House served as a ceremonial governors mansion. The Lion House was erected in 1855–56, and was designed to house Youngs large family (12 wives and 35 children).</p><br>
<h2>Current use</h2><br>
<p>The buildings are now owned by the Church of Jesus Christ of Latter-day Saints; the Beehive House is open for tours, and the Lion House is operated as an event venue. In 2020, the Brigham Young Complex and other historic sites on Temple Square were closed to the public due to the COVID-19 pandemic.</p><br>
<p>Alumni Hall at the University of Pittsburgh is a Pittsburgh History and Landmarks Foundation Historic Landmark that was formerly known as the Masonic Temple in Pittsburgh. Constructed in 1914–1915, it was designed by renowned architect Benno Janssen of Janssen & Abbot Architects. Other buildings in Pittsburghs Oakland Cultural District designed by Janssen include the Pittsburgh Athletic Association, Mellon Institute, and Pitts Eberly Hall .</p><br>
<p>The building&#39;s design is that of a classical temple with a well-defined base, midsection and ornamental terra cotta pediment, topped with a clay tile roof. The structure is steel, clad primarily in limestone with terra cotta details. The rear elevation is brick.</p><br>
<h2>Dimensions</h2><br>
<p>Alumni Hall spans 200 ft along Fifth Avenue on Pitt&#39;s campus and runs 120 ft deep. It is nine stories high with two-story spaces throughout, has 98,000 ft&sup2; of functional space as well as an additional 12,000 ft&sup2; accommodating entrances, corridors, stairwells, and elevators. There are three main entrances on Fifth, Lytton, and Tennyson Avenues.</p><br>
<h2>Restoration and renovation</h2><br>
<p>The University of Pittsburgh acquired the former Masonic Temple on December 23, 1993, for $8.5 million ($ in dollars). A two-year, $16 million ($ in dollars) renovation of the structure and its adaptation for use by the University departments began in November 1998 and was completed in February 2000. During the initial design process, a study was performed to evaluate the architectural and historic significance of each major area of the building. As a result, four main lobbies, the ballroom and three main entrances, and portions of several two-story spaces on the third and fifth floors were kept and restored. Special attention was given to restore the Masonic Temples original historic condition. As such, approximately 95% of the existing historical light fixtures were rewired, retrofitted with energy–efficient lamps, refinished, and rehung in their original locations. Nearly all of the original wood doors, window casings and baseboards were refinished and reinstalled. Five new automatic elevators were installed and original bronze and stainless steel cabs were retrofitted to two of the new elevator platforms. Approximately 100 original bronze door hardware sets were modified to ADA compliance, refinished and reinstalled. One thousand square feet of marble flooring originally from Pennsylvania Hall (the previous home of Pitts medical school since torn down) was utilized in vestibules, corridors, elevator lobbies and cabs. Marble from the Masonic Temple&#39;s original marble restroom stalls was also recycled for use in these areas. The building was decorated and furnished in a color scheme of primarily blues, mauves and burgundy to complement the mahogany woodwork.</p><br>
<p>Renovations included replacement of the buildings electrical, mechanical and plumbing systems and the addition of air conditioning. A wheelchair-accessible entrance was added at Tennyson Avenue and the entire building was brought up to ADA guidelines. Modern emergency fire and electrical systems were added as well as conduits for wiring installations for data and power for 380 of the buildings classroom seats.</p><br>
<h2>Uses of Alumni Hall</h2><br>
<p>Originally an event center and meeting facility for area Masons, Alumni Hall now houses Pitts Alumni Relations offices and Alumni Center, the Office of Admissions and Financial Aid, the headquarters of the Pitt Pathfinders, a 270-seat Natural Science Lecture Hall, the Office of Governmental Relations, the Institute of Politics, the University Center for Teaching and Learning, and the University of Pittsburgh Katz School of Businesss Mellon Financial Corporation Hall that houses the Center for Executive Education. The lobby of Alumni Hall is also the home to Pitt&#39;s Legacy Gallery. On the first floor, Alumni Hall also features the Connolly Ballroom that seats 400 for dinner or 500 theater-style. The ballroom balcony contains a portrait gallery of former Pitt chancellors. The seventh-floor auditorium lobby/reception area houses the collection of oil paintings, "365 Views of the Cathedral of Learning", completed in 1997–1999 by renowned Spanish artist Felix de la Concha. Each painting features the Cathedral of Learning from a different vantage point for each of 365 days. For many years, the auditorium on the seventh floor served as the primary venue for the Kuntu Repertory Theatre. The building also contains various study areas.</p><br>
<h2>Ghost legend</h2><br>
<p>A legend dating to the building&#39;s use as a Masonic temple tells of a ghost resembling a distinguished-looking gentleman dressed in a black tuxedo, perhaps an old, lost Mason, that sometimes appears to wander the corridors and stairwells of the building.</p><br>
<p>Parker 13-Sided Barn is an officially registered historic barn nestled in the hamlet of Jefferson in Schoharie County, New York. It is located on State Route 10 between Harpersfield and Stamford. The barn has a long and colorful history, built in 1896 and one of only two 13-sided barns listed in the National Register of Historic Places in this area of New York state. It meets the definition of being a round barn.</p><br>
<p>The Parker Barn is a three-story structure, 60 feet in diameter and was built by Mr. Richtmyer Hubbell over a century ago. The roof is double hipped which is topped by a 13-sided cupola. A longtime resident of Schoharie County, Charles Hubbell has fond memories being Grandson to the builder, and born at the homestead which surrounds this property. The homestead also consists of a late 19th-century, three-story, rectangular barn adjacent and directly connected to the 13-sided barn by a hyphen, as well as a Victorian style Farmhouse situated on 15 acres just outside the Catskill Mountain range.</p><br>
<p>Over the decades, the site had been used as a Dairy barn housing cows, a chicken barn and finally a veal operation during its farming life. The 13 sided barn was originally constructed to house cows who supplied their milk to the two creameries located in the Village of Jefferson. "The cows were kept in stalls on the first floor of the barn and horses pulled wagons of hay to the second story via a bridge which led to large doors on the east side. (No longer in use.) After the hay was unloaded, the horses would then be led forward around the inside of the barn and through to the same doors they entered. This was far less dangerous than having the horses back out through doors to maneuver the steep bridge, especially during severe winters."</p><br>
<p>The Parker Barn was named such for its owner William Parker Sr. at which time the landmark registration was filed. Over 30 years ago, Mr. Parker was raising veal and had undertaken an extensive revitalizing of the barn. This sparked the interest of the National Registry to list the building.</p><br>
<p>The barn is currently privately owned and is slowly being renovated again not only to honor past generations of families who have labored, but for generations of families to come. The goal is to eventually open the barn to the public as well as opening visitors to the history that thrives in small town America.</p><br>
<p>It was listed on the National Register of Historic Places in 1984.</p><br>
<p>The Orange Mill Historic District is the only historic district in the Town of Newburgh in Orange County, New York. It encompasses the 42 acre of county-run Algonquin Park and many of the surrounding lands. It is centered along Powder Mill Road just off NY 52, a mile northwest of the city of Newburgh, at the edge of the suburban hamlet of Gardnertown.</p><br>
<p>The district takes its name from the old gunpowder mill complex, built by Asa Taylor in 1816 and operated by the Laflin & Rand Powder Company after 1869. It is located along the unnamed Orange Lake outlet brook which flows through the park just above its outlet at Quassaick Creek.</p><br>
<p>While it primarily produced powder for local residents&#39; use in hunting and shooting sports, during the Civil War the Union Army procured some higher quality material. In the years before that conflict, local historian Edward Ruttenber claimed the mills were "the most complete and extensive works in the country" when they were under the ownership of a man named Daniel Rodgers.</p><br>
