<p>The Redington Museum or Redington House is a historic house and museum in Waterville, Maine that is listed on the National Register of Historic Places. The museum is the headquarters of the Waterville Historical Society. Built in 1814, it is one of the best-preserved houses of the period in the city. It has served since 1924 as the museum and headquarters of the Waterville Historical Society, and was listed on the National Register of Historic Places in 1978.</p><br>
<p>The museum is listed on the official website of the Maine Office of Tourism.</p><br>
<h2>Location</h2><br>
<p>The museum is open between Memorial Day and Labor Day from Tuesday to Saturday. Visitors are supposed to enter during the tour times, which are at 10 a.m., 11 a.m., 1 p.m. and 2 p.m. In practice, they may allow admission other times. Therefore, one should be prepared to visit as if they had an appointment for a specific time although the curators may allow other visitors to enter. There is an admission charge of $5 for adults 18 and older. Children 17 and younger are free when accompanied by an adult.</p><br>
<p>The museum is located at 62 Silver Street about 2 blocks south of downtown Waterville, about one block south of the funeral home.</p><br>
<h2>Exhibits</h2><br>
<p>The Redington Museum offers a comprehensive view of life in New England and Waterville, Maine during the past two centuries. There are collections of furniture, accessories, household artifacts, toys, tools, and weapons as well as historical papers and diaries. The main building is designed in the Federal-style of architecture. The museum is maintained by the Waterville Historical Society.</p><br>
<p>The museum is essentially a historic house that has period furniture and exhibits about the Waterville area as well as a replica pharmacy building near the site where the original building once stood. The curators are a couple who live on the premises.</p><br>
<p>The museum is a two-story white shingled house built in 1814. The exhibits include old furniture and curios from the 1800s. The museum opened in 1927. It is part of the National Register of Historic Places.</p><br>
<p>The Waterville Historical Society keeps its collection of books and manuscripts at the museum. There is a collection of rare old maps of the area available for scholarly research.</p><br>
<h2>Description and history</h2><br>
<p>The Redington House stands on the southeast side of Silver Street (Maine State Route 137) in central Waterville, between Western Avenue and Silver Place. It is a -story wood-frame structure, with a gabled roof, two interior brick chimneys, clapboard siding, and granite foundation. The front facade is five bays wide, with the outer bays closely spaced but offset from the center. The entrance, at the center, is sheltered by a single-story porch which extends across the center three bays, and is supported by fluted Ionic columns with an ornate wooden railing above. Most of the windows are sash, but that above the entrance is flanked by sidelights. The interior retains original period finishes. Extending to the rear of the main block are later wood frame additions.</p><br>
<p>The museum is housed in a two-story home built in 1814 by pioneer Waterville settler Asa Redington, a veteran of three enlistments in the American Revolutionary War and a member of George Washingtons elite Honor Guard. After the victory against the English, he developed the water rights at Ticonic Falls and with his sons, Samuel and William, established a thriving flour mill on the banks of the Kennebec River. The father of six sons and three daughters, Asa built this substantial home for his son William. Fashioned of great hewn timbers, all hand pegged, it still features the original spiral staircase, fireplaces with period woodwork, and floors of wide pumpkin pine. The newel post in the entrance exhibits the "contractors peace stone," a small smooth polished stone signifying in Colonial times that the project had been completed to both the owners and builders satisfaction. Today, five rooms are furnished with antiques of the late 18th and early 19th centuries from the Redington family, the family of pioneer attorney Timothy Boutelle, the family of revolutionary war veteran Jabez Mathews, and from other early local families. It remained in the hands of Redington&#39;s descendants until 1924, when it was given to the Waterville Historical Society by Mrs. William Redington. The society now uses it as its headquarters and museum.</p><br>
<p>The Pickwick Theatre is an art deco movie palace located in Park Ridge, Illinois, a suburb of Chicago.</p><br>
<p>Designed by Roscoe Harold Zook, William F. McCaughey, and Alfonso Iannelli, the Pickwick opened in 1928 as a vaudeville stage and movie theatre. It is widely recognized for its marquee and 100-foot tower, which appeared in the opening credits of At the Movies. The main auditorium, built to resemble an Aztec or Mayan temple, originally seated up to 1,400 people.Avis L. Weatherbee. "Screen Gems:</p><br>
<p>A Gilded Tour Of Our Remaining Movie Palaces". Chicago Sun-Times. 18 March 1994. Seating capacity in the main auditorium was reduced by 200 seats in 1968 and an additional 400 seats in 2012 as the result of renovations. The 2012 renovation project, valued at $1.2 million, also included a new roof, mechanical improvements and exterior renovations including those to the original marquee.</p><br>
<p>The theater was named in 1928 by the mayor of Park Ridge, William H. Malone I, for the title character Samuel Pickwick in Charles Dickens&#39; novel The Pickwick Papers.</p><br>
<p>The building was placed on the National Register of Historic Places in 1975 and continues to host films as well as live stage shows. In 1990, theatre management expanded the Pickwick by adding three new screens behind the original auditorium. In 2017, owner Dino Vlahakis added a 39-seat theatre located on the second floor of the rear building, in place of the theatre&#39;s offices. In celebration of the 2018 Illinois Bicentennial, the Pickwick Theater was selected as one of the Illinois 200 Great Places by the American Institute of Architects Illinois component (AIA Illinois).</p><br>
<p>In 2022, the Pickwick Theatre was featured in an episode of NBC&#39;s Chicago Fire (TV series).</p><br>
<p>The Mogollon Baldy Lookout Cabin, in Gila National Forest on Mogollon Baldy peak, in New Mexico, was built in 1923. It was listed on the National Register of Historic Places in 1988.</p><br>
<p>It is a log cabin close to the lookout tower near the peak. The listing does not include the lookout tower itself.</p><br>
<p>NRHP photos but not NRHP nomination doc:</p><br>
<p>It is located on Mogollon Baldy, a peak in the Mogollons. The highest peak in the Mogollons, Whitewater Baldy, is 4.6 mi to the northwest.</p><br>
<p>The Bigelow House, also known as the Bigelow House Museum, is a historic house museum located at 918 Glass Avenue Northeast in the Bigelow Neighborhood of Olympia, Washington. Built by Daniel Bigelow in the 1850s, the house was designed in the Carpenter Gothic style. It was listed on the National Register of Historic Places in 1979.</p><br>
<h2>History</h2><br>
<p>Harvard Law School graduate Daniel Bigelow arrived in Olympia in 1851 after crossing the Oregon Trail. He took up a 160 acre Donation Land Claim just east of the new town and built a two-room cabin near an artesian spring overlooking Budd Inlet in South Puget Sound. In 1854 Bigelow married Ann Elizabeth White, one of the first school teachers in the territory. They built the present house by 1860 where they raised eight children.</p><br>
<p>The Bigelows were active in many political causes including temperance, women&#39;s suffrage and public education. Over the years many historical figures visited the Bigelows including Snoqualmie headman Patkanim, Suffragette Susan B. Anthony and George Pickett when he was stationed in the territory prior to the American Civil War. The Bigelows were also a host family for some of the Mercer Girls when they arrived in 1866. The Bigelows lived in the house until their deaths; Daniel in 1905 and Ann Elizabeth in 1926.</p><br>
<p>The house remained in the Bigelow family until 1994 when owners Daniel S Bigelow (grandson of Daniel and Ann Elizabeth) and Mary Ann Campbell Bigelow helped form the non-profit Bigelow House Preservation Association (BHPA) to save the house from developers. BHPA restored the house to its territorial era appearance, naming it the Bigelow House Museum in 1995. The Bigelow family also retained a life-estate agreement that allowed them to remain in the house for the rest of their lives.</p><br>
<p>Since 2005 the Bigelow House Museum is fully open as a public museum, displaying original territorial era furnishings, photos, and documents. It is one of the oldest and most intact pioneer-era homes in Washington. The home is also the centerpiece of the Bigelow Neighborhood, which includes many homes built by the Bigelow and White families. In 2013 BHPA merged with the Olympia Historical Society becoming the Olympia Historical Society and Bigelow House Museum.</p><br>
<p>The Crow Wing Historic County Courthouse, in Brainerd, Minnesota, United States, is a Beaux-Arts courthouse built in 1920. The building, along with its adjoining jail, are listed on the National Register of Historic Places.</p><br>
<p>The Beaux-Arts style was popular in the first quarter of the 20th century for Minnesota courthouses. The first floor has a rough-cut stone exterior, while the floors above are built of smooth-cut gray stone. The interior has polished marble floors and walls, with a rotunda surrounded by a balcony. The dome has both a colored glass skylight and a fine brass electrolier.</p><br>
<p>The Crow Wing Historical Society Museum is located in the former sheriff&#39;s residence and jail.</p><br>
<p>The Dana Adobe & Cultural Center or "Casa de Dana" is a historic landmark in Nipomo, California. It was the home of Boston sea captain William Goodwin Dana, who in 1837 was granted the 37,888 acre Rancho Nipomo in Southern California. Captain Dana hosted figures such as Henry Tefft and John C. Fremont in his Nipomo home, which also served as an important exchange point on California&#39;s first official mail route between Monterey and Los Angeles.</p><br>
<p>The building is listed on the National Register of Historic Places.</p><br>
<p>The Thomas Cole National Historic Site, also known as Cedar Grove, is a National Historic Landmark that includes the home and the studio of painter Thomas Cole, founder of the Hudson River School of American painting. It is located at 218 Spring Street, Catskill, NY, United States. The site provided Thomas Cole with a residence and studio from 1833 through his death in 1848.</p><br>
<p>The property was declared a National Historic Landmark in 1965. It was designated a National Historic Site in 1999 and is an affiliated area of the National Park Service.</p><br>
<h2>Site history</h2><br>
<h3>Pre-Cole years</h3><br>
<p>In 1684, Gysbert uyt den Bogaert purchased about 460 acre of land from Native Americans, an area at the mouth of Catskill Creek that was bounded on the east by the Hudson River. After the death of his last descendant the land was subsequently divided and sold by a speculator in the middle of the 18th century. The land was further subdivided during the Revolutionary War, but the development of the area (including the foundations of the town of Catskill) only began in the mid-1790s when growth is described in historical sources as "very rapid."</p><br>
<p>One of the first landowners was Dr. Thomas Thomson (1750–1805), who arrived in 1787 to practice medicine, speculate in land, and live with his family. After his death and the return of his son Thomas T. Thomson from South America in 1815, the doctor and his family purchased and leased neighboring lots until their property encompassed 155 acre at its apex. During this period, the family built a Federal-style house as their primary residence, finishing construction in 1816. The first documented references to the property as Cedar Grove date to this time.</p><br>
<p>In 1821, Thomas T. Thomson died. His brother John A. Thomson, known familiarly as "Uncle Sandy," assumed duties as head of the household. The Cedar Grove property was a working farm, with oxen, cows, beef cattle, hogs, and one horse. Barley, oats, corn, and hay were cultivated, though orchards produced the primary cash crop of the farm. A large extended family lived with Uncle Sandy, including four of his orphaned nieces.</p><br>
<h3>Cole&#39;s residency</h3><br>
<p>When Thomas Cole arrived in the early 1830s, Cedar Grove had become "a viable gentlemans farm." Looking to secure a more permanent residence in the Catskill area while maintaining a studio in New York City, Cole rented space from the Thomson family to live and paint. In November 1836 he formally entered the family, marrying John A. Thomsons niece Maria Bartow in the West Parlor of the Cedar Grove house. She was 23 years old to his 35.</p><br>
<p>Cole painted numerous scenes of the Catskill landscape around Cedar Grove, including such well-known paintings as Lake with Dead Trees, and Kaaterskill Falls. Cedar Grove continues to offer views of the Catskill mountains, and Cole expressed his feelings for the site and its proximity to the wilderness in poetry and letters. In 1834 he wrote,</p><br>
<p>Cole purchased two and a half acres of land outright from John A. Thomson, intending to construct a separate house for his wife and himself, but never did so. Instead, he lived in the master bedroom formerly occupied by John A. Thomson, and raised his children in the main house.</p><br>
<p>Late in 1839 Cole moved into a new studio, using part of a barn that John A. Thomson had constructed. The studio still stands today, replete with an extra window built to give the artist more northern light. Here Cole painted a number of important works, most notably The Voyage of Life. After John A. Thomson&#39;s death in 1846, Cole erected another studio on the property, which was demolished in the 1970s. In February 1848 Cole caught pneumonia and died in the master bedroom at Cedar Grove, leaving behind his wife and four children.</p><br>
<h3>Post-Cole years</h3><br>
<p>Coles student Frederic Edwin Church became a close friend of the family and sketched much of Cedar Grove in 1848. Following Coles death, a number of artists traveled to visit Cedar Grove, with some renting his studio and making paintings and sketches of the houses and grounds. Jasper Francis Cropsey and Charles Herbert Moore were among those who visited, and descriptions of the site began to appear in magazines and newspapers. Cole&#39;s privileged position in American art during the mid-19th century ensured constant interest in his place of work by the artistic community until many years after his death.</p><br>
<p>In the 1880s, however, the family had fallen on hard financial circumstances, with Frederic Church forced to assist them in 1882. The size of the property gradually diminished due to a combination of public works (including a road and reservoir) and sales to help the family&#39;s financial situation. In 1933 the construction of the nearby Rip Van Winkle Bridge at first threatened to demolish the house, but after concerted efforts by the Cole family only took a portion of land.</p><br>
<p>In 1964 the last surviving descendant of Cole held an auction to sell a number of Cole&#39;s paintings and furnishings. During the 1960s, the historic flower beds were abandoned, and the old cottage that Cole had initially rented was demolished. After New York State declined to preserve the property, it was purchased by the Catskill Center for Conservation and Development who listed it for sale with restrictive deed covenants in 1981. In 1982 it was purchased by four art enthusiasts who began restoration work. After the National Park Service declined to acquire the site, a grant from the Beecher Trust helped the Greene County Historical Society purchase the site in 1998. Restoration began in earnest and Cedar Grove opened to the public in 2001.</p><br>
<p>In 2016, the reconstruction of Cole&#39;s "New Studio," which was built according to his own design in 1846 and demolished in 1973, opened to the public. The reconstruction was aided by historic photographs, sketches by Frederic Church and Jasper Cropsey, and a painting by Charles Herbert Moore.</p><br>
<p>In 2019, in partnership with Olana State Historic Site and the New York State Bridge Authority, the Thomas Cole National Historic Site opened the Hudson River Skywalk, a pedestrian walkway across the Rip Van Winkle Bridge aiming to connect the two historic sites.</p><br>
<p>Switzler Hall is an academic hall on the campus of the University of Missouri in Columbia, Missouri. The building was completed in 1872, and it is located on the west side of the David R. Francis Quadrangle. Switzler Hall is the oldest academic building and second oldest structure on campus after the Chancellors Residence. The building was named after Colonel William Franklin Switzler, editor and publisher of the Missouri Statesman and supporter of the University. Today the building houses the Department of Communication, Womens and Gender Studies, and the Special Degrees Program. The building is listed on the National Register of Historic Places.</p><br>
<h2>Bell Tower</h2><br>
<p>One component of Switzler Hall is the bell tower. The bell was given to the University by Major James S. Rollins and is inscribed with the words "Nunc occasion est et tempus," which translated is, "Now is the occasion and the time." While the bell originally rang for classes until 1936, it now only rings for Tap Day, the Mizzou 39 ceremony, and to honor the passing of members of the MU family. During the time the bell was used to signal the start of classes, it was a longstanding prank among many student to steal the bell&#39;s clapper, so that the signal for classes to start would not be sounded.</p><br>
<h2>Silo</h2><br>
<p>Switzler Hall is also home to a mysterious three-story "silo" through the center of the structure. The cylindrical, 8-foot-diameter, brick, silo rises from the basement to the roof of the building. In the middle of the silo, a solid wooden structure, which resembles some sort of dumbwaiter device or ladder, also rises to the attic. The purpose of the silo is still unknown; however, some of the proposed original uses include use as a means of roof access, as part of a heating and cooling system, as a drop tower for physics students, or as an elaborate means of venting chemical work on the lower floors.</p><br>
<p>Heslar Naval Armory  was constructed in 1936 in Indianapolis, Indiana, United States, on the shore of White River as a Works Progress Administration construction project. It was designed by architect Ben H. Bacon and reflects an Art Moderne style. Heslar Naval Armory was the home of Naval Operations Support Center Indianapolis, Marine Corps Reserve Center Indianapolis, and Naval Recruiting Station Indianapolis, as well as the United States Naval Sea Cadet Corps Cruiser Indianapolis  Division and the Central Indiana Young Marines of the Marine Corps League. In October 2008 the Indiana Wing Civil Air Patrol, state branch of the US Air Force Auxiliary, moved its headquarters functions and staff to the Armory.</p><br>
<p>The building and property are legally owned by the State of Indiana and managed by the Indiana State Armory Board (an entity of the Indiana National Guard), but were leased to the federal government for use by the United States Navy Reserve and the United States Marine Corps Reserve until early 2015. The facility was converted to educational use with the opening of Riverside High School. Renovating the armory for use as a school cost $10 million, and was completed in June 2018.</p><br>
