<p>The Fishkill Village District is a federally recognized historic district in the New York community. It is roughly defined as Main Street  between Cary and Hopewell streets. Of the 108 buildings within this district, those that are contributing properties date from between the late 18th century to the late 19th century. A variety of architectural styles are represented, but predominant among them are several Greek Revival buildings.</p><br>
<p>It was added to the National Register of Historic Places in 1973.</p><br>
<p>The American Club is a luxury spa and resort located in Kohler, Wisconsin. It is owned and operated by the Kohler Company. It has received various awards, including the Top 100 Golf Resorts by Conde Nast Traveler magazine, and is the Midwest&#39;s only AAA Five Diamond Resort Hotel. It is now part of Destination Kohler. The American Club is a member of Historic Hotels of America, the official program of the National Trust for Historic Preservation.</p><br>
<h2>Site</h2><br>
<p>The American Club is located in the former company town Kohler, Wisconsin, which was founded by Walter J. Kohler, the son of Kohler Co. founder John Michael Kohler. Initially built around the manufacturing plant to meet the needs of the growing workforce it became an independently functioning village and was incorporated as such in 1912 as the Village of Kohler. The famous landscape architect Frederick Law Olmsted was involved into the planning of the village layout.</p><br>
<h2>Architecture</h2><br>
<p>In 1924, or even a couple years prior, the planning was commissioned to architect Richard Philipp of Brust & Philipp in Milwaukee, Wisconsin. He used the Tudor Revival-style as an inspiration.</p><br>
<h2>History</h2><br>
<p>The American Club hotel was built in 1918 to house the Kohler Company&#39;s immigrant workers.</p><br>
<p>Nearby Whistling Straits and Blackwolf Run golf courses are affiliated with The American Club.</p><br>
<p>It was listed on the National Register of Historic Places in 1978.</p><br>
<p>The De Vinne Press Building is a commercial building and former printing plant at 393–399 Lafayette Street, at the corner of Fourth Street, in the NoHo neighborhood of Manhattan in New York City, United States. The building was designed by the firm of Babb, Cook & Willard in the Romanesque Revival style. It is a New York City designated landmark and is on the National Register of Historic Places.</p><br>
<p>The De Vinne Press Building is seven stories high, excluding the raised basement. The facade is made of brick and terracotta, with decorations concentrated on the southern and western elevations, which face Fourth and Lafayette streets, respectively. Each facade includes segmental arches and round-arched windows, as well as horizontal belt courses. Inside, the building has a mostly rectangular floor plan. The interiors were designed in a utilitarian style and were intended to accommodate the weight of printing presses. The load-bearing walls are made of brick, and the structure also contains cast-iron columns encased in brick piers.</p><br>
<p>The building was built in 1885–1886 by Theodore Low De Vinne, a typographer and printer who led the De Vinne Press. He originally owned a 25 percent stake in the property, while the remainder was owned by Roswell Smith, the founder of the Century Company. The structure was expanded to the east between 1891 and 1892. The press closed in 1922, and De Vinnes heirs sold their interest to Smiths estate in 1929. The building was sold in 1938 to the Walter Peek Paper Corporation, which sold it in the early 1980s to Edwin Fisher. The ground floor has been occupied by Astor Wines and Spirits since 2006, while the upper floors were gradually renovated and converted to offices.</p><br>
<h2>Site</h2><br>
<p>The De Vinne Press Building is at 393–399 Lafayette Street, on the northeast corner with Fourth Street, in the NoHo neighborhood of Manhattan in New York City. The land lot is rectangular and measures 14,627 ft2, with a frontage of 124.67 ft on Lafayette Street and 117.67 ft on Fourth Street. On the same block to the east are the Merchant&#39;s House Museum, as well as a public park named Manuel Plaza and the Samuel Tredwell Skidmore House at 37 East Fourth Street. The Astor Library Building (now the Public Theater) and Astor Place Tower are also on the same block to the north. Other nearby buildings include the Firehouse of Engine Company No. 33 one block south; 357 Bowery one block east; and the Schermerhorn Building one block south.</p><br>
<p>The site of the house was historically part of the estate of German-American businessman John Jacob Astor, who in 1803 acquired land between what is now Astor Place and Great Jones Street. Astor subsequently built his mansion and horse stable nearby. In the 1830s, the wealthiest New Yorkers were starting to relocate northward from what is now the Financial District of Manhattan, bookbinding and publishing firms such as The De Vinne Press and J.J. Little & Co. settled around Lafayette Place.</p><br>
<h2>Architecture</h2><br>
<p>The De Vinne Press Building was designed by the firm of Babb, Cook & Willard in the Romanesque Revival style; An addition was made to the building in 1892. The structure consists of seven stories, excluding the raised basement; if the basement is counted, the building is eight stories tall. The architectural writer Henry-Russell Hitchcock likened the structures design to that of the Marshall Fields Wholesale Store in Chicago. The De Vinne Press Building&#39;s design inspired that of another structure in Manhattan: the Tarrant Building, constructed in 1892 at 278–282 Greenwich Street.</p><br>
<h3>Facade</h3><br>
<p>The De Vinne Press Building is one of several journalism-related buildings in New York City that were designed in a Rundbogenstil–inspired style, with arches and brick walls. Originally, the terracotta was colored red, yellow, and white. Decorations are concentrated on the southern and western elevations, which face the street. which are interspersed through the facade. and is supported by iron trusses, similar to other warehouse buildings of the time.</p><br>
<h4>Lafayette Street</h4><br>