<p>After production stopped in the early 20th century, developers began building on houses on some of the property. Col. Frederic Adrian Delano (1863–1953), uncle of future President Franklin D. Roosevelt, purchased the remaining land, which included the core of the manufacturing operation, for use as a public park. Originally it was to have belonged to the City of Newburgh and in fact was deeded to the city, even though it was not contiguous with the city and is over a mile outside the city limits. The City of Newburgh maintained the park until the mid-1970s, at which time it became cost prohibitive and it gave up ownership. Eventually, Orange County purchased the property and it remains a part of the Orange County Parks and Recreation system to this day. It is adjacent to Cronomer Hill Park, which borders it across Powder Mill Road to the northwest. Cronomer Hill Park is a separate Orange County Park.</p><br>
<p>Today the historic district includes 14 of these buildings which had been the core of the manufacturing operation as contributing properties. It was designed to incorporate the old buildings as an essential feature, and many of the roofless stone structures still stand next to the park&#39;s barbecue pits and picnic grounds. It is the only remaining 19th-century gunpowder production facility in New York. It was added to the National Register of Historic Places in 1997.</p><br>
<p>Florence Mill, also known as the Weber Mill, is a historic mill located at 9102 North 30th Street near the 30th Street exit on I-680 in the Florence community in North Omaha, Nebraska. It was built in 1846 and operated into the 1960s. It was listed on the National Register of Historic Places as Weber Mill in 1998. The mill is also known as the Mormon Mill, Grist Mill, and Old Pink Mill. It is now operated as the Winter Quarters Mill Museum and ArtLoft Gallery.</p><br>
<h2>History</h2><br>
<p>Brigham Young supervised construction by the Mormon pioneers of Winter Quarters in 1846. The Florence Mill is the only surviving building to have been built by the Mormons. The settlers needed a mill to grind corn, wheat, and rye to create cornmeal and flour products. Constructed next to Turkey Creek, later called Mill Creek, which flowed into the Missouri River, the original structure was deserted in 1846. A new mill was built in 1847 at the cost of $3000. Brigham Young sold this mill to John Neff, who deserted it when he moved to Salt Lake City.</p><br>
<p>Alexander Hunter began operating the Mill in 1856, helping to fill the demands of the new town of Florence, founded in 1854 on the old site of Winter Quarters. He tore down the original mill, reusing some of the good timbers to build a new mill.</p><br>
<h2>Weber family</h2><br>
<p>Jacob Weber acquired the Mill around 1860, replacing water-powered machinery with new steam-powered equipment. The Weber family operated the Florence Mill continuously for over 104 years, contributing to the development of the milling industry between the last half of the nineteenth century into the twentieth century. The Weber&#39;s business was long considered to be the longest operating business in Nebraska.</p><br>
<h2>Winter Quarters Mill Museum and ArtLoft Gallery</h2><br>
<p>The mill is now operated as the Winter Quarters Mill Museum and ArtLoft Gallery. The museum features pioneer-era historic photos, 1854 newspaper clippings and agricultural artifacts. The mill also hosts a farmers market from June through the end of September.</p><br>
<p>Contrary to previously published reports, Omaha billionaire Warren Buffett has not been actively involved in a drive to renovate the structure.</p><br>
<p>The Old People&#39;s Home, presently known as Leo Vaughan Senior Manor, is located at 3325 Fontenelle Boulevard in the Florence neighborhood on the north side of Omaha, Nebraska. Built in 1917, it was listed on the National Register of Historic Places in 1987.</p><br>
<h2>History</h2><br>
<p>The Old Peoples Home was initiated by the Womens Christian Aid Association, one of Omahas first private charitable organizations. Founded in 1883, the womens group raised funds to construct the two-story brick building in 1917. The building was converted from a nonprofit home to a residential retirement center in 1988.</p><br>
<p>Holy Trinity Monastery  is a male stavropegial monastery of the Russian Orthodox Church Outside of Russia , located near Jordanville, New York. Founded in 1930 by two Russian immigrants, it eventually became a main spiritual center of Russian Orthodoxy in the West. The monastery is well known for its publishing work and for the attached Holy Trinity Orthodox Seminary, which has educated many clergymen in ROCOR and other Orthodox jurisdictions. Due to their closeness to the hamlet, both the monastery and seminary are often simply referred to as Jordanville. The monastery is dedicated to the Holy Trinity, and its patronal feast day is Pentecost. The campus includes a museum that is open to the public.</p><br>
<h2>History</h2><br>
<p>Hieromonk Panteleimon (Nizhnik), after spending ten years at St. Tikhon&#39;s Orthodox Monastery near South Canaan, Pennsylvania, wanted to live a more rigorous monastic life. Moreover, after a 1926 split between ROCOR and the group which would later become the Orthodox Church in America, he wanted to stay with the Church Abroad. He shared this desire with Ivan Kolos, a local choir director living at the monastery. Together they decided to find a place to live a “genuine monk’s life.” They traveled to Herkimer County in Upstate New York, where they bought the Starkweather farm near Jordanville for a $25 down payment. In order to pay off the mortgage, Panteleimon worked at the Sikorsky Airplane Factory in Stratford, Connecticut as a wing mechanic, while Kolos remained at his parish.</p><br>
<p>In the spring after Pascha in 1930, Fr. Panteleimon moved onto the property, while Ivan Kolos and another monk from St. Tikhon&#39;s, Fr. James (Mosheruk), worked at the Sikorsky factory until the land was paid off and they could go to Jordanville. Life was hard: they lived in a small building, kept a horse and cow, and instead of a stove used hot stones to cook their food. In addition to performing the daily services, the brotherhood worked the land and began dairy production. With the help of a new member of the brotherhood, Hieromonk Ilya (Gavriliuk), who was a carpenter, the monks began building a large house with a chapel and room for sixteen cells, and completed it in 1935.</p><br>
<p>The new monastic building was consecrated by Bishop Vitaly (Maximenko) on June 17, 1935. However, at the very end of the divine liturgy the smell of burning wood filled the air. Crying, “the church is afire!” in Russian, Vitaly and the other monks helped get the assembled worshippers to safety. The uninsured building, valued at $10,000, burnt to the ground. Sheltered in a wagon shed, the monks refused to despair and decided to build an even better structure. The small brotherhood soon bought another, larger house nearby, bought another 200 acres of land, and began farming and dairy operations. They also obtained a printing press and a linotype machine and began publishing spiritual works. They also interacted with the local community: a few of the monks held a concert at an Episcopalian parish in Richfield Springs, and members of the nearby Baptist church visited the monastery for a service.</p><br>
<p>In 1946, fourteen new monks arrived at Jordanville, headed by Bishop Seraphim (Ivanov). These included some of the future leaders of the Russian Church Abroad, including the future Metropolitan Laurus (Škurla), who was then Novice Vasily. The brotherhood was originally based in the St. Job of Pochaev Monastery in Ladomirová, Czechoslovakia, which had been founded by Archbishop Vitaly when he was still an archimandrite. After a brief stay in Munich, the Brotherhood accepted the invitation of Bishop Vitaly to join the struggling Brotherhood at Jordanville, resulting in the largest Orthodox Monastery in America. The Brotherhood of St. Job brought St. Job&#39;s printing press with them across the Atlantic, and, until the fall of the Soviet Union, Holy Trinity Monastery was the only place in the world that could typeset in Church Slavonic.</p><br>
<p>In 1944 construction began on a new monastery cathedral, with many of the bricks salvaged from a demolished factory. The cathedral was designed by Roman Verhovskoy, and the head of the building committee was Nicholas Alexander (Aleksandrov), a professor at Rhode Island State College and the future dean of the seminary. The cornerstone of the church was laid in 1947, and the church was completed in 1951; the Governor of New York, Thomas E. Dewey, attended the dedication. The construction of the church was greatly aided by the nearly 50 monks and lay-workers who had joined the monastery after leaving post-war Europe. Among them was Archimandrite Cyprian (Pyzhov), who had with his assistant monk Alypy (Gamanovich) (future Archbishop of Chicago) frescoed the interior of the church, covering the 700 square feet of walls with over 400 icons. New monastic quarters were built from 1954 to 1957. In addition to building up the monastery, Jordanville monks also helped set up parishes in Albany and Utica.</p><br>