<h2>History</h2><br>
<p>Construction began on the US$550,000 project in February 1936, and the building was officially dedicated as the Indianapolis Naval Reserve Armory at a ceremony on October 29, 1938. John K. Jennings, Indiana State WPA administrator, presented the building to Elmer F. Streub, adjutant-general, who then presented it to Captain O.F. Heslar, commandant of the Indiana State Naval Reserve. Louis J. Bornstein, representing the citizen&#39;s dedication committee, served as toastmaster. Guests included Lieutenant-Governor Henry F. Schricker; Indianapolis Mayor Walter C. Boetcher; Admiral Hayne Ellis, commander of the Ninth Naval District; and representatives of the Navy Department and the Navy Reserves of several states.</p><br>
<p>The structure was built of reinforced architectural concrete with steel roof trusses. Upon completion, the four-story building included a navigation bridge, signal hoist, magazine, battle telephones, boiler room, radio communication, watertight bulkheads, ship&#39;s ladders, galley, 50 ft swimming pool, gymnasium, rifle range, classrooms, and mess and quarters for officers and enlisted staff. The mess hall and gymnasium were decorated with 12 by murals depicting famous naval battles and events.</p><br>
<p>Inscribed around the rotunda and on the walls of the exterior are the surnames of several significant figures in Naval History including George H. Preble, George Dewey, Oliver Hazard Perry, John Paul Jones, and David Glasgow Farragut.</p><br>
<p>On November 20, 1939, Captain O. F. Heslar (1891–1970) took command of the armory and, the gunboat aboard which the Naval Reserve force trained on Lake Michigan each summer. Captain Heslar remained in this capacity through November 1940, when he was ordered to take his ship and her crew to Boston, Massachusetts, for refitting. It was here that the vessel was transferred to the active USA Navy and was docked at Pearl Harbor when that base was attacked by Japanese forces on December 7, 1941. She survived the attack while shooting down at least two enemy fighters, and participated in rescue and salvage operations immediately afterward.</p><br>
<p>During World War II, the inland location was ideal when generals and admirals, seeking to avoid the constant surveillance on the coasts, gathered regularly at the armory in Indianapolis to plan their Atlantic and Pacific campaigns, including elements of the pivotal Battle of Normandy that began June 6, 1944. Throughout World War II, the Indianapolis Naval Reserve Armory remained a vital facility where radioman and yeoman recruits trained for sea duty. Following that conflict it returned to a peacetime reserve function. In 1946, the United States Marine Corps reactivated Headquarters Co. 16th Infantry Battalion for training and ordered them to Heslar. This unit was called for duty in Korea in 1950.</p><br>
<p>On December 12, 1964, the Indianapolis Naval Armory was renamed the Heslar Naval Armory in honor of its first and longest-serving commanding officer in a dinner ceremony emceed by Harry T. Ice. Mrs. Heslar was ill and unable to attend, but a tape recording was played for her later in their home in New Augusta. In attendance were Heslar&#39;s son, Lieutenant Fred G. Heslar USNR, and his wife, as well as former Indiana Governor Ralph Gates; Rear Admiral Howard A. Yeager, Commandant of the Ninth Naval District, Great Lakes Illinois; Colonel George P. Hill Jr, Commanding Officer of Fort Harrison; Commander Joseph W. Tilford, commanding officer of the Indianapolis Naval Reserve; Brigadier General John D. Friday of the Indiana National Guard; Brigadier General G. Wray DePrez Indiana National Guard (ret.), president of the Indiana State Armory Board; Brigadier General Kenneth E. Keene, assistant chief, Indiana Air National Guard; Captain James C. Wootton, commanding officer of Naval Avionics Facility; Captain Firman F. Knachel; and Captain Robert O. Jackson, commander of Indiana Naval Forces.</p><br>
<p>Unveiled at the ceremony was a plaque that is now mounted on the exterior of the rotunda and reads:</p><br>
<p>Heslar Naval Armoryin honor ofCaptain Ola Fred Heslar, USNR (Ret.)Commanding Officer of the Naval Reserve State of Indiana 1921-1940</p><br>
<p>A dedicated Naval officer and true hoosier, Captain Heslar has given unselfishly of his time, knowledge, and efforts to further the Naval Reserve and the Indiana Naval Forces.</p><br>
<p>Held in the highest esteem by his fellow officers and fellow hoosiers, it is altogether fitting that this armory be dedicated and so named.</p><br>
<p>Matthew E. WelshGovernor, State of Indiana</p><br>
<p>1964</p><br>
<p>In 1978, after the nearby Marine Reserve facility in Riverside Municipal Park was damaged, a decision was made to renovate the Armory and accommodate local Marine Reserve Components. Renovation began in 1977 with the removal of nearly all non-support internal structure and replacing them with a more modern floorplan. Also, a large parking lot was created on the former site of the Riverside Amusement Park. On November 1, 1978, the facility was re-designated as a Navy and Marine Corps Reserve Center.</p><br>
<p>In early 2015 the Navy and the Marine Corps discontinued use of the facility. Renovations to convert the armory into Riverside High School were completed in June 2018.</p><br>
<p>Heslar Naval Armory has been listed as a contributing property to the Indianapolis Park and Boulevard System, along with several other sites and buildings. The buildings together form a Historic district that has been listed on the National Register of Historic Places since 2003.</p><br>
<h2>Captain Ola F. Heslar (1891&ndash;1970)</h2><br>
<p>Ola Fred Heslar was born October 5, 1891, in Brazil, Indiana, to Walter and Minnie (née Rhodes) Heslar. He attended grade school in Brazil and Crawfordsville, and high school in Indianapolis. He enlisted in the USA Navy in 1907 and, after basic training, was assigned to a submarine in the Philippine Islands. Later, he was stationed at Norfolk Navy Yard as a radioman.</p><br>
<p>In April 1913, Heslar married Alice Marie Young of Rockland, Maine. He earned a commission in 1916 and served aboard in the Mediterranean Sea and Atlantic Ocean. Next, and no doubt in reflection of his experience as a radioman, Heslar was assigned as Officer-in-Charge of the Transatlantic Radio Station in Tuckerton, New Jersey.</p><br>
<p>From 1919 until 1920, Heslar served as a staff officer under Admiral Henry Braid Wilson, Commander in Chief, USA Atlantic Fleet (CINCLANT), 1919–1921. He continued that duty under Admiral Hilary P. Jones when Admiral Jones accepted the post of Commander in Chief of the USA Atlantic Fleet in 1922.</p><br>
<p>In 1922, Capt. Heslar retired from active Navy service and entered the USA Navy Reserve. He was assigned to active duty as Area Commander of Indiana, and later Chief of Naval Affairs for the State of Indiana. It was in these posts that he founded and organized the Indiana Naval Forces by initiating the Indiana Naval Militia Act, which was passed into law on March 1, 1927. Also in this capacity, Capt. Heslar oversaw the construction of the Naval Armories at Indianapolis and Michigan City. Capt. Heslar set a standard that was to be followed nationwide by naval reserve training and operational facilities when he established the first naval training activities at Heslar Naval Armory. During this time, Captain Heslar was also a member of the Great Lakes Commission of Indiana, and the Indiana Board of Public Harbors.</p><br>
<p>Heslars first wife died in August 1930, having borne no children. In 1934, Heslar remarried to Mabel Kathleen Gasaway of Indianapolis. In July 1938, Fred Gasaway Heslar, Capt. Heslars only child, was born.</p><br>
<p>With the beginning of World War II Capt. Heslar returned to staff and combat duties serving as Director of Training, 9th Naval District, Great Lakes, Illinois and, later, on the staff of Admiral William Halsey. On May 17, 1943 Capt. Heslar was awarded an honorary doctorate of law from DePauw University. He then went on to perform postgraduate work at the Massachusetts Institute of Technology and Columbia University.</p><br>
<p>In 1944, it was announced that Captain Heslar would be promoted to rear admiral. However, due to his health, he was sent to the Mayo Clinic and forced to permanently retire from Naval Service. In 1959, he was awarded the Navy Distinguished Service Medal for exceptionally meritorious and distinguished service.</p><br>
<p>Upon returning home to Indianapolis, newly elected Republican Governor Ralph M. Gates appointed Captain Heslar to the position of Indiana State Purchasing Director, which the Captain assumed on February 1, 1945. As of January 12, 1946, he was a member of the Republican Party, the Blue Lodge Free and Accepted Masons, the Columbia Club, the Woodstock Club, and the Methodist Church.</p><br>
<h2>Commanding officers</h2><br>
<h2>Artifacts</h2><br>
<p>Heslar Naval Armory is home to several artifacts of Naval history including:</p><br>
<p>a bell from cast in 1942 with the commissioning of that ship.</p><br>
<p>a bell from cast in 1932 with the commissioning of that ship.</p><br>
<p>a damaged flag recovered from USS Indianapolis presented to the city of Indianapolis on February 2, 1960 by the Indianapolis Council of the Navy League of the United States.</p><br>
<p>a memorial to established by the Submarine Veterans of W.W.II, Hoosier Squadron. This memorial has since been removed and moved to a location unknown.</p><br>
<p>a flag recovered from, hung in the wardroom.</p><br>
<p>a quartermaster&#39;s logbook from USS Indiana in 1943.</p><br>
<p>original blueprints for USS Indiana.</p><br>
<h2>NOSC Indianapolis logo</h2><br>
<p>The logo for NOSC Indianapolis (then NMCRC Indianapolis) was created by QM1 Jerome (Jerry) Bennett and approved by CDR Lee Shafer in 1980. The eagle represents the US, the Hoosier homeland is represented by the states outline. The unique nature of the WPA constructed building represents the peacetime home of the reservist. The ships wheel is for guidance, and the anchor for stability &ndash; both values central to Navy Reserve Training.</p><br>
<p>The Livestock Exchange Building in Omaha, Nebraska, was built in 1926 at 4920 South 30 Street in South Omaha. It was designed as the centerpiece of the Union Stockyards by architect George Prinz and built by Peter Kiewit and Sons in the Romanesque revival and Northern Italian Renaissance Revival styles. In 1999 it was designated an Omaha Landmark and listed on the National Register of Historic Places. The Union Stockyards were closed in 1999, and the Livestock Exchange Building underwent an extensive renovation over the next several years.</p><br>
<h2>History</h2><br>
<p>According to the City of Omaha Landmarks Heritage Preservation Commission, the Livestock Exchange Building was the largest and most visually prominent building constructed in South Omaha. Completed for the Union Stock Yards Company of Omaha in May 1926, the Livestock Exchange Building was the most significant structure associated with the Omaha Stockyards and served as the center of the livestock industry in Omaha. Chicago and Omaha were the two largest centers for livestock processing in the nation, and the industry was the most important in the city. In 1957 the stockyards and meatpacking industry employed half the workforce of Omaha.</p><br>
<p>Once the center of business and trading in the midst of 260 acre of livestock pens, the Livestock Exchange Building housed the Stockyards National Bank, offices, a bakery, cafeteria, kitchen, soda fountain, cigar stand, telephone and telegraph offices, apartments and sleeping rooms, a clothing store and a convention hall. There are two ballrooms located on the 10th floor, with 22-foot ceilings in an elegant Romanesque and Northern Italian Renaissance Revival style. The North Ballroom has a built-in bar, stage and hardwood floors. The South Ballroom has a balcony, three private boardrooms and a large dance surface.</p><br>
<p>A complex public-private renovation was completed in 2005. The building was converted to mixed-use, yielding more than 100 apartments, plus community and commercial space. Its historical character was preserved and it will be the center of a new neighborhood. The surrounding area will be redeveloped for mixed commercial, medical and light industrial uses. One of the most recent additions is the newest iteration of the South Omaha Library, a partnership between the City of Omaha and the Metropolitan Community College. The college has also opened a new campus on the site of the former stockyards.</p><br>
<p>The Washington Boulevard Building is a high-rise apartment building located at 234 State Street at the corner of State Street and Washington Boulevard in downtown Detroit, Michigan. The building, designed by Louis Kamper, was constructed from 1922 to 1923. It stands at 23 stories, and features a neoclassical limestone base.</p><br>
<p>Across the streets lie the Book Tower and the Book-Cadillac Hotel.</p><br>
<h2>Further reading</h2><br>
<p>48 Wall Street, formerly the Bank of New York & Trust Company Building, is a 32-story, 512 ft skyscraper on the corner of Wall Street and William Street in the Financial District of Lower Manhattan in New York City. Built in 1927–1929 in the Neo-Georgian and Colonial Revival styles, it was designed by Benjamin Wistar Morris.</p><br>
<p>The current structure is the third to be erected on the same plot, as the Bank of New York had previously erected buildings on the site in 1797 and 1858. The structure was erected during a period when many skyscrapers were being erected in Lower Manhattan. 48 Wall Street is designed with many neo-Georgian details. The lowest three stories, built over a raised basement, were used as the banking floor and feature large arched windows on the second story, as well as pediments over the entrances. The top of the building contains a cupola designed in the Federal style and topped by a statue of an eagle.</p><br>
<p>The Bank of New York moved out of 48 Wall Street in 1998, after which it was renovated extensively. Museum of American Finance occupied the former banking hall from 2007 to 2018; it was replaced by Will & Wall, a multi-purpose event venue. The building was designated a city landmark by the New York City Landmarks Preservation Commission in 1998 and was added to the National Register of Historic Places (NRHP) in 2003. It is also a contributing property to the Wall Street Historic District, a NRHP district created in 2007.</p><br>
<h2>Site</h2><br>
<p>48 Wall Street is located at the northeast corner of Wall and William Streets, facing Wall Street to the south and William Street to the west. The building has a frontage of 99 ft on Wall Street and 125 ft on William Street. The lot is largely rectangular with small variations. 55 Wall Street is across Wall Street immediately to the south; 40 Wall Street is across William Street to the west; and 52 William Street and 60 Wall Street share the block directly to the north and east, respectively.</p><br>
<p>The site slopes downward to the south, with the Wall Street side being slightly lower than the northern portion of the lot. As such, the Wall Street side is at the same elevation as the lobby on the 1st floor (which was designed like a basement), while the banking room on the second floor is slightly higher than William Street. This positioning probably reflected bank architect Alfred Hopkinss advice that a bank on a slope allowed "a better view of the banks interior" and that a partially-above-ground basement provided better ventilation for the departments housed there. Immediately outside the buildings southeastern corner is the entrance for the Wall Street station on the New York City Subways Broadway–Seventh Avenue Line (served by the ).</p><br>
<h2>Architecture</h2><br>
<p>48 Wall Street is a 513 ft skyscraper designed in the neo-Georgian style, In the 1920s, at the time of 48 Wall Street&#39;s construction, new bank buildings in New York City were typically one of two types: small buildings used solely for banking and large bank-and-office buildings that incorporated banks at their bases. Though there were roughly equal numbers of both types of building, large bank-and-office buildings were typically erected on plots with high land values, such as in the Financial District. Though many contemporary bank buildings still used the Greek Revival and Renaissance Revival styles, which were popular before World War I, other buildings like 48 Wall Street tried out new styles, such as neo-Romanesque and neo-Georgian styles.</p><br>
<h3>Form</h3><br>
<p>At the time of 48 Wall Street&#39;s construction, the 1916 Zoning Resolution necessitated the inclusion of setbacks on buildings in New York City that were above a certain height. As such, setbacks were added above the 14th, 20th, 25th, 26th, 30th, and 32nd floors. The eastern elevation of the building, which faces 60 Wall Street, is recessed above the 14th story, while the northern elevation facing 52 William Street is recessed above the 20th story. The eastern portion of the southern elevation (facing Wall Street) has setbacks on the 14th, 19th, 26th, 29th, and 32nd floors, and the northern portion of the western elevation (facing William Street) has a setback above the 28th story.</p><br>
<h3>Facade</h3><br>
<p>The facade is arranged so that the lowest stories are clad with granite and the upper stories are faced with limestone. A large-scale program of ornamentation was used on the facade, inspired by formal Georgian models. Due to the narrow street grid of the Financial District, the surrounding skyscrapers obstruct the view of the building from many angles; as a result, most of the ornamentation is at the base, where the banking room is.</p><br>
<p>The section of 48 Wall Street below the first setback is 14 stories tall: this is divided into a three-story base, a nine-story midsection, and two upper stories. and the office entrance is simpler with two panels reading and. Another elaborate entrance with a neo-Georgian surround is located on the northern end of the William Street facade (with the address 46 William Street), while a simple service entrance is located next to it. Another simple entrance to the 1st-floor retail area is at the southern end of the William Street facade. The base also incorporates two cornerstones from the previous buildings on the site, both dating from 1797: one from the Bank of New Yorks structure 48 Wall Street, and the other from the United States Branch Bank Buildings structure at 52 Wall Street.</p><br>
<p>The 1st and 2nd stories contain five vertical bays on Wall Street and eight on William Street, each of which contain one window. The windows illuminating the double-height 2nd-floor banking room are large arched windows, except the outermost windows on each side, which are smaller rectangular windows beneath decorative metal grilles. Above the 2nd-floor windows are ornamented keystones. The 3rd story is arranged with 10 bays on Wall Street, arranged in groupings of 2, 6, and 2, as well as with 14 bays on William Street, arranged in groupings of 1, 4, 4, 4 and 1. Above the 3rd floor is an elaborate cornice. The inscribed letters are located below the cornice on Wall Street. There are flagpoles above two of the arched 2nd-story windows on the Wall Street side, and another flagpole above the center of the 3rd story on the same facade.</p><br>
<p>The mid-section of the building includes eleven stories between the 4th and 14th floors, which are divided into bays separated by piers. The 4th and 14th floors are arranged as "transitional stories" that contain courses atop and below the facades of both stories. The 3rd through 14th stories are each arranged with 10 bays on Wall Street, in a 2-6-2 pattern, and 14 bays on William Street, in a 1-4-4-4-1 pattern. The outermost groupings of bays on each facade are distinguished by a pattern of textured and smooth blocks beside each bay. Above the 14th story is a decorative frieze.</p><br>