<p>On December 3, 2011, on the feast day of the Entry of the Theotokos into the Temple, government officials came to the monastery, enjoyed food, and listened to talks held in the seminary hall, where the official ceremony making the monastery a national historic district took place.</p><br>
<h2>Abbots</h2><br>
<p>Archimandrite Panteleimon (Nizhnik) (1930–1946)</p><br>
<p>Archbishop Seraphim (Ivanov) (1946–1948)</p><br>
<p>Archbishop Vitaly (Maximenko) (1948–1960)</p><br>
<p>Archbishop Averky (Taushev) (1960–1975)</p><br>
<p>Metropolitan Laurus (Škurla) (1975–2008)</p><br>
<p>Bishop Luke (Murianka) (2008–present)</p><br>
<h2>Holy Trinity Monastery Cemetery</h2><br>
<p>The monastery maintains several cemeteries on its property, which collectively make up one of the largest Eastern Orthodox cemeteries in the United States. The monastery regularly prays for everyone buried in the cemetery at the divine liturgy and panikhida services. Moreover, many renowned hierarchs and notable individuals in ROCOR&#39;s history are buried at Jordanville. In a crypt at the east end of the monastery cathedral are buried, among others, Metropolitans Laurus (Škurla) and Philaret (Voznesensky), Archbishop Averky (Taushev), and Archimandrite Cyprian (Pyzhov), the renowned icon painter.</p><br>
<h2>Holy Trinity Monastery Icon and Mounting Studio</h2><br>
<p>"Holy Trinity Icon Mounting Studio has been producing high quality print icons painted by the Fathers of Holy Trinity Monastery as well as other iconographers for many years."</p><br>
<h2>Publishing</h2><br>
<p>The roots of the monastery&#39;s strong publishing division can be traced to the Pochayiv Lavra in modern-day Ukraine. There, Archimandrite Vitaly (Maximenko) had run the printing press, which included 150 monastic workers and 8 printing presses. With the outbreak of World War I and the Russian Revolution publishing operations came to a halt. Archimandrite Vitaly escaped to Ladomirová, Czechoslovakia, where he founded a new monastic brotherhood, the Brotherhood of St. Job of Pochaev, to continue the work of the Lavra. This new brotherhood, under the authority of ROCOR, began publishing many new publications, including the periodicals Pravoslavnaia Rus, Pravoslavnyi Put, and the Pravoslavnyi Kalendar, which contains the rubrics for all the Sundays and major feasts of the church calendar. All three of these publications are still being published by Holy Trinity Monastery. By 1934, the brotherhood was publishing three-quarters of all ROCOR publications, which were being read in 45 countries. However, with the advance of the Soviet Army in 1944, the brotherhood fled Czechoslovakia. Half the brotherhood, under the leadership of Archimandrite Seraphim (Ivanov), emigrated to the United States, where they joined the Jordanville brotherhood, which had already been printing books on a small scale.</p><br>
<p>At Jordanville, the Brotherhood of St. Job of Pochaev began publishing on the same level as they had in Czechoslovakia. In addition to Orthodox periodicals, they published service books, multi-volume editions of the lives of the saints, and many other religious works. Publishing became one of the major sources of income for the monastery. During the Cold War, the monastery was the largest publisher of Russian religious literature outside of the Soviet Union, and according to the monastery&#39;s publication website many behind the Iron Curtain remembered Jordanville as being practically their only source of Orthodox books. To supplement in-house printing, the monastery also outsourced some titles to be published in New York and Japan.</p><br>
<p>The monastery has now stopped all in-house printing due to costs and is outsourcing all publishing to outside printers. However, it is still continuing to translate, edit, and publish new works in both print and digital formats. According to the publications website, the monastery hopes to publish four to eight new titles a year. Recent titles include the Psalter for Prayer, a new translation of the Psalter from Church Slavonic, stylistically based on Myles Coverdale&#39;s translation of the psalms in the Book of Common Prayer.</p><br>
<p>In addition to publishing work, the monastery also operates a bookstore which began operation in 1990 with the expansion of the monastery building. It sells (both in-store and online) both monastery publications and books and other media from Orthodox suppliers from around the world.</p><br>
<h2>Buildings</h2><br>
<p>The Harvard Club of New York City, commonly called The Harvard Club, is a private social club located in Midtown Manhattan, New York City. Its membership is limited to alumni, faculty and board members of Harvard University.</p><br>
<p>Incorporated in 1887, the club is located on adjoining lots at 27 and 35 West 44th Street. The original wing, built in 1894, was designed in red brick neo-Georgian style by architect Charles Follen McKim of McKim, Mead & White.</p><br>
<h2>History</h2><br>
<p>Founded without a location in 1865 by a group of Harvard University alumni, the club rented a townhouse in 1887 on 22nd Street for use as a clubhouse. In 1888, the club acquired land on 44th Street intending to build a new clubhouse there.</p><br>
<p>After the Penn Club of New York (est. 1901) became the first alumni clubhouse to join Clubhouse Row for inter-club events at 30 West 44th Street after Harvard Club of New York City (est. 1888) at 27 West 44th, then New York Yacht Club (est. 1899) at 37 West 44th, and Yale Club of New York City (est. 1915) on East 44th (and Vanderbilt) and Cornell Club of New York (est. 1989) at 6 East 44th on the same block, with Princeton Club of New York joining in 1963 at 15 West 43rd (the only alumni clubhouse who was not on 44th Street, whose members, part of the staff, and in-residence club, Williams College Club of New York, were absorbed into Penn Club following a previous visiting reciprocity agreement between the Princeton-Penn Clubs, before Princeton&#39;s went out of business during COVID). Despite being in New York City, Columbia University Club of New York (est. 1901) left Princeton after residence agreement issues to become in-residence at The Penn Club, while Dartmouth shares the Yale Club, and Brown shares the Cornell Club.</p><br>
<p>The Harvard Club selected architect Charles Follen McKim, of McKim, Mead & White, for the project. The design was Georgian style architecture with Harvard brick and Indiana limestone. The buildings 1894 façade is reminiscent of McKim, Mead and Whites 1901 gates at Harvard Yard. In 1905, Harvard Hall, the Grill Room, a new library, a billiard room, and two floors of guest rooms were added.</p><br>
<p>In 1915, McKim, Mead & White doubled the building&#39;s size by constructing the Main Dining Room, a bar, additional guestrooms, banquet rooms, and athletic facilities including a 7th floor swimming pool.</p><br>
<p>In 2003, the architects Davis Brody Bond, under the direction of J. Max Bond Jr., added a 40,000-square-foot annex on West 44th Street, with a façade clad in limestone and fenestrated with large glass windows.</p><br>
<h2>Admission of women</h2><br>
<p>In the spring of 1970, four Harvard Business School students, Ellen Marram, Katie Metzger, Roslyn Braeman Payne, and Lynn Salvage, were turned away from membership interviews at the Harvard Club of New York because it was at the time a male only club. Wheelock rejected the request. In January 1971, Marram and Salvage began a letter-writing campaign to the new president, Albert H. Gordon. A group of Harvard alumni seeking club membership met with Gordon in the fall of 1971, but Gordon initially denied the delegations request to bring womens membership to a vote.</p><br>
<p>A Harvard Law School alumnus, Marguerite "Mitzi" Filson, suggested the group take legal action against the Harvard Club of New York.</p><br>
<p>On May 4, 1972, the club voted to deny full membership rights to women.</p><br>
<p>Marram, Salvage, Metzler, Payne, and Filson then filed their complaint with the New York Commission on Human Rights. Commission chairwoman Eleanor Holmes Norton issued a two-page letter condemning the Harvard Clubs exclusion of women. After the parties came before a New York Human Rights administrative judge, the Harvard Clubs board of managers called another vote. On January 11, 1973, the club voted 2,097 to 695 to admit female members.</p><br>
<h2>Membership</h2><br>
<p>To be eligible for election to membership, a candidate must hold a degree or honorary degree from Harvard, be a tenured faculty member at the university, or serve as an officer, or member of any board or committee of the university. Dues levied are on a sliding scale, based on age and proximity to the club. Like most private clubs, members of the Harvard Club are given reciprocal benefits at clubs around the United States and the world.</p><br>
<p>The building is sometimes used for outside corporate events such as business conferences.</p><br>
<h2>Notable members</h2><br>