<p>The first setback is at the 14th story, but a four-bay-wide dormer projects from the southern elevation at the 15th story. On the western elevation, the center four bays are recessed and rise uninterrupted until the setback on the 26th story. There is little decoration, except for vertical bands and recessed panels that provide accenting, as well as other symbols such as wreaths and roundels. Some of the balustrades above each setback are also decorated with urns and anthemia. The main section of the Wall Street facade narrows significantly: the section between the 15th and 20th floors is eight bays wide; between the 21st and 25th floors is five bays wide; and between the 26th and 30th stories is three bays wide.</p><br>
<h3>Roof</h3><br>
<p>The section above the 30th story forms a lantern-like cupola with four layers. The lowest layer is composed of the 31st and 32nd stories: the former has rectangular windows and the latter has square windows. Both stories measure three by three bays wide, with round-arched, gabled wings to the south and north. The second layer is a windowless octagonal section with niches cut into each corner. The third layer is cruciform-shaped, with rectangular openings on each of four sides flanked by a pair of columns, forming a colonnade. The top layer is a windowless square mass, topped by a pyramidal roof. The lantern is designed in the Federal style.</p><br>
<p>The pyramidal roof is capped by a 11 ft representation of an eagle on a globe, which represented New York state. The eagle is located 513 ft above the ground, and is gilded. The eagle was restored in 2008.</p><br>
<h3>Interior</h3><br>
<p>The office stories&#39; lobby is from the eastern entrance on Wall Street,</p><br>
<p>The banking lobby, accessed from the central entrance on Wall Street, also has a small entrance vestibule with marble walls and floors, located between the entrance and main lobby. The entrance vestibule features a stone roundel with the New York Life Insurance & Trust Companys inscription, as well as a bronze plaque with the Bank of New Yorks seal. Inside, doors lead to the main lobby, which is composed of two circular stairs flanking a marble compass on the floor.</p><br>
<p>The banking room takes up almost the entire 2nd story, and is divided into three sections. These are the north side of the room, taking up much of the space; a raised area on the south, near the balustrade; and a narrow western section behind an arcade. The space has a black-and-white marble floor; plaster walls with marble wainscoting; and an ornamented ceiling with acoustical tiles and large chandeliers. Inside the banking room are eight arched panels that are decorated with murals: five on the north wall and three on the east wall. The north-wall panels depict scenes from the 18th century and the east-wall panels depict scenes from the 19th century. These murals were painted by James Monroe Hewlett. Also on the east wall of the banking room are screens leading to the elevator lobby. On the southeast corner is a private office, which includes a marble fireplace mantel and wooden decorations.</p><br>
<p>The 3rd floor has the banks original executive office. There was also a board room designed in the Colonial Revival style, which contained Doric columns, round-arched doors, wainscoting, and a fireplace, and formerly an Ernest Peixotto painting of the banks founders. The other office spaces were unfurnished and were rented out to commercial tenants.</p><br>
<h2>History</h2><br>
<h3>Previous buildings</h3><br>
<p>The Bank of New York was founded in 1784.See:</p><br>
<p>Its first offices were in the old Walton family mansion on Pearl Street, in the current Financial District, but the bank moved to a site on Hanover Square in 1787. Nine years later, the bank&#39;s board was looking for "better facilities and a more desirable location", and voted to move to the corner of Wall and William Streets at a cost of 10,000 New York pounds. The new structure was constructed "with the necessary vaults for the business of the bank", and it opened on April 23, 1798.</p><br>
<p>In subsequent years, other banks began moving to residential buildings on Wall Street, and by the 1820s, financial institutions made up the vast majority of tenants. The brownstone and brick building measured 126 ft on William Street and 38 ft on Wall Street. The interior banking room, with a ceiling 26 ft high, was located at the building&#39;s rear (north) end on the 1st and 2nd stories. Two additional stories were built in 1880, including a mansard roof on the top story.</p><br>
<h3>Planning and construction</h3><br>
<p>By the beginning of the 20th century, banks on Wall Street were building larger structures. The Bank of New York considered buying land to build a third structure at 48 Wall Street in the first decade of the century, but these plans were dropped in 1909 as uneconomical. The plans were reconsidered in the 1910s. In 1912, the New York Life Insurance and Trust Company put for sale the neighboring 50 Wall Street, though the company retained the other neighboring property at 52 Wall Street. The new Bank of New York building was again postponed due to the construction of the Broadway–Seventh Avenue subway line in the 1910s, which raised concerns that the new structure&#39;s foundations might be damaged, and then the onset of World War I, when funding was scarce.</p><br>
<p>The New York Life Insurance and Trust Company and the Bank of New York merged in 1922, and the combined company took the properties at 48 and 52 Wall Street. The bank remodeled 52 Wall Street in 1923 and 1924, but the bank still needed space to expand. In 1926, the Bank of New York and Trust Company and the National City Bank, which owned 50 Wall Street, agreed to exchange ownership of 50 and 52 Wall Street. As a result, the Bank of New York and Trust Company had an L-shaped lot measuring 99 ft on Wall Street and 125 ft on William Street. The Bank of New York and Trust Company kept 11 ft of the 52 Wall Street plot, while the National City Bank commissioned its own skyscraper for the remaining portion of the 52 Wall Street site. The land-swapping agreement was confirmed in May 1927.</p><br>
<p>Benjamin Wistar Morris prepared plans for a 32-story building on the combined plot.</p><br>
<p>The buildings cornerstone was laid on January 12, 1928, the 171st birthday of the banks founder, Alexander Hamilton. In September 1928, bank officials hosted a ceremony where stones from the two previous buildings on the site were inserted into the new skyscraper. The same month, the golden eagle was placed atop the buildings roof. The new building opened on January 12, 1929, Hamiltons 172nd birthday.</p><br>
<h3>Bank of New York use</h3><br>
<p>At the time of the buildings opening, all 32 stories were leased. The Bank of New York used the 1st through 3rd stories for official banking activity, with a banking room, a trust department, and safe deposit boxes. The 4th through 7th stories were used for the banks offices. Tenants in the upper floors included brokerage and banking tenants such as J. Henry Schroder & Co., which took two floors; E. Naumberg on the 15th floor; Hitt, Farwell & Company on the 25th floor; Eldredge & Company on the 26th floor; and Wood Gundy on the 27th floor. The building also housed Sullivan & Cromwell, a law firm that took four floors.</p><br>
<p>Most of 48 Wall Streets tenants remained through the Great Depression. Business at the Bank of New York thrived in the Depression, and in August 1946, the bank bought the adjacent 52–54 William Street building to the north, giving both the bank and its tenants additional space for expansion. Connections between 48 Wall Street and 52 William Street were subsequently built at several levels in the 1940s. Connections to the National City Corporations 52 Wall Street building to the east were also erected during the 1950s. The rest of the blockfront on Wall Street, between 54 and 68 Wall Street, was demolished in the early 1970s by their owner, Cities Service, which had been headquartered at nearby 70 Pine Street but moved to Oklahoma in 1974.</p><br>
<p>By 1979, the American International Group and the Bank of New York were considering building a new skyscraper at 60 Wall Street. This building would have replaced 48 and 52 Wall Street. After the citys Industrial Commercial Incentive Board refused the Bank of New Yorks request for a $22 million tax abatement for the office towers construction in February 1982, the plans were canceled. By September 1982, the lots were up for sale, and in September 1983, the bank sold the vacant lots and 52 Wall Street to developer Park Tower Realty Company. The connections between 48 and 52 Wall Street were severed, and the new building at 60 Wall Street was completed in 1989. With the Bank of New Yorks acquisition of the Irving Trust in December 1988, the company&#39;s headquarters moved to nearby 1 Wall Street, the Irving Trust company headquarters. However, the Bank of New York retained ownership of 48 Wall Street, as well as some offices there.</p><br>
<h3>Sale and later use</h3><br>
<p>In the late 1990s, the bank put 48 Wall Street for sale, hosting a two-stage auction that attracted more than 20 bidders. A joint venture between the Corsair Group and Swig Burris Equities won the auction, buying the building for $37.5 million. At the time, building prices in Lower Manhattan were increasing rapidly; the nearby Broad Exchange Building had been sold in 1995 for 10.48 $/ft2, but the joint venture had bought 48 Wall Street for 122.55 $/ft2. it had occupied the site for 201 years.</p><br>
<p>The joint venture planned to convert the upper floors to 277 or 279 rental apartments and keep the lower floors as commercial stores. The structure would be renamed the Residences at 48 Wall Street, with 169 furnished apartments on the fifth through 17th floors and unfurnished units above. Most of the units would have been one- or two-bedroom units, though there would have been some studios, as well as two duplex apartments. The next month, the owners canceled plans for adding apartmens to the building. They cited the growing demand for commercial and office space, since these types of tenants were willing to pay more per square foot.</p><br>
<p>48 Wall Street reopened in August 2001, at which point it was 65 percent occupied. Among the new tenants were the Rockefeller Group Business Center. The buildings new owners offered discounted rent to attract tenants after the September 11 attacks. Swig Burris and Corsair received a $55 million mortgage loan for the building from North Fork Bank in 2003, upon which the buildings occupancy rate had increased to 96 percent. The eagle at the top of the building was restored in a 2008 project. The lobby would be converted into a 550-seat theater in the round with up to four shows nightly.</p><br>
<h2>Impact</h2><br>
<p>Upon 48 Wall Streets opening, it was described by the Bank of New York and Trust Companys president, Edwin Merrill, as "visual evidence of the banks intention to keep abreast of the times". The Real Estate Record wrote in 1927 that, in the architecture of 48 Wall Street, the bank "is endeavoring to perpetuate the dignity and feeling" of 18th-century New York City. Bankers Magazine stated in 1929 that "the colonial feeling has been fittingly observed in the treatment of both interior and exterior", and lauded the murals "soft colors", which were described as having "an air of quiet". In a 1987 book, architect Robert A. M. Stern described the structure&#39;s massing as being simple and "mellifluous".</p><br>
<p>The New York City Landmarks Preservation Commission designated the building&#39;s exterior as a landmark in October 1998. 48 Wall Street was added to the National Register of Historic Places (NRHP) in 2003. The building was designated as a contributing property to the Wall Street Historic District,</p><br>
<p>The University Club is an eight-story building of the University of Pittsburgh designed by Henry Hornbostel and completed in 1923 that is a contributing property to the Schenley Farms Historic District on the school&#39;s campus in Pittsburgh, Pennsylvania, United States. It serves as a faculty club with publicly accessible dining, banquet, and conference facilities, while the upper four floors serve as undergraduate student housing referred to as University Hall.</p><br>
<h2>History</h2><br>
<p>The building was originally home to the "University Club," a private social club established in 1890. Initially located in downtown Pittsburgh, the club was chartered to bring together college graduates who enjoyed literature, art, and other culture. It later moved to Oakland to be closer to the city&#39;s college campuses, settling into the 1923 classical-style limestone building designed by architect Henry Hornbostel. An addition to the building was constructed in 1963. After the club ceased operations in November 2004, the University of Pittsburgh purchased the building for $3.1 million in 2005 for use as a faculty club, conference center, and banquet and event facility.</p><br>
<h2>Renovation</h2><br>
<p>Following acquisition of the University Club, the University of Pittsburgh conducted a $20.2 million renovation designed by Landmark Design Associates with Massaro Corporation serving as the general contractor. Floors 1-4 were to become a 4,000 ft&sup2; faculty club, 4,000 ft&sup2; fitness center, 18,000 ft&sup2; conference and banquet facility, 4,000 ft&sup2; kitchen facility, coffee shop, and 8,000 ft&sup2; of offices. The upper floors, five through eight, have 48 guest rooms that are rented to Family House, which helps families of hospital patients with housing. Renovation was completed and the club reopened on April 1, 2009.</p><br>
<p>Members-only faculty and staff club facilities include the College Lounge for bar and casual food and the University Club&#39;s library and reading room, which are located on the first floor, as well as the Fraternity Grill for higher-end dining, located on the second floor. A professionally managed fitness center is located in the basement of the building and has separate areas for aerobics, strength and exercise equipment.</p><br>
<p>Publicly accessible facilities include a first-floor Brioche Dorée French Café, banquet facilities on the second floor suited for wedding receptions and other large gatherings, second- and third-floor small and large meeting or break-out rooms available to the university and outside communities, and a restored roof terrace that will host special events.</p><br>
<p>In addition, space was renovated to accommodate the Office of Research, previously located in Thackeray Hall, as well as flexible conference facilities to accommodate up to 300 people. The building will serve within the universitys educational mission with the presence of Family House, which will provide learning and outreach opportunities for students and faculty in Pitts Schools of Medicine, Pharmacy, Health and Rehabilitation Sciences, and Social Work. Graduate students in health and physical activity will also be among the health coaches working in the fitness center.</p><br>
<h3>Family House and student housing</h3><br>
<p>Family House was first conceived in 1980 by the Womens Auxiliary of the American Cancer Society and the University Health Center of Pittsburgh (today known as the University of Pittsburgh Medical Center). Following its opening in 1983, it has provided a special "home away from home" for more than 100,000 patients and families who must travel to Pittsburgh for treatment of serious or life-threatening illnesses. The $4.5 million renovation of the upper four floors of the University Club for the Family House began in January 2008 and was designed by Designstream Architectural Studio, while Massaro Corporation acted as construction manager on the project. Ribbon cutting was held in late April, 2009 and guests began to be accommodated in mid-May. This was Family Houses fourth location and added 48 rooms that will accommodate 4,600 guests annually.</p><br>
<p>In March 2022, Family House vacated its space in the University Club and consolidated its locations on Liberty Avenue in the Bloomfield neighborhood of Pittsburgh. The space vacated in the University Club was converted into undergraduate housing for 81 honors living learning students and named University Hall.</p><br>
<h2>Art</h2><br>
<p>More than three dozen works of art are displayed throughout the building. Appraised at approximately $40,000, the collection includes oils, watercolors, acrylics, tapestries, etchings, prints, and photography. Approximately half the art, including tapestries and prints on canvas, was purchased by the university for specific locations in the building during the renovation. Other works are on loan from the University Art Gallery, or had once been hung in a previous, now defunct, faculty club called the Pitt Club, in the Gardner Steel Conference Center.</p><br>
<p>Ranging from mid-19th-century pieces to newly commissioned works, several of the artworks depict local scenes, including the Edgar Thomson Works by Ron Donoughe, hanging outside the library, Monongahela Incline by Tom Ruddy, hanging in the lower lobby, Early Morning Bear Run by Wang Yubao, in a vestibule near the Thackeray Street entrance, and in the club&#39;s main vestibule, a pair of Louis Orr etchings of the Cathedral of Learning and Heinz Chapel, as well as a depiction of the early 20th-century "Acropolis" plan for the campus designed by Henry Hornbostel. The most visible piece is an acrylic painting of the University Club itself that hangs behind the reception desk; it is by Bedford, Pennsylvania artist Kevin Kutz, whose Cumberland Arches also hangs in the second floor ballroom. An untitled Virgil Cantini sculpture is in a third-floor lounge. Among the new works purchased for the club are reproductions of several plates from John James Audubon’s The Birds of America.</p><br>
<p>University Place Office Building was a 6-story building constructed in 1924 and had been a contributing property to the Schenley Farms National Historic District on the campus of the University of Pittsburgh in Pittsburgh, Pennsylvania, United States. Once located at 121 University Place , the building was originally the Schenley Office Physicians Building designed by architect Edward B. Lee and associate architect J. B. Blair for the Physicians Land Company. Long housing offices of physicians associated with the university&#39;s medical school and medical center, the building was acquired by the university in June 1983 for $1.25 million and then housed a variety of university offices, including the University Center for Social and Urban Research, until its demolition in 2011.</p><br>
<h2>University Center for Social and Urban Research (UCSUR)</h2><br>
<p>In its final years of use by the university, the University Center for Social and Urban Research (UCSUR) was housed within the University Place Office Building. Established in 1972, the UCSUR serves as a resource for researchers and educators interested in basic and applied social and behavioral sciences and serves as a hub for interdisciplinary research and collaboration. Research of the UCSUR focuses on five principal areas including urban and regional analysis, survey research, qualitative data analysis, gerontology, and environmental decision support. The center also offers a graduate certificate in gerontology.</p><br>
<p>In early 2009 the center opened a multipurpose data center which is HIPAA and FISMA compliant. The UCSUR data center is monitored 24/7 by the UCSUR Information Technology department. The data center maintains a 99.3% up time as of the summer of 2010.</p><br>