<p>Michael Bloomberg, Mayor of New York City</p><br>
<p>Richard Edelman</p><br>
<p>John F. Kennedy</p><br>
<p>Reginald Lewis, first African American to build a billion-dollar company</p><br>
<p>John Jay McKelvey Sr., founder of Harvard Law Review</p><br>
<p>Franklin D. Roosevelt</p><br>
<p>Theodore Roosevelt</p><br>
<p>James Toback</p><br>
<p>Frederick M. Warburg</p><br>
<h2>Philanthropy</h2><br>
<p>The Harvard Club of New York Foundation makes an annual gift to the Harvard College Financial Aid Program, maintains a scholarship fund that helps support 20 undergraduates at Harvard College, supports several Harvard University graduate programs and provides stipends to support Harvard University students to work non-paying, or low paying fields.</p><br>
<p>The Cold Spring Historic District is a historic district that includes much of the central area of the Hudson River Cold Spring village in Putnam County, New York. It is roughly bounded by Main Street , Cedar  and Fair streets and Paulding Avenue.</p><br>
<p>It gives Cold Spring its quaint character and has been described as "one of the best-preserved 19th century townscapes in the Hudson River region". A consultants report for the villages 1987 master plan quotes the National Register of Historic Places saying, upon adding the district in 1982:</p><br>
<p>Most of the houses, churches and other buildings came into existence in the years before the Civil War, when the nearby West Point Foundry was at the peak of its production and workers were rapidly moving into the area.</p><br>
<p>Today the district includes over 200 buildings, many of them contributing properties. They have helped transform the village into a popular upscale residence for commuters and weekend destination for New York City residents due to the nearby Metro-North train station offering easy access to Grand Central Terminal.</p><br>
<h2>2005 lawsuit</h2><br>
<p>Like some other municipalities with federally designated historic districts, Cold Spring has added sections to its zoning code to preserve that character. In 2005, resident Donald Lusk, filed suit in federal court against the village after it cited him for nonconforming signs he had put up in front of his house in protest of a proposed nearby condominium development. The case went all the way to appeals court, which decided in 2007 that his First Amendment rights had been violated by the process by which his signs were judged nonconforming, which partly considered the content of those signs. However, the ordinances dictating the size, shape and placement of the signs themselves were upheld as permissible regulations of the time, place and manner of speech.</p><br>
<p>The Duncan Mills Bridge was one of nine metal highway bridges in Fulton County, Illinois nominated for the National Register of Historic Places. This particular one was located along west of Havana, Illinois near Lewistown. It was added to the National Register of Historic Places on October 29, 1980, along with the seven of the eight other bridges, as one of the "Metal Highway Bridges of Fulton County".</p><br>
<p>The Duncan Mills Bridge is one of the four bridges submitted under the Fulton County Metal Highway Bridges Multiple Property Submission to have been demolished since its inclusion on the Register.</p><br>
<p>The Indian Ford Bridge was one of nine metal highway bridges in Fulton County, Illinois listed on the National Register of Historic Places. This particular one was located along County Highway 20 as spans the Spoon River, 1.5 mi southwest of London Mills. It was added to the National Register of Historic Places on October 29, 1980, along with the eight other bridges, as one of the "Metal Highway Bridges of Fulton County." Some of the other bridges included London Mill&#39;s only other Registered Historic Place, the now demolished London Mills Bridge. Other demolished bridges include the Elrod Bridge, Duncan Mills Bridge and Buckeye Bridge.</p><br>
<p>Indian Ford Bridge is one of the five bridges submitted under the Fulton County Metal Highway Bridges Multiple Property Submission to have been demolished since its inclusion on the Register.</p><br>
<p>Indian Ford was a crossing of the Spoon River named by Job Babbit, an early Fulton County pioneer who helped survey a road from Farmington to Burlington in 1835 and named Union Township. According to Chapman&#39;s History of Fulton County (p. 886), Babbit discovered, where the road crossed the river, a trough made from an elm log that was fastened to the fork of a tree. It contained the skeletal remains of an American Indian.</p><br>
<p>The London Mills Bridge was one of nine metal highway bridges in Fulton County, Illinois listed on the National Register of Historic Places. This particular one was located along County Highway 39 as it spans the Spoon River on the north side of London Mills. It was added to the National Register of Historic Places on October 29, 1980, along with the eight other bridges, as one of the "Metal Highway Bridges of Fulton County". Some of the other bridges included London Mill&#39;s only other Registered Historic Place, the Indian Ford Bridge.</p><br>
<p>London Mills Bridge and Indian Ford Bridge have both been demolished since their inclusion on the National Register of Historic Places.</p><br>
<p>The Bernadotte Bridge at Bernadotte, built in 1910, is one of nine metal highway bridges in Fulton County, Illinois listed on the National Register of Historic Places. The bridge is located along County Route 2 between Smithfield, Illinois to the north, and Ipava, Illinois to the south. It was added to the National Register of Historic Places on October 29, 1980, along with the eight other bridges, as one of the "Metal Highway Bridges of Fulton County". near Smithfield listed on the Register, the others are the Buckeye Bridge </p><br>
<p>Bernadotte Bridge is one of the few remaining bridges in this Multiple Property Submission group still standing, five of the nine having been destroyed. In late 2010 part of the bridge collapsed due to flooding. In late 2014, the residue was cleaned up from the site. It is currently closed due to safety concerns. Fundraising is in place with the hope of restoring the bridge.</p><br>
<p>Buckeye Bridge also known as White&#39;s Ferry Bridge was one of nine metal highway bridges in Fulton County, Illinois once listed on the National Register of Historic Places. Buckeye is one of the five bridges that have been demolished out of nine similar bridges in the county. This particular one was over the Spoon River near Smithfield, Illinois. It was added to the National Register of Historic Places on October 29, 1980, along with the eight other bridges, as one of the "Metal Highway Bridges of Fulton County".</p><br>
<p>The Buckeye Bridge is one of the bridges in this particular Multiple Property Submission that has been demolished since its inclusion in the National Register of Historic Places in 1980.</p><br>
<p>Tarter&#39;s Ferry Bridge was one of nine metal highway bridges in Fulton County, Illinois listed on the National Register of Historic Places. This particular one was a 9-panel Parker through truss that carried Tarter Ferry Road over the Spoon River near Smithfield, Illinois. It was added to the National Register of Historic Places on October 29, 1980, along with the eight other bridges, as one of the "Metal Highway Bridges of Fulton County. The bridge was one of three in Smithfield listed on the Register, the others are the Bernadotte Bridge and the destroyed Buckeye Bridge, as well as the demolished Elrod Bridge. Others, such as the Duncan Mills Bridge in Lewistown, are located throughout the county.</p><br>
<p>The bridge was washed off its substructure during a flood in the spring of 2013. It had been abandoned for many years.</p><br>
<p>Shakespeare is a ghost town in Hidalgo County, New Mexico, United States. It is currently part of a privately owned ranch, sometimes open to tourists. The entire community was listed on the National Register of Historic Places in 1973.</p><br>
<h2>History</h2><br>
<p>Founded as a rest stop called Mexican Springs along a stagecoach route, it was renamed Grant after the Civil War, after General U. S. Grant. When silver was discovered nearby it became a mining town called Ralston City, named after financier William Chapman Ralston. It was finally renamed Shakespeare, and was abandoned when the mines closed in 1929.</p><br>
<p>On November 9, 1881, Old West outlaws "Russian Bill" Tattenbaum and Sandy King, both cattle rustlers and former members of the Clanton faction of Charleston, Arizona Territory, were lynched in Shakespeare, and their bodies were left hanging for several days as a reminder to others that lawlessness would not be tolerated. The two had been captured by gunman "Dangerous Dan" Tucker, who at the time was the Shakespeare town marshal.</p><br>