<h2>Replacement with Nordenberg Hall</h2><br>
<p>University Office Place was demolished in August 2011, following the approval from the Pittsburgh Historic Review Commission, to make way for a new $59 million, 10-story, 559-bed university residence hall, named Nordenberg Hall that was designed by Mackey Mitchell Architects of St. Louis along with the Pittsburgh-based firm MacLachlan, Cornelius & Filoni Inc. Nordenberg Hall, which opened for the 2013 fall semester, occupies the former footprints of 121 University Place and its former adjacent parking lot at the corner of Fifth Avenue and University Place. Former University Office Place resident UCSUR was relocated to the Gold Building (3343 Forbes Ave). Nordenberg Hall includes ground floor retail space, a university pharmacy, and a second floor student wellness and counseling center. The residence hall also contains two sound-proof music practice rooms, and on the third floor, a fitness room and an outdoor rooftop terrace. The residence hall features 200 ft&sup2; double-occupancy rooms that are equipped with small refrigerators, microwave ovens, and flat-screen TVs. Communal social spaces, study lounges, and bathrooms were intentionally designed to encourage students to leave their rooms to interact with other students and gain a sense of connectedness. The residence hall was named in honor of Mark Nordenberg, the university&#39;s previous chancellor who retired in August, 2014.</p><br>
<h2>In literature</h2><br>
<p>University Place Office Building is the namesake and a location setting of a book published in 2007 by Louis Panesi entitled 121 University Place: A Fathers Abuse / A Doctors Love.</p><br>
<p>The Francis J. Woolley House is located in Oak Park, Illinois, United States, a Chicago suburb. The house was designed by American architect Frank Lloyd Wright in 1893. The Queen Anne style home is reflective of Wrights early designs for lower-cost, more affordable housing. The Woolley House is similar to the trio of homes in Oak Park that are widely known as the "bootleg houses." The design is heavily influenced by Wrights first teacher, Joseph Silsbee, and the Arts and Crafts movement. The house is listed as a contributing property to a local and federal historic district.</p><br>
<h2>History</h2><br>
<p>The Francis J. Woolley House was named for the lawyer for whom architect Frank Lloyd Wright originally designed it, Francis J. Woolley.</p><br>
<h2>Architecture</h2><br>
<p>The buildings design has been called a "Queen Anne splendor," a style represented by the Woolley Houses massive bay windows and projecting roof masses. The design of the house is reminiscent of Wrights first teacher Joseph Silsbee and typical of Wrights early, low-cost residential designs. On the home&#39;s southeast portion are its polygonal bay windows and due to a restoration the rough stone foundation walls are more enhanced than they once were. The original horizontal wooden clapboarding has been restored as well.</p><br>
<p>The house features an entry porch whose high-pitched hip roof echoes the main roof; its deep eaves repeats the pitch lines of the roof and gracefully frames the facade. In this early Wright work the influence of Silsbee and the Arts and Crafts movement are heavily embedded in the design, which reflects Wrights passion for designing affordable housing. The homes soft earthen tones help to enhance the "comfortable house" feel of the Woolley House.</p><br>
<p>Over the years the home has undergone several remodelings and renovations. Most significantly in 1995 when many of the mechanicals were upgraded. Unfortunately, many of the architectural moldings, doors and features were also removed. The current owners have brought back the exterior to its original condition. The interior is undergoing a complete restoration based on the original blueprints.</p><br>
<h2>Significance</h2><br>
<p>This example of Frank Lloyd Wright&#39;s early work in Oak Park is considered a contributing property to the Frank Lloyd Wright-Prairie School of Architecture Historic District, a local and federal historic district. The federal historic district was added to the USA National Register of Historic Places on December 4, 1973.</p><br>
<p>The Kenilworth Avenue Historic District is a historic district in the northwestern portion of Dayton, Ohio, United States. Composed largely of houses constructed after the Great Flood of 1913, the district features examples of several prominent architectural styles, and it has received both local and federal recognition.</p><br>
<p>Following the 1913 flood, many wealthy residents decided to flee the older parts of the city, located in the floodplain along the Great Miami River. The result was the development of Kenilworth Avenue, whose houses feature a range of design modes, including the Italianate, Tudor Revival, Colonial Revival, and Neoclassical styles. Also known as "Dayton View Heights" the Kenilworth Avenue development includes twenty separate buildings, located on both sides of the street from Redfern Avenue west to its end at Salem Avenue. Seventeen of these buildings qualified as contributing properties to the district, while three were considered non-contributing: the districts period of significance was held to have ended in 1949, and some of the buildings were constructed in the 1950s and 1960s. Among the oldest properties in the district is the house at the corner of Kenilworth and Salem, which was constructed in 1906. When the street was developed, many of the new residents desired to live in a park-like setting, and as a result, the streets well-preserved landscaping is itself a significant part of the historic district.</p><br>
<p>On March 1, 2006, Dayton City Commission modified the neighborhoods zoning classification by designating the area a local historic district, and it was subsequently added to the National Register of Historic Places five months later. Federal designation places no restrictions on the residents abilities to modify or destroy buildings in the district, but local designation means that local authorities must approve changes to the districts properties. When designated, Kenilworth Avenue was the citys twelfth official historic district, and its eighteenth National Register district. It is one of six northwest-side historic districts, along with Dayton View, Grafton-Rockwood, Squirrel-Forest, McPherson Town, and Steele&#39;s Hill-Grafton Hill.</p><br>
<p>College Hill is a neighborhood in the west central section of the United States city of Greensboro, North Carolina. College Hill was Greensboro&#39;s first neighborhood.</p><br>
<h2>Geography</h2><br>
<h3>Boundaries</h3><br>
<p>The College Hill neighborhood is bounded:</p><br>
<p>on the north by West Market Street</p><br>
<p>on the west by McIver and Tate streets</p><br>
<p>on the south by the Southern Railway tracks, and</p><br>
<p>on the east by Freeman Mill Road, Spring Street, West McGee Street and Greensboro College.</p><br>
<p>The College Hill Historic District is a smaller area in the neighborhood. The National Register of Historic Places district has slightly different boundaries. As a result, two of the neighborhoods most historic structures, Wafco Mill and the Greensboro College administration building, are within the citys historic district but outside the National Register District. Both are listed on the Historic Register separately.</p><br>
<h3>ZIP code</h3><br>
<p>The 27403 ZIP code includes College Hill and other neighborhoods, including Glenwood, Lindley Park and Sunset Hills.</p><br>
<h2>History</h2><br>
<p>This broad hilltop just west of downtown Greensboro was settled in the 1840s and 50s by individuals associated with nearby Greensboro College. Their strong Methodist affiliation earned the hill its nineteenth century nickname “Piety Hill,” and several commodious homes from the period remain including the Bumpass-Troy House (now Troy-Bumpas) and Boxwood.</p><br>
<p>The hill and its convenient location proved a popular choice for Greensboro Victorian era middle class who wished to escape the hustle and bustle of the growing village. Renamed “College Hill” after the establishment of the University of North Carolina at Greensboro in 1891, a number of elaborate Queen Anne-style houses were built along Walker Avenue, Mendenhall Street, and Morehead Avenue in the 1890s. The Orlo Epps House (private) of 1890 was designed by Orlo Epps, architect of UNCG&#39;s Julius I. Foust Hall, with elaborate details such as turned porch posts, shingle siding and colorful paint scheme.</p><br>
<p>Development was not limited to residences. Greensboro&#39;s oldest fire house stands at 547 South Mendenhall Street. The two-story brick building served as the West End Hose Company from 1897 to 1919, when it was replaced with a new building one block north at 442 South Mendenhall. Both buildings have been adaptively reused, the first as a general store, the second as a private residence. The Wafco Mill complex began as a grist mill in 1893, with subsequent additions through 1912. The complex was restored in 1983 as condominiums.</p><br>
<p>Two small commercial areas are located in College Hill. The intersection of Tate Street and Walker Avenue features numerous restaurants, two coffee houses, and stores that cater to the nearby university. The intersection of Mendenhall and Spring Garden streets has a smaller collection of stores that serve the student population. The students and growing nearby campuses that give the neighborhood its energy also create special problems. Parking has been an issue in the narrow streets for decades, and student housing sometimes challenges city health codes.</p><br>
<h2>Parks and public spaces</h2><br>
<p>(on UNCG campus)</p><br>
<p>Springdale Park</p><br>
<h2>Notable architects and builders</h2><br>
<p>Harry Barton</p><br>
<p>Orlo Epps</p><br>
<p>Frank A. Weston</p><br>
<h2>College Hill Neighborhood Association</h2><br>
<p>The College Hill Residents Association was incorporated as a 501(c)3 non-profit corporation in July 1978. In December that year, the name was changed to the.</p><br>
<p>Membership is open to all neighborhood residents and to all property owners.</p><br>
<h2>Other notable civic institutions</h2><br>
<p>Greensboro College</p><br>
<p>The University of North Carolina at Greensboro (UNCG)</p><br>
<h2>On the National Register of Historic Places</h2><br>
<p>The College Hill Historic District encompasses 320 contributing buildings and 1 contributing site in a predominantly residential section of Greensboro. The houses were largely built between the 1890s and 1930s and include notable examples of Queen Anne, Colonial Revival, and Bungalow / American Craftsman-style architecture. The earliest house, the Walker-Scarborough House, was built about 1845, and is</p><br>
<p>thought to have been built by Gov. John Motley Morehead for his daughter, Letitia upon her marriage to Stephen Walker. Located in the district is the separately listed Bumpas-Troy House (1847). Other notable buildings are the Orlo Epps House, Ward-Foust House, Ward-Gaston House, Robert P. Gorrell House, Robert C. Strudwick House (1912), Winburn Court Apartments (1929), West End Hose Company Firehouse, former Spring Garden Street (now College Place) Methodist Church, and Presbyterian Church of the Covenant (1919, 1937).</p><br>
<p>It was listed on the National Register of Historic Places in 1993.</p><br>
<p>The Argonaut Building, renamed in 2009 the A. Alfred Taubman Center for Design Education , is a large office building located at 485 West Milwaukee Avenue in the New Center area of Detroit, Michigan, across the street from Cadillac Place GM&#39;s former corporate headquarter office. It was listed on the National Register of Historic Places in 2005.</p><br>
<h2>Description</h2><br>
<p>The building was constructed in two phases between 1928 and 1936, with the finished structure forming an L shape. The high-rise is eleven floors tall, with an additional basement level. The height to the main roof is 42.7 meters (140 feet), and 56.3 metres (180 feet) to the top of the elevator tower. The 275-unit structure is an Art Deco building, and uses primarily red-brown brick and limestone in its materials.</p><br>
<p>The building is fifteen bays wide along Milwaukee, and eight bays wide along Second. Building corners have wide brick piers, with narrower windows separating the bays along the facade. The windows in each bay are slightly recessed, containing double-hung windows, with ornamental cast iron spandrel panels on the top two floors. Window on the eleventh and ninth floors have rounded tops. Two entry doors are placed along the main (Milwaukee) facade, one in each of the building phases.</p><br>
<h2>History and renovations</h2><br>
<p>In 1927, General Motors real estate division, Argonaut Realty Corporation, commissioned Albert Kahn to design a research laboratory for the company. The building was constructed across Milwaukee from the General Motors Headquarters (now Cadillac Place), and intended for use by General Motors internal research staff. In 1936, an addition was constructed, providing an entrance on Milwaukee. Significant developments undertaken in the building include the design of the Hydramatic transmission and Harley Earl&#39;s vehicle designs from the Art and Color Section.</p><br>
<p>The building was used for GM&#39;s research staff until the General Motors Technical Center was constructed in 1956. At that time, Argonaut Realty moved into the building. When GM moved its headquarters to the Renaissance Center in the early 2000s, Argonaut moved out of the building, and it stood vacant for a few years.</p><br>
<p>In 2007, General Motors donated it to the College for Creative Studies. It is in use as both a charter high school for art-centric children, as well as CCS&#39;s planned graduate program. On top of these uses, CCS moved all of their Design based Undergraduate programs to this location, providing the space for a larger student body, and subsequently larger program. In addition, the building houses approximately 300 in student housing. It is also a school; Henry Ford Academy: School for Creative Studies, having the sixth through twelfth grade. The $145 million renovation was completed in fall 2009. In 2012, Shinola renovated the fifth floor and turned it into their corporate office as well as a watch factory and bicycle workshop.</p><br>
<p>St. Paul&#39;s historic Landmark Center, completed in 1902, originally served as the United States Post Office, Courthouse, and Custom House for the state of Minnesota. It was designed by Willoughby J. Edbrooke, who served as Supervising Architect of the USA Treasury Department in 1891&ndash;92. Edbrooke designed a body of public architecture, much of which, like this structure, was completed after his 1896 death. Landmark Center stands at 75 West Fifth Street in Rice Park and is now an arts and culture center.</p><br>
<p>The exterior is pink granite ashlar with a hipped red tile roof, steeply pitched to shed snow and adorned by numerous turrets, gables and dormers with steeply peaked roofs; cylindrical corner towers with conical turrets occupy almost every change of projection. There are two massive towers, one of which houses a clock. The exterior is almost devoid of carved detail. The interior features a five-story courtyard with skylight and rooms with 20-foot ceilings, appointed with marble and carved mahogany and oak finishes. Its Romanesque Revival architecture is similar to Edbrooke&#39;s Old Post Office Building in Washington D.C.</p><br>
<p>John Dillinger&#39;s girlfriend Evelyn Frechette, Alvin "Creepy" Karpis, "Doc" Barker and other members of the Barker-Karpis gang were tried in the building when it served as a federal courthouse.</p><br>
<p>Judges Walter Henry Sanborn and John B. Sanborn Jr. kept their chambers here while serving on the Eighth Circuit Court of Appeals. USA Supreme Court Justice Harry Blackmun worked in the building as a law clerk to the younger Sanborn in 1932&ndash;33.</p><br>
<p>In the 1970s, a citizens&#39; group saved the building from demolition and, guided by supervising architect ,Landmark: Stories of a Place, by Billie Young.</p><br>
<p>St. Paul, Minn.: Minnesota Landmarks, 2002.</p><br>
<p>MNHS call number: F613.S8 L369 2002 an expert in restoration architecture, restored it to its previous grandeur. It was placed on the National Register of Historic Places and reopened to the public as Landmark Center in 1978.</p><br>
<p>After its comprehensive 1972&ndash;78 renovation, the center became home to many prominent Twin Cities arts organizations, now including:</p><br>
<p>American Association of Woodturners and the AAW Gallery of Wood Art</p><br>
<p>Ramsey County Historical Society Gallery and Research Center &ndash; changing exhibits and research area for local history topics</p><br>
<p>The Schubert Club Museum of musical instruments</p><br>
<p>Landmark Gallery &ndash; permanent and temporary exhibits from its local history collection</p><br>
<p>"Uncle Sam Worked Here", a permanent interactive exhibit opened in 2007 about activities in Landmark Center over its history</p><br>
<p>Exhibition space for music, dance, theater, and public forums.</p><br>
<p>For a time the high school St. Paul Conservatory for Performing Artists also held classes on the fifth floor. It has since moved to 16 West 5th Street. The fifth floor now houses the offices of the American Composers Forum.</p><br>
<p>Owned by Ramsey County, Landmark Center is managed by Minnesota Landmarks, a not-for-profit organization. Landmark Center also houses Anita&#39;s Cafe, Landmarket Gift Shop, and five galleries.</p><br>
<h2>In popular culture</h2><br>
<p>The building served as the location of Frank Bass (Ed Asner)&#39;s office in the 1974 film The Wrestler.</p><br>
<p>The Mount Zion African Methodist Episcopal Zion Church, also known as the Mount Zion AME Zion Church Memorial Annex, is a historic church in Montgomery, Alabama, United States. Located on 467 Holt Street, it was built in 1899 and extensively remodeled in 1921.</p><br>
<p>In 1955 the Montgomery Improvement Association, who organized the Montgomery bus boycott, was formed in the building. During the Selma to Montgomery marches in 1965, marchers rested at the church on their way to the Capitol. It is included on the Selma to Montgomery National Historic Trail. The congregation moved to a new location in 1990, and on November 4, 2002, the building was added to the USA National Register of Historic Places.</p><br>
<p>The sides of the building are decorated with murals depicting Martin Luther King Jr., Rosa Parks, and the Selma to Montgomery marches.</p><br>
<p>The Tellico Blockhouse was an early American outpost located along the Little Tennessee River in what developed as Vonore, Monroe County, Tennessee. Completed in 1794, the blockhouse was a US military outpost that operated until 1807; the garrison was intended to keep peace between the nearby Overhill Cherokee towns and encroaching early Euro-American pioneers in the area in the wake of the Cherokee–American wars.</p><br>
<p>The Tellico Blockhouse was the site where several treaties were negotiated between the United States and the Cherokee, by which the latter ceded large portions of land in present-day Tennessee and Georgia in order to try to gain peace. The US provided various financial incentives for these actions. During this period, the blockhouse was the site of official liaisons between the United States government and the Cherokee.</p><br>
<p>It was designated as the Tellico Blockhouse State Historic Area and listed in 1975 on the National Register of Historic Places. It is administered by staff of the nearby Fort Loudoun State Historic Area.</p><br>
<h2>Geographic setting</h2><br>
<p>The Tellico Blockhouse site is located at the junction of Nine Mile Creek and the Little Tennessee River (now Tellico Lake), between Maryville and Vonore. USA Route 411 passes nearby. Fort Loudoun was located just across the river to the west, but it was in ruins by the time the blockhouse was built. The Tellico Blockhouse originally stood on a high bluff overlooking the Little Tennessee valley.</p><br>
<p>The Overhill towns of Chota and Great Tellico were within a day&#39;s journey to the south. The river town of Morganton (then known as "Portville") was within walking distance. Knoxville was thirty miles downstream on the Little Tennessee River and then upstream on the Tennessee River to the north. As there were no bridges built to span the Little Tennessee until the late 19th century, blockhouse officials crossed at Niles Ferry.</p><br>
<p>This ferry site was later used for the ends of the modern US-411 bridge. In 1979 the Tellico Dam was completed on the Little Tennessee River. The impoundment of the river, creating Tellico Lake, pushed the present shoreline to within a few meters of the blockhouse site.</p><br>
<p>Historically, the Tellico Blockhouse was the starting point of the Old Federal Road, which connected Knoxville to Cherokee settlements in Georgia. It was also the start of the Unicoi Turnpike, a Cherokee trading path that connected to North Carolina and north Georgia.</p><br>
<h2>History</h2><br>
<p>During the second half of the 18th century, the number of Anglo-European settlers into East Tennessee rapidly increased. They came into conflict with the Cherokee, whose territory this had been for centuries. Armed confrontations developed, as the Cherokee raided the settlements and sometimes killed settlers, conducting ritual scalpings. The settlers formed independent militias and carried out reprisal attacks. This violence reached a climax in 1793, when the Cherokee attacked Henrys Station in Blount County. The pioneers responded by crossing Chilhowee Mountain and sacking the Cherokee village of Tallassee. Even as the Cherokee chief Hanging Maw was meeting with Governor William Blount to discuss bringing peace to the area, the chiefs delegation was attacked by a band of settlers, who killed several Cherokee headmen.</p><br>
<p>Hanging Maw convinced Blount to construct a fort in the vicinity of the Overhill towns in order to suppress violence. The chief donated the land. He was to act as the official liaison between the United States government and the Cherokee Nation.</p><br>
<p>The blockhouse was a crude fort built from earthworks and timber. Sawed planking was shipped upstream from Knoxville.</p><br>
<p>According to historian J. G. M. Ramsey in his history originally published in 1853, it was:</p><br>
<p>...a strong work, of considerable size, with a projection on each square, furnished with port-holes, and calculated to stand a siege by an enemy provided with small arms only.</p><br>
<p>The original blockhouse was approximately 120x100 feet, enclosed by a defensive palisade approximately 16 feet high. The gate was on the north wall, with the captain&#39;s quarters and guardhouse just inside the gate. The original enclosure contained two barracks, a well, and parade grounds. A watchtower stood at the northeast corner.</p><br>
<p>In 1795, Congress passed the Factory Act, which sought to improve relations with American Indians by setting up official trading posts and teaching the natives agricultural and mechanical techniques. To implement this, McKee&#39;s successor, Silas Dinsmoor, expanded the Tellico Blockhouse to nearly double its original size to incorporate a civilian half. This new section, separated by a wall from the military section, contained lodging areas for travelers and delegates and a two-story building known as the Tellico Factory. Along with a trading post where European-American tools and finished goods were traded for Native American furs and raw materials, the factory included a section where members of the new Cherokee Nation could learn mechanical arts, and spinning and weaving cloth.</p><br>
<p>In April 1797, the exposure of the so-called "Blount Conspiracy"—in which Senator William Blount attempted to convince Britain to attack and capture the Spanish-controlled port of New Orleans—began at the Tellico Blockhouse. James Carey, a merchant whom Blount had attempted to recruit, gave a letter from Blount detailing the conspiracy to James Byers, a government trader at the Blockhouse. Byers turned the letter over to Colonel David Henley (a foe of Blount) in Knoxville, and Henley delivered it to Secretary of State Timothy Pickering. Blount was eventually expelled from the Senate based in part on this letter.</p><br>
<p>In December 1797, one of the first recorded Christmas celebrations in Tennessee occurred among the garrison at the Tellico Blockhouse to celebrate the Little Tennessee River freezing over. On the night of December 25, Dinsmoor and the federal garrison held a dinner party on the ice.</p><br>
<p>This was later described by Ramsey from a contemporary news article:</p><br>
<p>On the 25th, a Christmas dinner was given upon the ice, by the Federal officers, at Tellico Block-house, to a large company of gentlemen and ladies. "Contiguous to the place of entertainment, two quarters of a bear were barbecued, where the ice was found to be, in thickness, sufficient to bare fire enough to have roasted an ox, without being materially weakened by the heat."</p><br>
<p>The Tellico Blockhouse likely had its peak of activity around 1799, due to its location along the Old Federal Road. That same year, Louis-Philippe, Duke of Orleans and later king of France, paid a visit to the blockhouse. In 1800, several Cherokee leaders convened at the blockhouse to debate whether or not to allow missionaries into Cherokee towns. The Cherokee hoped the missionaries would provide educational services to their children.</p><br>
<p>In the early 19th century, the Cherokee slowly migrated south to the Hiwassee River and deeper into Georgia, trying to escape the encroachment of European Americans. As the Overhill towns along the Little Tennessee River began to disperse, the Tellico Blockhouse&#39;s influence started to wane. In 1801, Colonel Return J. Meigs took over as Cherokee agent. This appointment effectively moved the agency to Fort Southwest Point (modern Kingston, Tennessee), where Meigs was based. In 1805, the last Tellico treaty called for the removal of the blockhouse garrison south to the Hiwassee River area.</p><br>
<p>When archeologists from the University of Tennessee conducted excavations at the Tellico Blockhouse site in the 1970s, they located the forts foundations and a number of artifacts. Due to a lack of records, officials concluded they would not attempt a reconstruction of the blockhouse. They directed the reinforcement of foundations with authentic fill material so visitors can see the forts layout. Short posts were erected to show the position of the blockhouse walls, and interpretive signs were placed at the site to explain the fort&#39;s brief history.</p><br>
<p>The site is preserved as a State Historic Area, listed on the National Register of Historic Places, and managed by staff of the Fort Loudoun State Historic Area. Some of the artifacts recovered during the excavation are displayed at the nearby Fort Loudoun museum and the Frank H. McClung Museum in Knoxville.</p><br>
<h2>Treaties</h2><br>
<p>Several treaties between the United States and the Cherokee Nation were negotiated at the Tellico Blockhouse:</p><br>
<p>A treaty signed on November 8, 1794 marked the end of the Cherokee–American wars. Cherokee chiefs Hanging Maw (representing the Upper Cherokee) and Colonel John Watt (representing the Lower Cherokee, or "Chickamauga") met with Governor William Blount to negotiate this. All sides agreed to recognize boundaries set forth in previous treaties.</p><br>
<p>The First Treaty of Tellico, also known as the Treaty with the Cherokee, negotiated in 1797 and signed on October 2, 1798, was intended to compensate the Cherokee for land to be ceded to illegal settlers ("squatters"). In exchange for ceding land, the Cherokee received various financial incentives and a guarantee of the right of the Cherokee Nation to "exist forever." The USA negotiators, acting on instructions from Governor John Sevier, included James Robertson, Lachlan McIntosh, Thomas Butler, and James White.</p><br>
<p>The Second Treaty of Tellico, signed on October 24, 1804, brought the Wafford settlements in northern Georgia under USA dominion. The Cherokee received various financial incentives to cede these lands to the US. Colonel Return J. Meigs negotiated the treaty for the United States.</p><br>
<p>The Third Treaty of Tellico, signed on October 25, 1805, and the Fourth Treaty of Tellico, signed two days later on October 27, brought the land between the Cumberland River and Duck River (i.e., most of the Cumberland Plateau) under USA dominion by Cherokee cessions. The goal of the USA was to connect East Tennessee with Nashville. Both treaties were negotiated for the United States by Colonel Return J. Meigs. Two of the Cherokee negotiators, Doublehead and Tollunteeskee, were later criticized for including "secret articles" that allowed for personal incentives.</p><br>
<p>The Oscar Stanton De Priest House is a historic apartment building at 4536-4538 South Dr. Martin Luther King Jr. Drive in Chicago, Illinois. It was built in 1920, and one of its units was from 1929 to 1951 home to Oscar Stanton De Priest , the first African-American to be elected to the United States Congress from a northern state. The building was designated a National Historic Landmark on May 15, 1975. It is not open to the public.</p><br>
<h2>Description and history</h2><br>
<p>The Oscar Stanton De Priest House is located on Chicago&#39;s South Side community area of Grand Boulevard, on the west side of King Drive south of 45th Street. It is an architecturally-unexceptional three-story masonry structure built of brick with stone trim, with a full basement. It houses eight units, two to each floor including the basement. Its dominant features are projecting rectangular bays on both sides of the recessed entry, with bracketed flower boxes on the second and third floors and a bracketed cornice below the roof. Based on its styling, it was built about 1920.</p><br>
<p>Oscar Stanton De Priest lived with his wife, Jessie De Priest, in one of the second-floor units of this building from 1929 to his death, in 1951. A native of Alabama, he migrated to Chicago in the late 19th century, where he gained employment as a building contractor. He became active in local politics, winning election as a Cook County commissioner in 1904. In 1915, he was the first African-American to win a seat on Chicagos Board of Aldermen, representing the citys wealthy Second Ward. In 1928, De Priest was chosen as a late replacement on the Republican Party ticket in the election to Illinois&#39;s first Congressional district, replacing the incumbent Martin B. Madden, who died shortly after the primary. De Priest won and was seated in Congress over the objections of Southern representatives. As the first post-Reconstruction African-American in that body and the first from any northern state, De Priest became a prominent voice on matters of interest to African Americans, working in particular to secure equitable funding for the education of blacks. De Priest served three terms in Congress before he returned to city politics.</p><br>
<p>The Daniel Hale Williams House is the former home of Dr. Daniel Hale Williams , one of the first major African American surgeons. Located at 445 East 42nd Street in the Grand Boulevard community area of Chicago Illinois, the building was designated a National Historic Landmark in 1975.</p><br>
<h2>Description and history</h2><br>
<p>The Daniel Hale Williams House stands on the south side of 42nd Street on Chicago&#39;s South Side, about 1/2 block east of Martin Luther King Jr. Boulevard. It is a modest -story wood-frame structure, with a roughly L-shaped plan covered by a gabled roof. The front facade has a single-story porch across it, sheltering the main entrance in the left bay, and a polygonal window bay in the right. In the gable above the bay there is a sash window topped by a gabled cornice. The house is not of particular architectural interest, and is estimated to have been built about 1905, when it was purchased by Daniel Hale Williams.</p><br>
<p>Dr. Williams is best known as the first American doctor to perform what would later be known as open heart surgery. In 1893, he operated on a man who had received a stab wound to the heart. At the time the prevailing practice for dealing with direct wounds to the heart was to let the patient die, since it was considered impossible to operate directly on the heart.</p><br>
<p>Williams was also influential in promoting the development of African-American medical practitioners. Since most white-controlled hospitals were reluctant to take on African-American interns, nurses, and other staff, Williams successfully established the Provident Hospital and Training School, the nation&#39;s first hospital and training school controlled by African-Americans. Under his leadership, it trained a generation of medical professionals to exacting standards, and is where he performed the above-described operation.</p><br>
<p>The Robert A. Millikan House is a historic house at 5605 South Woodlawn Avenue in the Hyde Park community area of Chicago, Illinois. Built about 1907, it was the home of American physicist Robert A. Millikan  from about 1908 until 1921, the period in which he made his most significant Nobel Prize winning work. The three-story brick building earned National Historic Landmark status on May 11, 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Robert A. Millikan House stands in Chicago&#39;s South Side Hyde Park neighborhood, northeast of the University of Chicago campus at the southeast corner of South Woodlawn Avenue and East 56th Street. It is one of a sequence of three adjacent houses designed by the Chicago firm Tallmadge & Watson and built about 1907. It is three stories in height, with a mainly brick exterior. It has a broad profile in the Prairie style, with slightly projecting broad gabled sections near the ends, and a narrower off-center entrance projecting. The full third level, and the second level of the entrance section, are finished in Tudor-style half timbering. Window placement and size are somewhat irregular. The building interior is relatively plain.</p><br>
<p>Robert Millikan, an Illinois native who received the first Ph.D. in physics from Columbia University, moved into this house about 1907. He was at the time serving as a professor and researcher in the University of Chicago physics department. It is there that he organized and performed his famous oil-drop experiment, which provided the most accurate measure of the time of the electrical charge of an electron. He also established an experimental apparatus that was used to confirm the photoelectric effect postulated by Albert Einstein in 1905. For these works, Millikan was awarded the 1923 Nobel Prize in Physics. Millikan was seen then as one of the leaders of growing American dominance in his field.</p><br>
<p>Millikan moved out of this house in 1921, when he took a position at what is now the California Institute of Technology. The house remains a private residence.</p><br>
<p>The Frank R. Lillie House is a historic house at 5801 South Kenwood Avenue, on the campus of the University of Chicago on the South Side of Chicago, Illinois. Built in 1904 to a design by Pond and Pond, it was home for many years to Frank R. Lillie , a pioneering embryologist and influential supporter of the Woods Hole Oceanographic Institute. Designated a National Historic Landmark in 1976, it is now used by the university as office space.</p><br>
<h2>Description and history</h2><br>
<p>The Frank R. Lillie House stands in Chicago&#39;s Hyde Park neighborhood, on the east side of the University of Chicago campus at the southeast corner of South Kenwood Avenue and East 58th Street. It is an architecturally eclectic brick three story building, built in 1904 for Frank Lillie and his family to a design by Pond and Pond. It is characterized by flat surfaces with diamond-shaped brickwork, unusually shaped brick corner quoining, and a variety of roof treatments. The interior has retained many of its original finishes despite conversion of the space to academic functions by the university.</p><br>
<p>Frank Lillie was a native of Toronto who was educated at the University of Toronto and the University of Chicago, receiving a Ph.D. summa cum laude from the latter in 1894. From an early date he cultivated an interest in embryology, a field then in its infancy. He made several groundbreaking discoveries, notably determining that the sex of embryos was determined by particular hormones in their blood supply. This contributed to the establishment of endocrinology as a major area of study. Lillie was also an important figure in the science organizations, garnering significant financial support for the Woods Hole Oceanographic Institute (where he had spent a summer as a student), and helping it become a major scientific research institute.</p><br>
<p>Lillie bequeathed his house to the University of Chicago, reserving a life interest for his wife. The university took over the building in 1957, and has used it for a variety of purposes. It presently houses the offices of the Chicago Review.</p><br>
<p>The Robert S. Abbott House is a historic house in the Grand Boulevard community area of Chicago, Illinois.</p><br>
<p>Built in 1900, it was the home of Robert S. Abbott, founder and publisher of the Chicago Defender, the most-circulated African-American newspaper in the nation, from 1926 up until his death in 1940. His home was designated a National Historic Landmark status in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Robert S. Abbott House stands on Chicago&#39;s South Side, north of Washington Park on the west side of Martin Luther King Jr. Boulevard, and on the same block as the Harold Washington Cultural Center on the east side.</p><br>
<p>It stands at the southern end of a group of row houses, and is the left side of an asymmetrical duplex. Its construction date is unknown, but is estimated to be about 1900 based on its architectural style, which is a combination of Late Victorian and Neo-Classical elements.</p><br>
<p>The combined units share a hip roof, with that on the left featuring a large projecting gabled section two bays in width. To its right, a single bay set next to the entrance to the adjacent unit, while the on its left, the unit&#39;s entrance is sheltered under a separate side porch. The interior, which has been further broken up into separate living units, retains some of its original elements.</p><br>
<p>The Harrison P. Young House is a home in the Chicago suburb of Oak Park, Illinois, United States. The 1870s era building was remodeled extensively by famous American architect Frank Lloyd Wright, early in his career, in 1895. The homes remodeling incorporated elements that would later be found in Wrights pioneering, early modern Prairie style. Some of the remodel work included setting the home back an additional 16 ft  from the street and an overhanging porch over the driveway. The House is similar in some ways to Wright&#39;s other early work and was influenced by his first teacher, Joseph Silsbee. The house is considered a contributing property to both a local and federally Registered Historic District.</p><br>
<h2>Architecture</h2><br>