<p>Walker Memorial Hall is a historic community meeting hall on Highland Road in Bridgton, Maine. Built in 1892 to a design by Frederick A. Tompson, it is a well-preserved local example of eclectic Queen Anne architecture, and continues to be a significant community meeting center, hosting social events and meetings of local organizations. It was listed on the National Register of Historic Places in 1983.</p><br>
<h2>Description and history</h2><br>
<p>Walker Memorial Hall is set in a rural-suburban residential area north of the Bridgton&#39;s town center, on the east side of Highland Road north of the golf course. It is a two-story wood-frame structure, with a hip roof and an exterior of clapboard and wooden shingles. The street-facing side of the roof is pierced by wall dormers with false half-timbering, and a three-story tower rises at the southwest corner, topped by an open belfry and pyramidal roof with mini-gables decorated with Stick style woodwork. The main entrance is in the base of the tower, with a small hip-roofed portico projecting to the west.</p><br>
<p>The hall was built in 1892 with funds bequested to the community by Joseph Walker, a wealthy summer resident of the town. The hall has been used for church services, private parties, dances, and theatrical productions. It was designed by Portland architect Frederick A. Tompson, one of the area&#39;s leading architects of the late 19th century.</p><br>
<p>White Hall State Historic Site is a 14 acre park in Richmond, Kentucky, southeast of Lexington. White Hall was home to two legendary Kentucky statesmen: General Green Clay and his son General Cassius Marcellus Clay, as well as suffragists Mary Barr Clay and Laura Clay. On April 12, 2011, White Hall was designated as a national historic site in journalism by the Society of Professional Journalists, because of Clay&#39;s career as a publisher.</p><br>
<h2>White Hall/Clermont</h2><br>
<p>The site&#39;s major feature is White Hall, the home of Kentucky legislator Cassius Marcellus Clay and Mary Jane Warfield Clay. He was an anti-slavery newspaper publisher, politician, soldier and Minister to Russia through the Lincoln, Johnson and Grant administrations. He published True American for nearly 25 years.</p><br>
<p>This restored 44-room Italianate house began as a 8-room structure built in 1798–1799 in the Georgian style by General Green Clay which he called Clermont. Mary Jane Warfield Clay, oversaw the enlarging of Clermont into the structure that is now White Hall. Thomas Lewinski was the architect. The Georgian style of Clermont was replaced with the Italianate style of White Hall. The renovation is said to have cost $40,000. Clermont originally faced south, but the entrance of White Hall was moved to face East.</p><br>
<p>Apart from its architecture, White Hall was also notable for its use of indoor plumbing. Rainwater was collected in a tub from the roof and was fed down to a toilet and copper bathtub.</p><br>
<p>The White Hall property has two outbuildings. The kitchen was originally built in 1790 when Green Clay owned the property. It originally served Clermont as the main kitchen, and the food was walked over to the warming kitchen of the main house. The Kitchen contains what is believed to be the largest existing fireplace surviving from the 19th century. The larger of the two buildings was used as living quarters for the enslaved peoples living on the White Hall estate.</p><br>
<h2>Notable residents</h2><br>
<p>White Hall was first home to General Green Clay who built the original structure, Claremont. Clay was an early Kentucky settler and land surveyor. Green Clay made his fortune surveying land, keeping a portion of the land he surveyed as payment. Green Clay became one of the largest land and slave holders in Kentucky by the time of his death.</p><br>
<p>Cassius M. Clay was a Kentucky politician and emancipationist. Despite his father being one of the largest landholders and slaveholders in Kentucky, Clay supported the gradual freeing of enslaved peoples, which was unusual for men of his class at this time. Clay fought many duels over the subject during his life. Clay saw service in the Mexican War and was lauded as a hero upon his return home. Clay published an anti-slavery newspaper called The True American in Lexington, KY and was later forced to move production to Cincinnati, OH. Clay was an early founder of the republican party. Clay served as Lincolns Ambassador to Russia during the American Civil War. It was during Clays time in Russia that his wife, Mary Jane Warfield Clay, converted Clermont into what is now White Hall.</p><br>
<p>Cassius M. Clays daughters Mary Barr Clay, Sally Clay, and Laura Clay also lived at White Hall. Mary Barr Clay was noted for her early support for womens suffrage. She was of great influence on her younger sisters, especially Laura, who would go on to be leaders in the womens suffrage movement. Laura Clay was the first woman to be placed in nomination for a major partys presidential ticket.</p><br>
<h2>Acquisition and restoration</h2><br>
<p>The Madison County Garden Club members were among those who spearheaded the effort to preserve the historic home. The club consulted with several prominent Kentucky historical preservationists and preservation societies. Governor Edward Breathitt agreed to purchase White Hall from the current owners. The heirs of Cassius M. Clay, Warfield C. Bennett Jr., Ann C. Bennett, and Ester S. Bennett sold the property surrounding White Hall to the state of Kentucky in 1968. The land surrounding White Hall was purchased for $18,000 and the home was donated. The site became part of the state park system in 1968.</p><br>
<p>The houses restoration was completed and open to the public in 1971 under the leadership of Kentuckys First Lady Beula C. Nunn, with assistance of the Kentucky Mansions Preservation Foundation.</p><br>
<p>The Eastern Kentucky University Board of Regents voted to accept the transfer of White Hall State Historic Site from the State of Kentucky at their regularly scheduled meeting in February 2019. The State will pay EKU $50,000 for two years to help with any unforeseen costs of acquiring the property. EKU hopes to use the building as a real-world teaching opportunity for the Department of Recreation and Park Administration.</p><br>
<h2>Donated family items</h2><br>
<p>Upon the death of Cassius M. Clay an estate sale was held at White Hall. It took place on October 8, 1903. The names of those who bought pieces of furniture from the auction were listed on the inventory and sale book of the State Bank & Trust Company and the Madison County Clerk&#39;s office. This list was used to track down these items to be reacquired by White Hall.</p><br>
<p>Cassius M. Clay&#39;s original appointment as US Ambassador to Russia was donated to the State of Kentucky by Bruce Ferguson. The document bears the signature of then President Abraham Lincoln. The document is on display at White Hall State Historic Site.</p><br>
<p>Two tapestry rugs and a Louis XV table that once belonged to Green Clay and Cassius M. Clay were donated by Annabell Olsen of Somerset, KY. The tapestry rugs are from the Ming Dynasty prior to 1300. The colors, blues, reds, and gold have faded some. Olson found the rugs in a stove pipe in the White Hall kitchen. They were likely placed there to keep soot out when the wind blew. The Louis XV table was a gift to General Green Clay from General Lafayette. Green Clay became familiar with Lafayette when he visited Europe on behalf of the Continental Congress. Green Clay&#39;s son, Cassius M. Clay, held the table in such high regard that he would not allow anyone to touch the table. When a leg of the table was broken Clay was so concerned that he performed the repair work himself. The table is 36 inches in diameter and about the height of a modern-day coffee table. It is painted olive green, washed brick red and gold. The wood underneath the paint is unknown.</p><br>
<p>Pieces of a China set that once belonged to Cassius M. Clay were also donated by Mrs. William C. Benton of Denver, CO. The China is a portion of the original 104-piece setting that was used by Clay when he was the US Ambassador to Russia. The plates have a gold medallion in the center and the outer rim is decorated in bands of gold and magenta. Other pieces of this set were already on display at White Hall.</p><br>
<p>A bed that once belonged to Brutus Junius Clay II was donated by Cecil Salter. Salter&#39;s father, Samuel, bought the bed at auction from an apartment in the old Benault Inn. Brutus Junius Clay II was the son of noted emancipationist and US Ambassador to Russia Cassius M. Clay. Junius gained his own notoriety serving as a commissioner to the Paris Exposition in 1900 and then as US Ambassador to Switzerland from 1905 to 1912. Junius also donated property on Glyndon Ave. Richmond, KY in memory of his wife, Pattie A. Clay, to form the first hospital in Madison County, KY (Pattie A. Clay Hospital).</p><br>
<p>The Everett-Bradner House, also known as the Bradner-Young House, is located at 156 South Street in the village of Goshen, New York. It has been a Registered Historic Place since 2004.</p><br>