<p>The Harrison P. Young House was first built during the 1870s for Harrison P. Young based upon a design by William E. Coman. In 1895 it was remodeled by famous American architect Frank Lloyd Wright for the same client. The Young House was perhaps most influenced by Wrights design for the Nathan G. Moore House, which was designed during the same period in a Tudor Revival style. Wrights 1895 remodel was significant and included structural modifications; before any other work began the house was pushed back an additional 16 ft (4.88 m) from the street.</p><br>
<p>Following on, Wright affixed a large addition to the home, faced with narrow banded clapboarding (found in much of Wrights early work), the addition held a new living room, second-floor bedroom and a large porch. Wrights sweeping, utilitarian porch overhangs, meant to allow access to the carriage during the rain, were cantilevered over the entry drive. It is the sweep of Wrights eaves, throughout the remodel, that give the home a distinctly modern Wrightian character. The high-pitched gabled roof is reminiscent of the roof lines in the Irving Clark House in suburban LaGrange, Illinois. In the Clark house too, the main gable of the house is bisected by another perpendicular gable. Both homes also feature prominent chimneys constructed from Roman brick. Chimneys such as these became hallmarks of Wrights Prairie style work and of his work throughout his career. The large chimney is symbolic of the significance of the hearth in a warm, family-centered environment.</p><br>
<p>In the Young House some of the elements that Wright would go to use in his signature early modern Prairie style are recognizable. The most obvious element which is immediately visible is the thin, narrow clapboarding, which provides some of the horizontal emphasis for which Prairie style is known. Other features are more representative of Wright&#39;s earliest work with architect Joseph Silsbee, such as the soaring roof lines.</p><br>
<h2>Significance</h2><br>
<p>The house is most significant for the preview it gives of Wright&#39;s Prairie style, and the home utilizes many elements that would later become an important part of that school. The house is also recognized by the United States federal government as a contributing property to the Frank Lloyd Wright-Prairie School of Architecture Historic District. The village of Oak Park has its own, local version of the federal historic district and the Young House is part of that district as well. The federal Frank Lloyd Wright Historic District was added to the USA National Register of Historic Places on December 4, 1973.</p><br>
<p>The Alta Vista Terrace District is a historic district in the Lake View community of Chicago, Illinois. The district was built in 1904 in imitation of the rowhouse style of London.</p><br>
<p>The development was the work of Samuel Gross, who was responsible for several other real estate developments in Chicago. He was inspired to build Alta Vista Terrace after a trip to Europe, in which he looked at the row houses of London. The street is one block long and contains 40 small, single-family rowhouses, each on a lot about 24 feet wide and 40 feet deep. There were 20 different exterior styles based on various adaptations of architectural styles. Some of the features included Doric and Ionic wood pilasters, Gothic arches, Palladian windows, stained and leaded-glass fanlights, bay and bow windows, and various decorative woodwork. Houses on the street were constructed to match with the house diagonally opposite on the street.</p><br>
<p>Alta Vista Terrace is found at 1050 West on the Chicago street grid, running north from Grace Street (3800 North) to Byron Street (3900 North).</p><br>
<p>Alta Vista 3.JPGAlta Vista Terrace</p><br>
<p>Alta Vista 1.JPGAlta Vista Terrace</p><br>
<p>Alta Vista 2.JPGAlta Vista Terrace</p><br>
<p>Hills Memorial Library is the former public library of Hudson, New Hampshire, in the United States. It was erected in memory of Ida Virginia Hills by her husband, Dr. Alfred Hills, and her mother, Mary Field Creutzborg. The land had been previously donated by Kimball Webster for the express purpose of building a public library. The new building was designed by architect Hubert G. Ripley, built during the winter of 1908–09 and opened to the public on June 12, 1909. The building was added to the National Register of Historic Places in 1984, and the New Hampshire State Register of Historic Places in 2012. The town of Hudson closed the facility on May 18, 2009, as the library collection was moved to the new George H. and Ella M. Rodgers Memorial Library.</p><br>
<h2>History</h2><br>
<p>Hudsons first free public library was established in March 1893 by unanimous vote at that years town meeting. Kimball Webster, Henry O. Smith and Oswald P. Baker were appointed trustees soon after. Later that same year, the town received a bequest from Dr. Adoniram Greeley, whose will provided five hundred volumes for a free library in the town of Hudson to be selected from his personal library of 3000 volumes. The cooperation of his heirs eventually raised the total number acquired from this bequest to 1889 volumes. The public library was named the Greeley Public Library in the family&#39;s honor.</p><br>
<p>The library, first established in a private home, was soon moved to a location above Baker&#39;s Bros store. On September 17, 1904, Kimball Webster, town historian, Selectman and Library Trustee, donated land in the center of town with the requirement that it eventually hold a free standing public library building. A few years later, when Ida Virginia Hills died unexpectedly on May 4, 1908, aged 51, her husband and mother decided to provide the funds to build a library in her memory. The town unanimously accepted the gift on September 3, 1908, and ground was broken the next month.</p><br>
<p>Construction costs totaled approximately $14,000 over 7 months as the two-story, 70x50 stone building was completed. In the end, the building contained a total of 2,500 ft&sup2; of usable space divided between the main library floor, a small loft above, and a community meeting room in the basement. The new building, called Hills Memorial Library, was dedicated on the 22nd anniversary of the Hills&#39; marriage, June 11, 1909, and opened to the public the next day.</p><br>
<p>During its first year of operation, under the direction of Librarian Eliza Leslie, 830 residents (out of 1344) signed up for library cards, and there was a total circulation of 5015 items. The collection at the end of the year was 4153 items, 600 of which were donated by Dr. Hills.</p><br>
<p>The basement meeting room was used by the town for many years for a variety of purposes. The Girl Scouts, the Hudson Community Improvement Club and the Camera Club were among those community groups which met in the space. It was also used temporarily as a public school classroom while an addition was being added to the nearby H.O. Smith Elementary school.</p><br>
<p>However, the Hudson population and library circulation continued to grow apace through the first half of the 20th century. To meet a need for more space and childrens materials, in 1965 the basement was transformed through the efforts of town organizations and the trustees into a dedicated childrens room. This was opened to the public on January 18, 1966. The loft, known as the alcove, was also renovated a few years later, with work completed in 1975.</p><br>
<p>Another addition to library services came in 1977, when the Hudson Junior Womans Club, the Fire Department, Boyers Auto Body and the Alvirne High School Industrial Arts department renovated a surplus army vehicle into a bookmobile. Bookmobile service commenced in that same year and continued until 2005 when the second bookmobile was retired due to a need for extensive repairs.</p><br>
<h2>Current public library</h2><br>
<p>Hills Memorial Library was closed upon the opening of the town&#39;s new public library, the George H. and Ella M. Rodgers Memorial Library. The new facility opened on May 18, 2009, and was formally dedicated on June 7, 2009. The move coincided with the 100th anniversary of the Hills Memorial Library.</p><br>
<p>Immaculata High School was an all-girls Catholic high school located in the Lakeview neighborhood of Chicago, Illinois. It was open from 1921 to 1981.</p><br>
<p>The building was listed on the USA National Register of Historic Places in 1977.</p><br>
<p>The campus buildings received Chicago Landmark status on July 27, 1983. Still standing at Irving Park Road and Marine Drive, they were designed by Prairie School architect Barry Byrne, a onetime apprentice of Frank Lloyd Wright. The sculpture of Mary above the entrance, now removed, was the work of frequent Byrne collaborator Alfonso Iannelli.</p><br>
<p>The Immaculata High School records are currently housed at the Women and Leadership Archives.</p><br>
<p>Metropolitan Missionary Baptist Church, originally named the Third Church of Christ, Scientist, is a landmark church located on West Washington Boulevard in Chicago, Illinois, United States. The church was designed by architect Hugh M.G. Garden and was built in 1901. The church was sold to its current owners in 1947. It was designated a Chicago Landmark on February 16, 1989, and was listed on the National Register of Historic Places in 2016.</p><br>
<p>The West Jackson Boulevard District in Chicago, Illinois, also known as West Jackson Historic District, was listed on the National Register of Historic Places in 1978. It was earlier designed as a Chicago Landmark, in 1976, and expanded as Jackson Boulevard District and Extension in 1997. The NRHP district was expanded in 1989 to include one more building, the James H. Pearson House.</p><br>
<p>The district is a historic district in the Near West Side community area of Chicago, Illinois, United States. The district&#39;s area was built up between 1879 and 1893 by various architects. Lumber baron Benjamin Ferguson commissioned a red brick Queen Anne house in 1883 that takes up three city lots. The area also includes the Church of the Epiphany. The original district was designated a Chicago Landmark on November 15, 1976, and was then extended to present size on July 30, 1997.</p><br>
<p>The 1978 NRHP listing covered an 8.5 acre area roughly bounded by Laflin, Ashland, Adams, and Van Buren Sts. It included 34 contributing buildings in Second Empire, Italianate, Queen Anne and other styles.</p><br>
<p>The James H. Pearson House, a building at 1513 W. Adams St., which had been constructed in 1885, was added to the NRHP listing in 1989. It was designed by architects Burnham & Root in Richardsonian Romanesque style.</p><br>
<p>The Motor Row District is a historic district in Chicago&#39;s Near South Side community area. Motor Row includes buildings on Michigan Avenue between 2200 and 2500 south, directly west of McCormick Place convention center, and 1444, 1454, 1737, 1925, 2000 S. Michigan Ave., as well as 2246-3453 S. Indiana Ave., and 2211-47 S. Wabash Ave. The district was built between 1905 and 1936 by a number of notable architects.</p><br>
<p>Auto rows developed in numerous US cities shortly after 1900 as car companies sought to create districts where the sale and repair of cars could become an easy urban shopping experience. At its peak, as many as 116 different makes of automobiles were sold and repaired on Motor Row. Current-day marques that formerly had showrooms on Motor Row included Ford, Buick, Fiat, and Cadillac. Other marques with showrooms there that have since dissolved include Hudson, Locomobile, Marmon, and Pierce-Arrow. Currently, only one car dealer (Fiat/Alfa Romeo) still stands in Motor Row while the remaining buildings have been or are being redeveloped into condominiums, nightclubs, and retail storefronts.</p><br>
<h2>Architecture</h2><br>
<p>The range of buildings in Motor Row illustrates the evolution of the automobile showroom and related product and service buildings, from simple two-story structures used for display and offices to multi-story buildings housing a variety of departments for the repair, storage, painting, and finishing of automobiles. Many of the buildings were designed by significant architects, including Holabird & Roche, Alfred Alschuler, Philip Maher, Albert Kahn, and Christian Eckstorm. The overall design highlights elaborately carved stone work, ornate facades and intricately scrolled ironwork that decorates recessed automotive doorways.</p><br>
<p>Though characterized by its auto showrooms, Motor Row was also home to newspaper The Chicago Defender, a newspaper voice for Chicago&#39;s large African American community. Chess Records was also located in Motor Row and acts such as Muddy Waters, The Rolling Stones, Willie Dixon and many other blues artists recorded there.</p><br>
<p>Motor Row was designated a Chicago Landmark on December 13, 2000. It was added to the National Register of Historic Places on November 18, 2002.</p><br>
<h2>Redevelopment</h2><br>
<p>In recent years, Motor Row has been undergoing a transformation into a music and entertainment district. Motor Row Brewing (formerly known as Broad Shoulders Brewery) opened in the district in January 2015. Riff Music Lounge opened in the district in 2013. Motor Row Brewing closed in 2021 as a result of the COVID-19 pandemic, and shortly thereafter a new brewing company, Duneyrr, was started in the same space by two former Lagunitas employees.</p><br>
<p>In 2011–2012, local officials attempted to lure a Cheap Trick-themed restaurant, music venue and museum to the district; however, this deal fell through in 2013.</p><br>
<p>The Villa District, also known as Villa Historic District,  is a historic district in Chicago, Illinois, United States. It is located on Chicagos Northwest Side within the community area of Irving Park. Its borders are along Pulaski Road to the west, the Union Pacific/Northwest rail line to the north, Hamlin Avenue to the east, and Addison Street to the south. Located directly north of the Wacławowo area of Avondale, the Villa District is serviced by the Blue Lines Addison street station.</p><br>
<p>The district was built in 1902 by a number of architects, many of them visibly influenced by Frank Lloyd Wrights Prairie Style of architecture. Most notable among these were bungalows designed by the architectural firm of Hatzfeld and Knox, whose partner Clarence Hatzfeld would later design the field house and natatorium at Portage Park. The area was originally developed as the "Villa addition to Irving Park" and showcases many unique Craftsman and Prairie style homes fronting on picturesque boulevard style streets. Although St. Wenceslaus church, a majestic Romanesque-Art Deco hybrid draws many of the tourists visiting the area, this historic church is actually a few blocks south of the districts formal boundaries.</p><br>
<p>The Villa district was the northwest "bookend" for Chicagos vaunted Polish Corridor along Milwaukee Avenue that extended from Division and Ashland Avenue at Polonia Triangle. Journalist Mike Royko famously dubbed the area as the Polish Kenilworth after the posh suburb of Chicagos North Shore.</p><br>
<p>The Villa Historic District was added to the National Register of Historic Places on September 11, 1979. Its area was increased on March 10, 1983 by the addition of the Villa Apartments, 3948-3952 and 3949-3953 W. Waveland Ave.</p><br>
<p>The Villa District was designated a Chicago Landmark on November 23, 1983.</p><br>
<p>The Henry B. and Caroline Clarke/Bishop Louis Henry and Margaret Ford House or Clarke-Ford House is a Greek Revival style home, now serving as a house museum in Chicago, Illinois, United States. Built around 1836, it is considered the oldest existing house built in Chicago. Henry Brown Clarke was a native of New York State who had come to Chicago in 1833 with his wife, Caroline Palmer Clarke, and his family. He was in the hardware business with William Jones and Byram King, establishing King, Jones and Company, and provided building materials to the growing Chicago populace. The house was built by a local contractor, probably John C. Rue, who later married the Clarkes&#39; housemaid, Elizabeth  Saunders.</p><br>
<p>Originally built on a large lot near Michigan Avenue and 17th Street, it has been moved twice, most recently in 1977 to Indiana Avenue and 18th Street, near to its original location. In the mid-20th century, it was cared for by a church, its leader Bishop Ford and his wife, Margaret, who spurred its preservation as the city&#39;s oldest home. Its current location in a park and gardens is part of the Prairie Avenue Historic District in the Near South Side community area.</p><br>
<h2>Oldest surviving house in Chicago</h2><br>
<p>Clarke-Ford House may have been modeled on the home of William B. Ogden. The house is described as the oldest surviving house in Chicago, although part of the Noble-Seymour-Crippen House in the Norwood Park neighborhood was built in 1833. (However, Norwood Park was not annexed to Chicago until 1893.) The Clarke-Ford House was designated a Chicago Landmark on October 14, 1970. It was added to the National Register of Historic Places on May 6, 1971.</p><br>
<p>Originally built on 20.08 acre of land near Michigan Avenue between 16th and 17th Streets, it is currently located at 1827 S. Indiana, near its original location. Clarke&#39;s decision to build south of the River made him the first wealthy Chicagoan to build there.</p><br>
<h2>Widow Clarke&#39;s House</h2><br>
<p>Clarke died in 1849 after being stricken with cholera. Caroline Palmer Clarke lived until 1860 and it was during this time that the house was known as the "Widow Clarkes House". After her husbands death, Caroline Clarke established "Clarkes addition to Chicago" by selling all but 3 acre of the original land that went with the house. She used this money to support her family and renovate her house, adding an elaborate back portico with Doric columns, much like the original portico facing the lake. The new porch faced the newly gaslit Michigan Avenue. At the same time, she added an Italianate cupola and decorated her dining room and front parlor, which remained unfinished from the time of the familys financial setbacks.</p><br>
<p>In 1871 John Chrimes, a prominent Chicago tailor, purchased the house and moved it farther south to 45th Street and Wabash Avenue into what was then the township of Hyde Park. When the house was being moved, a packet of papers was discovered that Clarke had apparently buried when building the house. The packet contained a memorial to President Martin van Buren recommending Henry Clarke for a job, tax receipts, newspapers of the day, and a statement in Henry Clarke&#39;s handwriting, stating, "I, Henry B. Clarke, am an ardent Democrat." In the 20th century, the building came into the hands of the St. Paul Church of God in Christ. As the parsonage and community hall of this church, the Clarke House was the working home of Bishop Louis Henry Ford, the man for whom the Bishop Ford Freeway would later be named. Ford did much to preserve and repair the structure, and worked to bring its history to the attention of the city.</p><br>
<h2>Another move</h2><br>
<p>In 1977, the City of Chicago purchased the house and moved it to its current location, a project that included lifting the entire building over the L tracks on the Englewood-Jackson Park line. It was a cold December night and the hydraulic equipment responsible for supporting the house froze. For two weeks, the house sat adjacent to the El tracks until it could be moved to its current home at 1827 S. Indiana.</p><br>
<h2>Renaming</h2><br>
<p>After an increase in public interest in the history of the preservation of the house, the St. Paul Church of God in Christ began to generate support for renaming it to honor Bishop Louis Henry Ford. This effort was led by Pastor Kevin Anthony Ford, Bishop Ford&#39;s grandson and pastor of the church. The Chicago City Council approved the renaming of the House from the Henry B. Clarke House to the Henry B. and Caroline Clarke/Bishop Louis Henry and Margaret Ford House on November 18, 2022 to recognize the role of Carolyn Clarke, Bishop Louis Henry, and Margaret Ford in preserving the house.</p><br>