<p>The listing included "the house, a brick smokehouse, a small frame barn, and a well and hand pump. The property also contains a larger barn complex that unfortunately in an advanced state of dereliction and is in the process of collapsing."</p><br>
<p>Jackson Lake Lodge is located near Moran in Grand Teton National Park, in the USA state of Wyoming. The lodge has 385 rooms, a restaurant, conference rooms, and offers numerous recreational opportunities. The lodge is owned by the National Park Service, and operated under contract by the Grand Teton Lodge Company. The Grand Teton Lodge Company also manages the Jenny Lake Lodge, as well as cabins, restaurants and other services at Colter Bay Village. The lodge is located east of Jackson Lake adjacent to prime moose habitat below the Jackson Lake Dam.</p><br>
<h2>History</h2><br>
<p>In 1950, John D. Rockefeller Jr. called on architect Gilbert Stanley Underwood to design the Jackson Lake Lodge. This building marked the transition in the National Park System from rustic to modern design. Underwood revolutionized park architecture by combining modern materials with rustic accents, such as the wood grain-textured concrete seen on this building. Rockefeller developed the lodge to help make parks accessible to all Americans. Although the lodge was originally criticized for being too modern, it harmonizes with the natural surroundings with a low profile receding amid the aspen and pine trees. Landscapers planted native species mimicking the local environment.</p><br>
<p>Designed by architect Gilbert Stanley Underwood and completed in 1955, the lodge is an example of the National Park Service&#39;s interpretation of the International Style which was commonly seen in structures built on USA Government parklands in the mid-20th century. The lodge combines elements of the more rustic structures of the earlier decades of the 20th century with a more modern design elements that became standard for the next couple of decades.</p><br>
<p>The Federal Reserve holds an annual Jackson Hole Economic Symposium at the lodge in late summer, hosted by the Federal Reserve Bank of Kansas City and attended by prominent economic policymakers from around the world.</p><br>
<h3>Old Jackson Lake Lodge</h3><br>
<p>The resort complex was built over the site of the Amoretti Hotel and Camp Companys Jackson Lake Lodge, built by Eugene Amoretti of Lander, Wyoming from 1922. Amorettis lodge, boasting the first hot and cold running water in the valley, featured guest cabins and tent cabins. It was purchased by the Snake River Land Company in 1930 and continued to operate until 1953, when its 23 cabins were demolished in favor of the new resort.</p><br>
<h2>Historic district</h2><br>
<p>Jackson Lake Lodge is the main property of a 144 acre National Historic Landmark District that has 38 contributing buildings and one contributing site. The district was added to the National Register of Historic Places on July 31, 2003 for its significance in architecture, entertainment/recreation, and conservation.</p><br>
<p>The Old Pascagoula High School is a building in Pascagoula, Jackson County, Mississippi. It opened in January 1939 and closed in June 1997.</p><br>
<p>Designed by the Gulfport architectural firm of Smith & Olschner, the High School was hailed as the "most modern and complete high school unit in the state." Housed within the Art Moderne–style building&#39;s 1 ft walls were; 2 auditoriums, a science laboratory, a large library, a music department, a cafeteria, and business and homemaking classrooms. The school, with a final cost of $150,000, was constructed with funding from the Public Works Administration, a Depression-era federal program that was responsible for thousands of public buildings during the 1930s.</p><br>
<p>Currently vacant, the City of Pascagoula wished to demolish the building and send it the way of the similarly styled Pascagoula South Elementary school. Residents of Pascagoula fought this action and saved the structure from the wrecking ball.</p><br>
<p>It was listed on the National Register of Historic Places in 2000.</p><br>
<p>The Old Pascagoula High School was placed on the 10 most endangered historic places in 2005 by the Mississippi Heritage Trust.</p><br>
<p>As of 2012, the two larger buildings at the Old Pascagoula High School have been renovated into apartments known as Bayside Village Senior Apartments. The larger auditorium (at seating capacity for 755) within the main building is to be restored and may be used for functions by the nearby new high school.</p><br>
<p>The Washburn Park Water Tower is a landmark in the Tangle town neighborhood of south Minneapolis, Minnesota, built in 1931. It is located on top of one of the highest points of south Minneapolis. The tower is considered an unofficial "beacon" for incoming planes landing at Minneapolis-Saint Paul International Airport; however, it is not as visible to passers-by at the base of the hill due to the large homes and tall oak trees scattered on the hillside.</p><br>
<p>The Washburn Park Water Tower is one of three stone water towers built in Minneapolis during the early 20th century. The other two are Kenwood Park Water Tower, just west of downtown, and Prospect Park Water Tower, in southeast Minneapolis.</p><br>
<h2>History</h2><br>
<p>The original tower was built in 1893 by Cadwallader and William Washburn to supply water for the Memorial Orphan Asylum. Water was pumped from the Minnehaha Creek to the tower and then piped to the orphanage. The tower was purchased by the city of Minneapolis and connected to the city water supply in 1915. The current 110-foot-high water tower was built in 1931 by the City of Minneapolis in an Art Deco style.</p><br>
<p>The tower was one of the last projects of Harry Wild Jones, an architect known for several other Minneapolis landmarks including Butler Square and Lakewood Cemetery Chapel. It was intended to add beauty to the developing neighborhood and to create jobs during the Great Depression. Along with William S. Hewett (an engineer from the Interlachen Bridge project), he incorporated modern hydro-engineering methods into the towers design. The story goes that as Jones was clearing underbrush at his home nearby, which was also in its construction phase, a giant eagle (with nearly an 8 ft wingspan) had attacked him. He had the eagle maimed, captured, and brought to town where it began attracting much attention. In part, he used the eagles extraordinary dimensions (and the artistic skills of John Karl Daniels) to cast the eight concrete lookalikes which now sit atop the tower, watching over their former domain. Eight 18 ft "Guardians of Health" were also placed around the tower to prevent any bad-tasting or bad-smelling water pollutants, which were thought to be the cause of typhoid fever outbreaks, from contaminating the water supply.</p><br>
<p>The tower is close to Jones&#39; residence. It stands out due to its distinctive castle-like architecture despite being partially hidden by new homes and trees.</p><br>
<p>In 1968, a malfunction at a nearby pumping station caused the tower to overflow, flooding the basements of many of the surrounding houses.</p><br>
<p>On October 6, 1983, the water tower was placed on the National Register of Historic Places for the city of Minneapolis. The water tower&#39;s record number is #24362.</p><br>
<p>The tower no longer supplies water to the surrounding neighborhoods. Instead, it is drained in the fall and filled in the spring to provide a local head for water pressure throughout south Minneapolis during the summer.</p><br>
<p>The Wales and Hamblen Building is a historic commercial building at 260 Main Street in Bridgton, Maine. Built in 1882, it is a fine example of late Italianate architecture, and one of the town&#39;s most architecturally sophisticated commercial buildings. It was listed on the National Register of Historic Places.</p><br>
<h2>Description and history</h2><br>
<p>The Wales and Hamblen Building stands on the north side of Main Street (United States Route 302) in the village center of Bridgton, between Depot Street and Portland Road. It is a -story wood-frame structure, with a gabled roof and clapboard siding. The front-facing gable is a fully pent gable with a paneled and bracketed cornice, styles repeated on the eave below the gable. The front facade corners are pilastered. The first floor has five bays, with three display windows flanking building and store entrances, and a narrow band of roofing on which is mounted a sign reading "Wales & Hamblen Building". The second floor has three pairs of narrow sash windows, set in segmented-arch openings with moulded surrounds above and panels below. There is an elaborate three-part round-arched window in the gable.</p><br>
<p>The building was constructed in 1882, after a fire destroyed the previous building on the site. It housed the hardware store of Fowler and Wales, which later became Wales and Hamblen. The upper floor houses a meeting hall space that was originally used by the local chapter of the International Order of Odd Fellows, which was discontinued in 1962. A rear ell was used for a number of years as a tin shop. In the late 1980s the building facade underwent a careful restoration.</p><br>
<p>Iron Mike is an 1896 cast-iron fountain in the 400 Block of Washington Street in the city of Oregon, Illinois. It is located at the site of the Ogle County Courthouse, at the intersection of Illinois Route 2 and Route 64. Iron Mike is four feet tall and three feet wide, at its widest point. The fountain&#39;s lowest tier is a pool for pets and reads "Illinois Humane Society." There is a step for children on the south side of the fountain and on the north, street, side, the largest middle tier was made to be accessible to horses. On the rear side of the horse basin is a "bubbler" for adults, it is also reachable by children via the iron step. The multi-tier fountain was originally set into a concrete base which was immediately adjacent to the curb of Route 64. In 2021 Iron Mike was relocated 15 feet away from the road unto the property of the Ogle County Courthouse.</p><br>
<p>The Masonic Temple Lodge No. 420 is a building in the Ogle County, Illinois city of Oregon. It has historically been known as 628-628 S. Fourth St. The building is one of several in the 100 Block of Oregon&#39;s South Fourth Street that is a contributing property to the Oregon Commercial Historic District, some others include the buildings at 125 S. Fourth St. and 127 S. Fourth St. As part of the historic district the Temple Lodge is listed on the National Register of Historic Places as of August 2006.</p><br>
<h2>Architecture</h2><br>
<p>At the apex of the building is a low pitched, triangular parapet/pediment. A central raised shield above the parapet is etched with the date "1900" as well as the Masonic emblem. Around the pediment is more ivory brick work, dentils and three corbelled courses. Dangling from the second story of the building, above the door, is a milk glass globe sign emblazoned with the lodge number, the Masonic symbol and a building dedication.</p><br>
<p>Most of the buildings original doorways have been altered. On the buildings interior is a main central staircase in a two-story entrance bay which leads to the upper floor. The entrance to the second floor, beyond the main central staircase, consists of a low ogee arch over a solid wood door. A lower transom is etched with the Masonic symbol.</p><br>
<p>The Hemingway-Pfeiffer House, also known as the Pfeiffer House and Carriage House, is a historic house museum at 10th and Cherry Streets in Piggott, Arkansas. It is where novelist Ernest Hemingway wrote portions of his 1929 novel A Farewell to Arms. Hemingway was married to Pauline Pfeiffer, the daughter of the owners of the house, Paul and Mary Pfeiffer.</p><br>
<h2>Overview</h2><br>
<p>Pauline Pfeiffer, Hemingways second wife, had grown up in the home. Her uncle Gustavus Pfeiffer was a benefactor of the couple, even financing an African safari trip that inspired Hemingways Green Hills of Africa.</p><br>
<p>Hemingway did his writing in a barn behind the home which he converted into a writing studio. The space is decorated with items that would have been found in the studio when Hemingway used it.</p><br>
<h2>Modern use</h2><br>
<p>The house is now the home of Arkansas State Universitys Hemingway-Pfeiffer Museum and Educational Center. The mission statement of the center is to "contribute to the regional, national and global understanding of the 1920s and 1930s eras by focusing on the internationally connected Pfeiffer family, of Piggott, Arkansas, and their son-in-law Ernest Hemingway." The center is also the visitor center for the Crowleys Ridge Parkway.</p><br>
<p>The property also includes the Matilda and Karl Pfeiffer Education Center, a Tudor-style home where Pauline&#39;s brother and his wife lived before it was opened to the public in 2004.</p><br>
<p>The Soldiers&#39; Monument is a memorial consisting of three statues, one in bronze and two in marble by sculptor Lorado Taft, grouped around an exedra designed by the architectural firm of Pond and Pond. It is located in Oregon, Illinois, the county seat of Ogle County, Illinois. It was dedicated in 1916. The sculpture is part of the Oregon Commercial Historic District. The district was designated and listed on the National Register of Historic Places in August 2006.</p><br>
<h2>Location</h2><br>
<p>This example of public art is located just off Illinois Route 64 as it passes through Oregon. It sits on the southeast side of the Old Ogle County Courthouse square.</p><br>
<h2>Monument</h2><br>
<h3>Description</h3><br>
<p>The Soldiers&#39; Monument was constructed, on the approval of the Ogle County Board in 1916, for no more than $21,000. Today (2007), this example of the work of Lorado Taft is estimated to be worth over $1,000,000. sculpted the central female figure in bronze.</p><br>
<h3>Interpretation</h3><br>
<p>The center female bronze figure, holding the laurel wreaths, represents America. The soldier on the south side of the monument is an infantryman and is staring north, toward home. The other soldier, on the north half of the installation, is a cavalry soldier, he is looking south, with his hand on the hilt of his sword. The cavalry soldier is looking toward battle.</p><br>
<p>Tuluwat Island  is located on Humboldt Bay within the city of Eureka, California. The 1860 massacre of the Wiyot people was perpetrated in the village of Tolowot or Tuluwat on this island. A National Historic Landmark encompasses the midden at Gunther Island Site 67. Since October 21, 2019, the Wiyot Tribe have had the land deed to almost all of the island.</p><br>
<h2>Geography</h2><br>
<p>Tuluwat Island is the largest of three islands located between the Samoa and Eureka Channels within Humboldt Bay and primarily consists of tidal marsh. Over time, human habitation on the island changed its topography, in part due to a process known as shell mounding, which increased the elevation of the island as Wiyot continually placed shells remaining from subsistence fishery management in the same location over a period of centuries.</p><br>
<p>The current island is about with about to the north-east of California State Route 255 and the rest to the south-west.</p><br>
<h2>History</h2><br>
<h3>Early history</h3><br>
<p>The indigenous Wiyot lived in Tolowot village on Duluwat Island long enough to alter the topography by the accumulation of shell fragments in middens, and the island became tall enough to be visible on the horizon from several miles away.</p><br>
<p>A non-degree student and employee of the University of California, Llewellyn Lemont Loud (1879-1946), conducted archaeological excavations of the island in 1918 that showed evidence of habitation since around 900 CE. The group of artifacts he excavated and described became known as the Gunther Pattern or Gunther Phase The first major evidence of this came from Gunther Island Site 67 on Indian Island.</p><br>
<h3>1860 massacre</h3><br>
<p>On February 26, 1860, about two hundred Wiyot people, mainly women and children, were massacred while most of the men were away during a World Renewal Ceremony. The massacre was carried out by European immigrants, who had settled in the area since 1850 as part of the California Gold Rush. There were few survivors.</p><br>
<h3>European settlement</h3><br>
<p>Robert Gunther acquired the island in 1860, three days before the massacre, giving it the name it had for much of recent history. Gunther diked the island and ran dairy cattle there for nearly 40 years.</p><br>
<p>In the 1870s a shipyard repair facility was constructed. The shipyard operated until the 1980s.</p><br>
<h3>Modern era</h3><br>
<p>In 1971 Caltrans built a series of bridges (known collectively as the Samoa Bridge), which cross Humboldt Bay and now directly connect the city of Eureka with the peninsula. Two of these bridges have footings on Tuluwat Island.</p><br>
<p>Every year since 1992, the Wiyot people and supporters come to the island on the last Saturday in February to heal the community, and remember the human lives lost at the time of the Massacre. Every year participation has increased at the vigil on a nearby island.</p><br>
<p>In 1998, the Wiyot people began fundraising to repurchase the island in order to be able to again dance the World Renewal ceremony on the island. The first purchase of was made in 2000. In June 2004, the city of Eureka repatriated a further to the Wiyot Tribe.</p><br>
<p>The city of Eureka and the Wiyot Tribe installed a temporary erosion control system to mitigate erosion on the site. Clean-up of contamination from the shipyard activities on the first site was certified complete in 2014.</p><br>
<p>On December 5, 2018, the Eureka City Council voted unanimously to return its remaining land on the island to the Wiyot people, deeding it to the Wiyot Tribe on October 21, 2019. Since that transfer, the Wiyot have owned all of the island except for a few privately owned parcels. Tuluwat Island&#39;s repatriation is believed to be the first time a USA municipality has returned land to an Indigenous community without strings attached.</p><br>