<h2>Clarke-Ford House Museum</h2><br>
<p>The Clarke-Ford House Museum is operated as a historic house museum by the Chicago Department of Cultural Affairs and Special Events, in partnership with The National Society of The Colonial Dames of America in the State of Illinois, which provides the period furnishings.</p><br>
<p>The Francis J. Dewes House is a house located at 503 West Wrightwood Avenue in Chicago, Illinois, United States. The house was built in 1896 by Adolph Cudell and Arthur Hercz for brewer Francis J. Dewes. It was added to the National Register of Historic Places on August 14, 1973 and designated a Chicago Landmark on June 12, 1974. The building&#39;s exterior is designed in a Central European Baroque Revival style.</p><br>
<p>Past owners and residents include Chuck Renslow and Dom Orejudos, the latter of whom housed his art studio on the third floor. Chicago Mayor Richard J. Daley invited Renslow to a 1974 ceremony to celebrate the building&#39;s landmark designation.</p><br>
<p>The mansion went for sale in 2011 with an asking price of $9.9 million. It never sold and is currently owned by Structure Management Midwest, a property management firm. In 2013, its owner, Fred Latsko, listed it for $12.5 million.</p><br>
<p>Sam Brown House  is a historic house near Gervais, Oregon, United States built in 1857 by Oregon pioneer and state senator Samuel Brown . The house is located on the French Prairie on the Peter Depot land claim and is believed to be the first in Oregon to be designed by an architect.</p><br>
<p>The house was featured in the August 1986 issue of National Geographic Magazine, which described Samuel Brown as a Missourian who dug 62 pounds of gold in California and later moved with his wife to Oregon. The couple filed a Donation Land Claim and acquired more than 1,000 acre and built their house near what is now the city of Gervais.</p><br>
<p>It served as a stage stop and housed three generations of the Browns. The son of the original Samuel Brown, Sam H. Brown, was a state senator and unsuccessfully ran for governor in 1934 and 1938.</p><br>
<p>The house was added to the National Register of Historic Places in 1974.</p><br>
<p>The Ford Building is a Streamline Moderne structure in Balboa Park in San Diego, California, that serves as the home of the San Diego Air & Space Museum. The building was built by the Ford Motor Company for the California Pacific International Exposition, which was held in 1935 and 1936. The Ford Motor Company built a total of five exposition buildings for the world&#39;s fairs. This is the last remaining structure.</p><br>
<h2>Design and construction</h2><br>
<p>The building&#39;s architect was noted American industrial designer Walter Dorwin Teague. The building was styled to resemble a V8 engine. Overall, it consists of two different-sized circles in the shape of an "8", and in the courtyard of the larger circle, a large fountain is shaped like the Ford V8 logo. The lights in the courtyard ("Pavilion of Flight") are shaped like valves. Along the interior wall of the outer ring is a mural depicting the history of transportation from the times of hunter-gatherers to 1935. The last panel of the mural was left open for the artist to depict his vision of the future of transportation after 1935, which is still visible today.</p><br>
<p>Initially, Ford wanted the building to be a 200-foot tower, but with the building near the flight path of arriving planes at San Diego International Airport, it was lowered to 90 feet. The size of the building was also decreased to 60,000 square feet from the initially proposed 113,000 square feet.</p><br>
<p>The site for the building was initially going to be near the Spreckels Organ Pavilion, but was later decided to be built in the Palisades area of the park. Construction took 11 months to complete. The main exhibit hall was a concrete plaster structure framed by steel.</p><br>
<h2>History</h2><br>
<p>Ford was the exposition&#39;s principal exhibitor and invested $2 million in the 45,000 ft&sup2, 296 ft diameter building to showcase its vehicles and other forms of transportation.</p><br>
<p>By the end of the exhibition, 2.5 million people had toured the building and its exhibits. Ford donated the building to the city of San Diego at the exhibition&#39;s completion in November 1935. When the 1936 exhibition concluded, the building was closed and was not available to the public until 1980, when the San Diego Air & Space Museum opened.</p><br>
<p>With the building empty, the National Guard temporarily stored in it antiaircraft artillery, trucks, and searchlights. During World War II, Balboa Park was renamed to Camp Kidd, to be used for USA Navy training, barracks, and hospital wards. The Ford Building was used for training mechanics in aircraft repair and welding from 1941 to 1946.</p><br>
<p>From the late 1940s to the 1960s, the building was used for storage for both the Starlight Civic Opera and San Diego&#39;s Park and Recreation department. By this point the building was in poor shape and was recommended by a 1960 commission to be demolished. In the late 1960s, the building was used a temporary studio space for the Chicano artist group Los Toltecas en Azatlán. In 1973, several San Diego groups worked to get the building listed on the National Register of Historic Places, saving it from being destroyed.</p><br>
<h2>The Studio of Los Toltecas en Aztlán</h2><br>
<p>In 1968, the San Diego Parks and Recreation Department gave Chicano artist Salvador Roberto Torres permission to use the then-abandoned Ford Building as a studio for six months. Torres eventually invited other Chicano artists to the building and they eventually formed Los Toltecas en Azatlán. In 1970, Los Toltecas en Azatlán created a proposal to create El Centro Cultural de la Raza in an effort to keep the building as a space for cultural production. The proposal was eventually denied by the San Diego city government, but Los Toltecas en Azatlán decided to remain and occupy the building until 1971, when the city agreed on another space for the proposed Chicano cultural center within Balboa Park.</p><br>
<h2>San Diego Air & Space Museum</h2><br>
<p>During the process of adding the building to the National Register, the San Diego City Council recommended it be used for a new home to the San Diego Aerospace Museum, now known as the San Diego Air & Space Museum. After its earlier location in the former Electric Building was burned down in a fire in 1978, the Ford Building was remodeled to house the museum at a cost of $8 million and opened on June 28, 1980. The museum uses the Ford-themed courtyard for weddings, balls, parties, and other occasions.</p><br>
<p>The Henry Gerber House is located on North Crilly Court in the Old Town neighborhood of Chicago, Illinois, United States. It is a single-family brick row house built in 1885 in the Queen Anne style, mostly intact from that time. In the 1920s it housed the apartment occupied by German-born Henry Gerber, founder of the short-lived Society for Human Rights, which was incorporated in Illinois as the first American organization working for gay rights. Inspired by nascent gay-rights organizations he had seen in Germany, Gerber held meetings here and published newsletters, the first known gay civil rights periodicals in the country, for a year until the Chicago police raided the house in 1925.</p><br>
<p>The Gerber House was recognized as a contributing property to the Old Town Triangle Chicago Landmark District when that was established by the city in 1977, and then when it was listed as a historic district on the National Register of Historic Places in 1984. The building was designated a Chicago Landmark in 2001.</p><br>
<p>In June 2015 it was named a National Historic Landmark.</p><br>
<h2>Building</h2><br>
<p>The house is located amidst a row of similar houses on North Crilly Court, a side street in Old Town, in the Lincoln Park community area, just north of West Eugenie Street a block and a half west of Lincoln Park itself and a block north of West North Avenue (Illinois Route 64). The surrounding neighborhood is urban and densely developed, primarily with attached residential two-story houses built in the late 19th century in the architectural styles of that era, on streets lined with shade trees. Reflecting the proximity of Lake Michigan, the neighborhood is flat.</p><br>
<p>The building itself is similar to its attached neighbors. A small garden, surrounded by a wrought iron fence, buffers the house from the sidewalk. It is a brick structure, faced in masonry, built on an exposed high brick foundation rising two stories to a flat roof with a small gable on the south. The 63 ft east (front) facade has two asymmetrically placed bays.</p><br>
<h3>Exterior</h3><br>
<p>From the basement level, a casement window with projecting lintel looks out on the garden. A projecting string course separates the basement from the first floor. On the south, stone stairs on the south side of the front garden rise to a small porch in front of the main entrance. Above the door is a round-arched transom window with :1710" in gold lettering, itself surrounded by a round stone arch of rusticated voussoirs with a keystone; a similarly rusticated course continues along the facade to the neighboring houses. On its north is a recessed tripartite single-paned window with sidelights and transom topped by a lintel of splayed rusticated blocks.</p><br>
<p>Another stringcourse separates the first and second floors. It also serves as the sill for the arched north window, with smaller rectangular panes filling the edge of the arch. It has the same rusticated arch treatment as the main entrance. On its south is a two-pane horizontal casement window with a plain stone sill.</p><br>
<p>Above both second-story windows is a molded frieze. The roofline treatment is different. Topping the frieze on the south side is a dentilled cornice below a paneled metal parapet. To its north, above the arched window, is a gable decorated with peaked paneling in its lower portion and a decorative pattern in the apex. On its north, separating a similar gable on the neighboring house, is a molded finial-topped square pillar rising from a corbel below the frieze. The roof itself is flat, with some modern membrane and mechanical equipment.</p><br>
<p>At the west (rear) the house narrows to 28 ft wide. Attached to it is a wooden deck, 16 by, that does not appear to be original to the house. However, it too is consistent with the other houses in the area.</p><br>
<h3>Interior</h3><br>
<p>The main entrance is a wooden paneled door with a brass knocker. The arched vestibule it opens into has the original floor tiles. Another transomed doorway opens into the living room, with a fireplace on the north wall.</p><br>
<p>An arched entryway leads into the dining room, with an alcove cut into the south wall beneath a staircase. To its west, towards the rear of the house, is the kitchen, with modern sliding glass doors leading out to the deck. Staircases, both original, lead from the rear to the upper floor and basement level.</p><br>
<p>In the basement, drywall covers the original exposed brick walls, laid in running bond, and has also been used to enclose an added bathroom as part of a general modern renovation. Two original doors on the east and west lead to the outside.</p><br>
<p>At the top of the stairway to the upper floor is a modern skylight. It is between the two original bedrooms, one of which is now used as an office. In the master bedroom, on the east side, is a small bathroom. On its north is another fireplace.</p><br>
<h2>History</h2><br>
<p>While the house&#39;s historical significance comes from its association with Gerber in the mid-1920s, it has a history before and after that period.</p><br>
<h3>1833–1885: Development of Old Town</h3><br>
<p>The area today known as Old Town was unsettled marshland ceded to the city by local Ojibwa Native Americans in the 1833 Treaty of Chicago. It remained uninhabited until German refugees began arriving due to unrest there during the 1840s and filled in the wetlands to establish cabbage farms. By the time of the Civil War in the 1860s houses had been built alongside the farms.</p><br>
<p>The Great Chicago Fire of 1871 destroyed most of the original houses. Residents mostly decided to rebuild in the same area, making the neighborhood more urban in the process. Developer Daniel Francis Crilly built the houses on the street named after him, including 1710, in 1885 in the emerging Queen Anne Style. He and his family rented it out rather than selling it.</p><br>
<h3>1885–1923: Gerber&#39;s earlier life</h3><br>
<p>Josef Heinrich Dittmar was born in the Bavarian town of Passau in 1892. After emigrating to Chicago at the age of 21, he started going by the name Henry Gerber. When the United States entered World War I against his native Germany, he applied for and received conscientious objector status. As a result, he spent the war years in an internment camp. In 1917 he may have been briefly committed to a mental hospital for treatment of his homosexuality, which may have helped him see it as a component of his identity. After the war ended the following year and he was no longer treated with suspicion as a German, he re-enlisted and was assigned to the occupying forces.</p><br>
<p>Gerber was stationed in Coblenz, where he wrote for and edited an Army newspaper. He came in contact with the thriving German gay culture that had emerged there since the 1890s. Magazines for gays and lesbians circulated freely, and Gerber subscribed to several. He made trips to Berlin, where many gays and lesbians lived openly and the culture of the city as a whole was relatively tolerant.</p><br>
<p>On those trips, he may have visited the Institute for Sexual Research, the worlds first sexology research center. Founder Magnus Hirschfelds advocacy for sexual minorities had inspired German gays of the time to organize for the repeal of German law against sodomy. Gerber would later cite his years in Germany after the war as formative in his later activism.</p><br>
<h3>1923–25: Society for Human Rights</h3><br>
<p>In 1923 the occupation ended and Gerber returned to Chicago. He took a job with the Post Office and found room and board nearby at 1710 North Crilly Court. It is likely given his low income that he would have rented the smaller of the two upstairs bedrooms. The house at that time was slightly different in plan, with the first-floor dining room a smaller sitting room off a much larger kitchen, and no rear deck.</p><br>
<p>By then Old Town, known as North Town, had become more ethnically diverse, though it was still predominantly German, which Gerber would have found beneficial. Old Town then had a bohemian reputation, tolerant of those on societys political, social or cultural margins. It also had a slightly run-down character, with many of the original single-family homes subdivided into multiple-unit dwellings. There were brothels at either end of North Crilly, making it less likely that the police would care much about a residents sexual activities as long as he or she kept them discreet.</p><br>
<p>The situation for gays and lesbians in 1920s America was not what Gerber had experienced in Germany. The few urban American gay communities (almost exclusively male) that had emerged in the early 20th century were under constant police surveillance and frequently harassed. Gerber found the Chicago gay community, centered on the nearby neighborhood of Tower Town, flamboyant but less sophisticated than their German counterparts, with no political consciousness. Seeing the United States as being "in a state of chaos and misunderstanding concerning its sex laws," which made sodomy a felony eligible for the death penalty in some states (although that sentence was rarely imposed), he decided to "unravel the tangle and bring relief to the abused." Late in 1924 he filed incorporation papers with the state of Illinois for a nonprofit he called the Society for Human Rights, giving as its address his own, 1710 North Crilly Court.</p><br>
<p>The societys name was a direct translation of Bund für Menschenrecht, one of the German homophile organizations of the era. Gerber gave little direct hint of its purpose in the charter included in the incorporation application, saying the societys purpose was "to promote and to protect the interests of people who by reasons of mental and physical abnormalities are abused and hindered in the legal pursuit of happiness which is guaranteed them by the Declaration of Independence, and to combat the public prejudices against them by dissemination of facts according to modern science among intellectuals of mature age." It was thus the first formal gay rights organization in American history.</p><br>
<p>Gerber was able to attract about six other men as regular members, most of whom were workingmen like himself. It is likely that they met in the houses basement, as its front and rear entrances made it easy to enter and leave undetected, while the single window could easily be curtained off to prevent onlookers from seeing who was inside. The group held monthly meetings, at which they decided to work for the repeal of Illinoiss sodomy law.</p><br>
<p>As the organizations secretary, Gerber handled all its official correspondence and edited its newsletter, Friendship and Freedom. It is considered the first gay periodical in USA history. Only two issues were known to have been published; no copies are extant. Gerber shared it with similar organizations in Europe, and it is shown in a 1927 Hirschfeld photograph alongside similar German and French magazines. Another French magazine, LAmitié, reviewed the April 1925 issue.</p><br>
<p>The societys brief existence ended in July 1925, when the police raided the house in the early hours of a Sunday morning, accompanied by a reporter from the Chicago American afternoon tabloid newspaper. The investigating officers had found copies of Friendship and Freedom, which led them to North Crilly Court. There they seized copies of the newsletter, the societys records and Gerber&#39;s diaries and personal documents.</p><br>
<p>Charges against Gerber were at first heavily prosecuted, but ultimately dismissed at a third trial since the police had not gotten a search warrant before entering the house and seizing evidence. He would never recover the documents seized by postal inspectors looking for evidence of violations of the Comstock laws which forbid sending obscene materials through the mail. The legal struggle cost him considerable amounts of money as well as his job with the Post Office, and afterwards he left Chicago for New York.</p><br>
<h3>1925 – present: Preservation and heritage designations</h3><br>
<p>In the 1930s, Old Town experienced a renaissance as the artists and writers who had flocked to Tower Town the preceding decade began moving east. then a hippie neighborhood the next decade. In 1963 the Crilly family sold the house.</p><br>
<p>In 1977 Old Town was designated a Chicago Landmark District. By the 1980s yuppies had taken over, and gentrification began. In 1984 Old Town was listed on the National Register of Historic Places as a historic district; 1710 North Crilly was included as a contributing property. The current owners of 1710 bought the house the following year. At some point prior to that year the deck had been added to the rear, like every other house in the neighborhood.</p><br>
<p>The new owners could not move into the house as it is; some restoration was necessary. They had to replace all the flooring on the first floor as it had deteriorated to the point of being unsafe; new handrails were added to the stairs as well. The front steps and vestibule floor tiles also date to this era.</p><br>