<p>Oregon City Hall is the main municipal building for the Ogle County, Illinois city of Oregon. It stands on Oregon&#39;s Third Street, in the middle of the Oregon Commercial Historic District. The building is considered a contributing structure to the overall historical integrity of the historic district. Erected in 1920, the building, along with the rest of the historic district joined the National Register of Historic Places in August 2006.</p><br>
<p>Madewood Plantation House, also known as Madewood, is a former sugarcane plantation house on Bayou Lafourche, near Napoleonville, Louisiana. It is located approximately two miles east of Napoleonville on Louisiana Highway 308. A National Historic Landmark, the 1846 house is architecturally significant as the first major work of Henry Howard, and as one of the finest Greek Revival plantation houses in the American South.</p><br>
<h2>Description</h2><br>
<p>The Madewood Plantation House is located on the northern bank of Bayou Lafourche, on manicured grounds separated from the bayou by Highway 308. It is a two-story masonry, built with massive brick walls that have been finished with stucco scored to resemble stone blocks. Its five-bay facade is fronted by a six-column Greek Revival temple front, that has Ionic columns rising to a broad entablature and fully pedimented gable with a half-round louver at the center. The second-level gallery has a delicate carved balustrade. The main block is flanked on the right by a rectangular ell, and the left by an L-shaped one that extends beyond the rear of the main block. The interior exhibits high quality woodwork, mostly cypress, with some of it painted to resemble other materials, such as marble, oak, and other exotic woods.</p><br>
<h2>History</h2><br>
<p>The mansion was built for Colonel Thomas Pugh in 1846 and was designed by architect Henry Howard in Greek Revival style. The house was originally the manor house for a 10,000 acre sugar plantation.</p><br>
<p>Thomas Pugh was the half brother of William Whitmell Hill Pugh who owned the Woodlawn plantation and Alexander Franklin Pugh who was part owner of the Augustin, Bellevue, Boatner, and New Hope plantations. Thomas Pugh died of yellow fever in 1852. During the Civil War, the lawns were used by Union troops as a hospital.</p><br>
<p>Robert Lee Baker purchased the house and plantation in 1916. It comprised 3,000 acres, of which 1,000 acres were under cultivation.</p><br>
<p>The Madewood house was then purchased by Harold Marshall in 1964 and underwent major restoration that was completed in 1978. It was declared a National Historic Landmark in 1983. Based on the nomination form for landmark status (NRHP Ref. No. 73000860), which includes photos and is dated 1973, the photo attached to this article showing a ruined house is incorrectly labeled as Madewood “in a state ruin.” That photo could be Seven Oaks Plantation near New Orleans in 1973, which was four years before its final demolition.</p><br>
<p>Today it is run as a tourist attraction and a bed and breakfast.</p><br>
<h2>In popular culture</h2><br>
<p>The plantation has been featured in several film and television productions, including A Woman Called Moses (1978), Sister, Sister (1987), and The Beguiled (2017).</p><br>
<p>Portions of Beyonce&#39;s visual album Lemonade (2016) were filmed at the location.</p><br>
<p>The music video for J. Cole&#39;s "G.O.M.D." (2015) was filmed at the plantation.</p><br>
<p>The Schiller Piano Company was an American manufacturer of pianos in Oregon, Illinois. It operated independently from 1890 to 1936, when it merged with the Cable Company and thereafter produced pianos under the name Cable and Conover. Thousands of pianos were produced in its factory, which was operated by corporate successors until 1971. The 120,000 ft&sup2, stucco-clad building was renovated for use as an indoor mall in 1975 and today operates as the Conover Square Mall.</p><br>
<p>The factory and its iron water tower base are contributing properties to the Oregon Commercial Historic District, listed since 2006 on the United States&#39; National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The Schiller Piano Company was founded around 1890 at the northwest corner of Oregons Second and Washington Streets. Its creation was financed by Oregon resident F.G. Jones. The first president of the company, Jones was not active in the companys management until 1895 when he reportedly left his well-established mercantile business to take an active position at the piano company as general manager and president of the factory. Sources conflict as to whether Jones actually left his mercantile interests behind, which included work as the president of the Oregon Electric Light and Power Company and Oregon Machine and Foundry. In addition the Schiller Company owned an interest in the Power Company and two Jones sons, George H. and Edgar B., held management positions with the firm.</p><br>
<p>Maps from 1893 show the Schiller Piano Company, identified as the Oregon Piano Company, in much smaller facilities along Franklin Street. By 1899, maps show minor expansion along the west end of the facility. Maps in 1905 show the larger, present-day factory with the original structure, identified as the Oregon Piano Factory, still extant on the building&#39;s south side.</p><br>
<p>Schiller purchased Chute & Butler piano co. and moved production to Oregon starting September 1, 1920.</p><br>
<p>Located immediately to the north of the piano company was a large, gable-roof grain elevator owned by the Neola Elevator Corporation. North of Neola was another elevator, owned by Oregon Cereal Company. Facing Third Street, standing in front of the Neola company, was an agricultural supply store. By 1913, the store had disappeared and the Schiller Company&#39;s iron water tower was erected near its former location.</p><br>
<p>In a little over ten years, the Schiller Company had clients in the United States, Canada, Hawaii and Italy; by 1909 it employed 300 people and had manufactured 40,000 pianos. The Schiller Factory had expanded into a 122,506 ft&sup2; facility adjoining the water power provided by the Rock River to its east. F.G. Jones died in 1913 and his sons George and Edgar took over management of the Schiller Company, which was largest industry in Ogle County.</p><br>
<p>By 1929, the company had sold a total of 80,000 pianos.</p><br>
<p>In 1936, the Schiller Piano Company merged with the Cable Piano Company and began producing pianos under the name Cable and Conover. In 1943, the old Schiller factory was sold to Winter and Company of New York City, which later became the Aeolian Company. The factory remained in operation, producing different products through the years, such as talking machines, player pianos, spinnets, baby grand pianos and pianos. Through the late 1960s, the factory employed 100 people and produced up to 6,000 pianos per year. In 1971, Aeolian closed the factory and moved its manufacturing operations to Memphis, Tennessee.</p><br>
<p>In 1975, Dean Dye of Oregon purchased the property and opened it as the Conover Square Shopping Mall.</p><br>
<h2>Architecture and design</h2><br>
<p>The Schiller Piano Company factory building&#39;s rear, Franklin Street, wing was constructed in 1893.</p><br>
<p>The building&#39;s long south facade stretches ten bays as the ground slopes toward the river. All of the south bays feature one over one single-hung sash windows on each story except for bays four, seven and eight, which are windowless. The south facade also features piers with iron buttresses as well as a third bay dock door.</p><br>
<p>The base of what was once the Schiller Piano Companys water tower remains standing on the lots northwest corner. It is an iron base of four tiers which rises up to where the tank once sat; it was removed sometime prior to 1971. On the second through fourth stories of the base a ladder is still attached.</p><br>
<h2>Significance</h2><br>
<p>The Schiller Piano Company and its Oregon factory were once the largest industry in Ogle County. After the company merged with Cable, the pianos they produced were considered top-of-the-line. The historic district was added to the USA National Register of Historic Places on August 16, 2006.</p><br>
<p>125 S. Fourth St. is the address of an unnamed historic building in the Ogle County, Illinois city of Oregon. The building is part of the Oregon Commercial Historic District and as such is part of the National Register of Historic Places. The district and its contributing properties were added to the Register in August 2006. The building has been altered somewhat from its original appearance including wood siding added to the first floor level and the addition of signage. It stands near the rest of the 100 Block of South Fourth Street, which includes other historic buildings at 127 S. Fourth St., 121-123 S. Fourth St., to which 125 is adjacent and the Masonic Temple Lodge No. 420.</p><br>