<p>Some changes were also made to the house. Upstairs, the bathroom entrance from the hall was closed, making it more exclusive to the master bedroom it abuts. A skylight was cut in the ceiling over the top of the upper stairs. The small sitting room was expanded, using space originally part of the kitchen to create a larger dining room. In the basement, drywall was installed over the brick and another bathroom was installed.</p><br>
<p>The owners resisted the common late 20th-century trend of gutting the interior of historic houses to create more open space within. This preservation of the original building&#39;s integrity helped it gain its Chicago Landmark designation in 2002. It was also cited in the application for National Historic Landmark status, which the National Park Service granted in 2015.</p><br>
<p>Hygienic Manufacturing Company, also known as Overton Hygienic Company, was a cosmetics company established by Anthony Overton. It was one of the nation&#39;s largest producers of African-American cosmetics. Anthony Overton also ran other businesses from the building, including the Victory Life Insurance Company and Douglass National Bank, the first nationally chartered, African-American-owned bank. The Overton Hygienic Building is a Chicago Landmark and part of the Black Metropolis-Bronzeville District in the Douglas community area of Chicago, Illinois. It is located at 3619-3627 South State Street.</p><br>
<p>The building was commissioned by Anthony Overton in 1922 as a combination of a store, office, and manufacturing building. It was regarded as one of the most important buildings within the district. Overton would later commission the Chicago Bee Building in 1929.</p><br>
<p>Walter T. Bailey, the first licensed African-American architect in the state of Illinois, had his first Chicago office on the second floor of the Overton Hygienic Building.</p><br>
<p>The building was later named the Palace Hotel and served for some time as a flophouse, with residents crowded into stalls 8 feet by 5½ feet. The second, third, and fourth floors each housed 125 stalls, with dormitory-style bathrooms and showers, for a total of 375 stalls. The building is now owned and being developed by the Mid-South Planning and Development Commission, which will use the building as an incubator for small businesses and startups within the Black Metropolis neighborhood.</p><br>
<p>The Moses Mould House is a Registered Historic Place located at the junction of NY 17K and Kaistertown Road in the Town of Montgomery, in Orange County, New York. It is just up Kaisertown from another site on the National Register, the Jacob Shafer House. Mould was the first of a large family of German settlers in the town to bear the name. The house was built in a Greek Revival style. Note: This includes</p><br>
<p>It was added to the National Register of Historic Places in 2002.</p><br>
<p>Fort C.F. Smith was a lunette that the Union Army constructed in Alexandria County , Virginia, during 1863 as part of the Civil War defenses of Washington . It was named in honor of General Charles Ferguson Smith, who died from a leg infection that was aggravated by dysentery on April 25, 1862. Fort C. F. Smith connected the Potomac River to the Arlington Line, a row of fortifications south of Washington, D.C., that was intended to protect the capital of the United States from an invasion by the Confederate States Army.</p><br>
<p>The Army built the lunette on a bluff overlooking the Potomac River and Spout Run. Because of its elevation and location, the lunette could protect the Aqueduct Bridge from invaders traveling along each of the two waterways.</p><br>
<h2>History</h2><br>
<h3>Civil War</h3><br>
<p>Following the Union Army&#39;s defeat at the Second Battle of Bull Run (Manassas) in August 1862, the Army constructed Fort C. F. Smith in 1863. The lunette was located on property that Thomas Jewell had previously owned and that contained a red house. During construction, the fort was therefore referred to "Fort at Red House". The Army destroyed the house while building the lunette and nearby fortifications.</p><br>
<p>The lunette had places for 22 guns and had a perimeter of 368 yard. General John G. Barnard wrote in a report that "Fort C. F. Smith was carefully planned and constructed after our latest models." The lunette had a southern and western face and two flanks, as well as a crémaillère line on the north side to protect it from attack up the ravines from the river.</p><br>
<p>A May 17, 1864, report from the Union Army&#39;s Inspector of Artillery (see Union Army artillery organization) noted the following:</p><br>
<p>Fort C. F. Smith, Maj. W. A. McKay commanding.–Garrison, four companies Second New York Heavy Artillery–1 major, 15 commissioned officers, 1 ordnance-sergeant, 548 men. Armament, three 12-pounder field howitzers, two 6-pounder field guns, four 24-pounder siege guns, one 8-inch sea-coast howitzer, six 4 ½ -inch ordnance, and four 8-inch siege mortars. Magazines, two; dry and in serviceable condition. Ammunition, full supply and well packed. Implements, complete and serviceable. Drill in artillery, very ordinary; wants improving much. Drill in infantry, insufficient; wants more energy and attention given to it. Discipline, great want of improvement. Garrison is sufficient.</p><br>
<p>In 1865, the lunettes armaments were: one 8-inch sea-coast howitzer, three 12-pounder howitzers, four 24-pounder siege guns, two 10-pound Parrot rifles, six 4 ½-inch ordinance, three 4-inch siege mortars, and six vacant platforms. Fort C. F. Smith and other Union Army fortifications on and near the Arlington Line saw little or no fighting during the war; the Armys biggest enemies in the area were diseases such as malaria and typhoid fever, as well as handling live ammunition.</p><br>
<h3>Post-War</h3><br>
<p>After the Civil War ended in April 1865, the Army dismantled and abandoned Fort C.F. Smith during the fall of that year. Wooden structures and revetments were removed. The Army destroyed the lunette&#39;s magazines and bomb-proof in order to salvage their wooden structural remains. Used lumber, timber, hardware, and tools were sold at public auctions.</p><br>
<p>Thomas Jewell&#39;s family then succeeded in recovering their property. The Deming and Yates families took ownership of the property from 1888 to 1924. Charles Lindsay owned the property from 1924 to 1926. The Hendry family then owned the property from 1927 to 1993.</p><br>
<p>Construction of 24th Street North destroyed about one-third of the lunette&#39;s remains. However, the development of the property into a private estate provided a measure of protection to the remains of the lunette north of 24th Street.</p><br>
<p>In 1965, the Arlington County government erected a historical marker near the site of the lunette&#39;s remnants. The Arlington County Board designated the lunette to be a local historic district on February 28, 1987.</p><br>
<p>In 1994 and in succeeding years, the County government acquired the lunettes property, created the 19 acre Fort C.F. Smith Park, and preserved the lunettes remnants at a cost of over $11 million. On February 1, 2000, the National Park Service listed the fort on the National Register of Historic Places.</p><br>
<p>The Virginia Civil War Trails has erected a historic marker near the fort&#39;s site. The Arlington County government hosted an event celebrating the opening of a new visitors center in Fort C.F. Smith Park on March 31, 2018.</p><br>
<h2>Existing remnants</h2><br>
<p>With the exception of those that construction of 24th Street North removed, the earthen remains of the lunette survive largely intact within Arlington County&#39;s Fort C.F Smith Park. Gun platforms 8-11 are clearly visible, as is a well. The fortification contains bastions that are unusual within lunettes. The ammunition magazine is also still visible, as is the bombproof area. Soldiers would use the bombproof if they were under siege, as it functioned as a traverse that localized the effects of shell bursts. Parapets, which protected the soldiers from fire, and the gorge, which protected soldiers from flanking fire, also remain visible.</p><br>
<p>The Jacob Bookstaver House is located off Albany Post Road in Orange County, New York&#39;s Town of Montgomery, not far from The Smith House. It has been a Registered Historic Place since 1996.</p><br>
<p>Bookstaver, a Palatine German, was among the earliest settlers of the town. After spending his first winter in a makeshift cave with several other settlers and their families, he bought an 800 acre tract including the current location of the house with three partners in 1735. The original portion of the current house was built in 1779, with the Greek Revival wing added by his descendants in 1850.</p><br>
<p>The house was added to the Register in 1996.</p><br>
<p>The Abraham Dickerson Farmhouse is a historic residence in the town of Montgomery in Orange County, New York, United States. It is located on West Searsville Road, which was originally the driveway to its entrance.</p><br>
<h2>History</h2><br>
<p>Abraham Dickerson emigrated to the Hudson Valley from Long Island during the 1760s. He married Anna Mould, the daughter of a prominent local family, and he bought land and built the house and a sawmill on the nearby Dwaar Kill, a tributary of the Wallkill River. The sawmill ceased operations at the end of the century, and a member of another prominent local family, the Van Alsts, bought the house in 1829. Renovations undertaken during this time were in the Greek Revival style then popular.</p><br>
<p>The back of the house was designed to be a dancing parlor, and both the Dickersons and Van Alsts held many parties there on Saturday nights. When it was used as a boardinghouse in the 1920s, the dances were still well-attended enough that tenants were required to make sure it was available every week.</p><br>
<p>After that time, the house fell into disuse and was abandoned. It was renovated in the late 1970s and added to the National Register in 1995.</p><br>
<p>The Bush Temple of Music, at 100 West Chicago Avenue in Chicago, was built in 1901 as the headquarters and showroom of the Bush and Gerts Piano Company, one of Chicagos leading piano companies. Designed by architect J.E.O. Pridmore, the building is an example of the importance of piano manufacturing and sales during the late 19th and early 20th centuries when Chicago was the leading piano manufacturing center in the world. The building is a rare large-scale example of French Renaissance Revival-style architecture, an unusual style in Chicago and the United States. The buildings design and decorative details are unique examples of the historic revival style favored by Chicagoans in the late nineteenth and early twentieth centuries. The building was designated a Chicago Landmark on June 27, 2001. It is being considered for listing on the National Register of Historic Places.</p><br>
<p>The Chapin and Gore Building is a historic building located at 63 East Adams Street in downtown Chicago, Illinois. The distilling company of Chapin and Gore had the building constructed in 1904 for their business; the original building consisted a first-floor bar and store and offices and warehouse space in the remainder of the building. Architectural partners Richard E. Schmidt and Hugh M. G. Garden designed the building, which has a functional plan but includes substantial ornamentation such as terra cotta and brickwork. The building&#39;s ornamental capitals and cornice were removed in the 1950s. The building was listed on the National Register of Historic Places on June 27, 1979, and later designated as a Chicago Landmark on January 21, 1982.</p><br>
<p>The Chapin and Gore Building is currently the home of the Chicago Symphony Orchestra administration. It is part of the Symphony Center campus, attached in 1997 to Orchestra Hall. The Forte restaurant and café is on the ground floor.</p><br>
<p>The Chicago Building or Chicago Savings Bank Building is an early skyscraper, built in 1904–1905. It is located at 7 West Madison Street in Chicago. Designed by the architecture firm Holabird & Roche, it is an early and highly visible example of the Chicago school of architecture.</p><br>
<p>The building&#39;s features characterize this style through the use of large "Chicago windows", metal frame construction, distinctive bays, and terra cotta cladding. The combination of the north side projecting bay windows, and the east side rectangular "Chicago windows" with movable sashes is representative of the two typical Chicago school window types. The building is prominently located on the southwest corner of State Street and Madison Street, with visibility increased by an offset in the alignment of State Street.</p><br>
<p>The building is a critical component of a grouping of significant structures, including Carson Pirie Scott and the former Mandel Brothers Store, at what was once labeled the "World&#39;s Busiest Corner". The building was designated a Chicago landmark on March 26, 1996. In 1997, it was converted to a dormitory for the School of the Art Institute of Chicago. The corner of the 3rd floor of the Chicago Building contains the cornerstone of Chicago. It is the 0-0 degree point of the city, and is the location from which all addresses in Chicago begin.</p><br>
<p>The Chicago Varnish Company Building is a building built in 1895 as the headquarters of one of the leading varnish manufacturers in the United States, the Chicago Varnish Company. The building is a rare example of Dutch Renaissance Revival-style architecture in Chicago, and is marked by a steeply pitched roof paired with stepped gables of red brick and light stone in contrasting colors. The building was designed by Henry Ives Cobb, a nationally recognized architect whose other significant works include the former Chicago Historical Society Building, the Newberry Library, and the original buildings for the University of Chicago campus. The building was listed on the National Register of Historic Places on June 14, 2001, and was designated a Chicago Landmark on July 25, 2001.</p><br>
<p>After an extensive rehabilitation, including replacement of the multi-gabled clay tile roof and rebuilding the stepped parapets, Harry Carays Italian Steakhouse opened in the building on October 23, 1987. The restaurant has received numerous awards for its food and service, and features many items of memorabilia, including a "Holy Cow" wearing the trademark Harry Caray eyeglasses that was sourced from Chicagos CowParade.</p><br>
<p>The building is distinctive for its use of the Dutch Renaissance revival style, with its stepped gables, steeply-pitched tile roof, and contrasting brick and stone masonry.</p><br>
<p>The building and its restoration received the Chicago Landmarks Preservation Excellence award in 2006 for its careful restoration of the Ludowici roof.</p><br>
<p>The King–Nash House, also known as Patrick J. King House, is a combination of Sullivanesque, Colonial Revival, and Prairie styles house in the East Garfield Park area of Chicago, Illinois, United States. The house was built in 1901 by George W. Maher for Patrick J. King. From 1925 until his death in 1943, it was home to Chicago political boss Patrick Nash.</p><br>
<p>It was listed on the USA National Register of Historic Places in 1983. It was designated a Chicago Landmark on February 10, 1988.</p><br>
<p>Window from the James A. Patton House MET DP207452.jpgLouis J. Millet&#39;s thistle-designed window from the James A. Patton House designed by George Washington Maher, now in the collection of the Metropolitan Museum of Art in New York.</p><br>
<p>WLA lacma Fireplace Surround from the Patrick J King House Chicago.jpgFireplace Surround from the Patrick J King House in Chicago now at LACMA</p><br>
<p>The Stephen Wright House is a home located in the Lee County, Illinois, United States, village of Paw Paw. The Queen Anne style home was constructed sometime between 1895 and 1906 by Paw Paw real estate speculator Stephen Wright. Located along a former Native American trail and stagecoach line, the home is in an area of very similar Queen Anne style homes which may have also been built by Wright. Wright had left the property by 1906 and sold the property to another Paw Paw resident who stayed in the house until his death. The Stephen Wright House was listed on the USA National Register of Historic Places on May 22, 2005.</p><br>
<h2>Location</h2><br>
<p>The Stephen Wright House is located along a road that was historically used as a stage coach trail from Galena, Illinois to Chicago; prior to that, the trail was used by the Potawatomi Indians. Today the stretch of former stage coach is County Route 10 and known locally as Chicago Road. The house itself sits back 30 ft from the road, and the lawn is enclosed by a picket fence. Behind the house is a garage which is considered a non-contributing factor to the significance of the property by the USA National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The Stephen Wright House is believed to have been built by Paw Paw real estate speculator and Illinois native Stephen Wright around 1895. 1895 tax records indicate that the lot where the house stands sold for US$100; Wright bought it from a local farmer who owned a large amount of land in Paw Paw, then known as Wyoming Township. By 1906, records indicate that the property was transferred for a larger sum, $4,000, thus, it is believed that the home was constructed sometime between 1895 and 1906. Wright still owned the property in 1900 but by 1906 it had been sold to Ezra Bretz. Bretz was a native of nearby Brooklyn Township and he lived in the home until his death in the 1940s. After Bretz died the house was converted into a duplex apartment, a state it remained in until it was acquired by the Paw Paw Bible Church in the 1950s. The Bible Church converted the structure back into a single-family residence for use as a parsonage. In 2002 the house was purchased by its current owners but the Bible Church retained much of the original 4 acre site. The site once held a barn which is no longer extant.</p><br>
<h2>Architecture</h2><br>
<p>The Stephen Wright House is an example of late 19th century Queen Anne style and stands on a block with three other very similar houses. The similarities suggest that Wright, a real estate speculator, may have built all three other houses as well. Though the home&#39;s builder is known, Wright, its architect is unknown.</p><br>
<p>The house has a moderate-pitch hip roof with lower intersecting gables and asphalt shingles. At the top of the roof is a 14 ft by 14 ft area which is flat, giving the roof its hipped quality; the area may have once hosted iron fretwork. This subtype of Queen Anne style, classified as "hipped roof with lower cross gables" is among the most distinctive of Queen Anne characteristics and occurs in over half of all Queen Anne style homes.</p><br>
<p>The entire home stands upon a limestone foundation. The exterior is clad in narrow wooden Clapboarding and the corner boards are topped with a trim that resembles Doric capitals. The front facade features a large projecting gabled wing extending out from the principle hip roof portion of the home. Directly beneath the projecting gable&#39;s eave is decorative shingle work, a common element in Queen Anne style architecture.</p><br>
<h2>Significance</h2><br>
<p>The Wright House is an excellent local example of Queen Anne style architecture. Aspects of the home&#39;s massing as well as its ornate, Queen Anne details contribute to its excellence as an example of the style. The Stephen Wright House was listed on the USA National Register of Historic Places on May 22, 2005.</p><br>