<p>The Lafayette Street elevation, to the west, is seven bays wide. Both ends of the facade are ornamented with quoins. On the first through third stories, the center three bays each contain a triple-height archway. The central archway has an arched doorway to its second story, as well as spandrel panels with interlacing patterns. There are roundels above the central archway at the third story, which bear the initials of the buildings developer, Theodore Low De Vinne, and the year of its completion, 1885. The decorations of the main entrance archway were intended to give the building a "domestic scale&quot at the time of the buildings completion, most of the surrounding structures were low-rise houses. The outermost two bays on either side contain two single-height arched windows on each of the first through third stories. The outermost windows on the first and second floors are segmental arches, while those on the third floor are round arches.</p><br>
<p>On the fourth floor are 13 segmentally arched windows, with one windows in each of the outer four bays and three each in the inner three bays. The center three bays contain triple-height round-arched window openings on the fifth through seventh floors, which are flanked by two single-height arched windows on each story. The triple-height windows are recessed deeply into the facade. The outermost windows on the fifth floor are segmental arches, while the outer windows on the sixth and seventh floors are round-arched. A belt course separates the eighth story from the floors below, and there are 13 round-arched windows on the eighth floor. A bronze cornice and a gable runs atop the eighth floor. As built, the cornice was composed of bent iron beams, which created a gutter.</p><br>
<h4>Fourth Street</h4><br>
<p>The Fourth Street elevation, to the south, is eleven bays wide. Because of the presence of the eastward annex, the Fourth Street elevation is no longer symmetrical. The original facade, which comprises the westernmost six bays, is similar in design to the Lafayette Street elevation, though the window arrangement is different.</p><br>
<p>In the center four bays of the original facade (now the second through fifth bays from the west), there are double-height segmental arches on the first and second floors, which are flanked by smaller arched openings in the first and sixth bays. On the third story, there are large segmental arches in the original facade&#39;s four central bays, while the outer bays have smaller windows.</p><br>
<p>The seventh bay from the west is flanked by quoins, visually separating the original building to the west and the annex to the east. Within this bay, the first story contains an entrance; the second and third stories have a double-height round arch; and the fourth story has a segmental arch. The upper stories of the seventh bay are recessed and consist of two double-height, round-arched window openings. The four-bay-wide annex to the east is decorated with a wrought-iron fire escape. In contrast to the rest of the building, the annex is topped by a terracotta cornice.</p><br>
<h3>Interior</h3><br>
<p>The building has a mostly rectangular floor plan. and are topped by angled brick capitals.</p><br>
<p>The interiors were built in a utilitarian manner, as the building had been envisaged solely as a printing factory. This story was known as the vault and contained storage space for paper and stereotypes, as well as the heating plant and a web press. The cellar vault was illuminated by patent lights on the sidewalk. The cellar space was 20 ft tall, with a floor dimensions of 30 by. By the 2000s, the cellar space had been converted into a wine cellar.</p><br>
<p>The first floor had presses for fine printing. The main entrance led to a vestibule on the second floor, which had a spiral staircase made of iron, in addition to offices and presses. Of the three floors above, two were used for storage and one was used for typesetting. There was an office on the third floor, as well as composing rooms and press rooms. The sixth floor had a electrotype foundry; the piers on the sixth floor were 5 ft thick, supporting the heavy equipment above. The top two floors had a bindery. The seventh floor also included dry presses, and the eighth floor had a storage room and mailroom. There were two staircases, one for women and one for men, at opposite corners of the building.</p><br>
<h2>History</h2><br>
<p>Theodore Low De Vinne—a typographer, printer, and cofounder of the printing-history organization Grolier Club—had the building constructed for his printing company, Theodore L. De Vinne & Co. The firm printed several American magazines, including the St. Nicholas Magazine, Scribners Monthly, and The Century. De Vinne also wrote books such as The Invention of Printing, Correct Composition, and Title Pages. The printer Roswell Smith, founder of the Century Company, published several of De Vinnes publications, including Scribner&#39;s Monthly and The Century.</p><br>
<h3>De Vinne Press printing plant</h3><br>
<p>In May 1884, Smith and De Vinne acquired several parcels of land. These included the Maury familys three-story house at 17 East Fourth Street; the Sabine familys three-story house at the northeast corner of Lafayette and Fourth streets; and the Hyatt familys three-story house and store at 19 East Fourth Street. Smith announced that October that he and De Vinne would erect "a large printing and binding establishment" on the site. At the time, the Real Estate Record and Guide predicted that the De Vinne & Co. Building "marks a new era in property hereabouts". Babb, Cook & Willard were hired to design the building, which was planned to cost $300,000. Originally, De Vinnes financial stake in the property was limited to 25 percent, with the remainder held by Roswell Smith. The structure was completed; and Smith and De Vinne hosted a lunch at the building that May for the construction contractors and architects.</p><br>
<p>When the building was completed, it had the address of 12 Lafayette Place and was used as a printing plant. The De Vinne Building originally had a loading platform on Lafayette Street that took up about 13.5 ft of the sidewalks width. Its machinery included a press that could print 2,500 copies of 64-page magazine every hour, in addition to a turntable where magazine sheets could be placed. Among the works printed at the De Vinne & Co. Building was William Dwight Whitneys Century Dictionary, in addition to The Century and St. Nicholas magazines. By 1888, Smith and De Vinne had acquired two additional sites to the east of the existing building, with plans to erect an annex there. Accordingly, the building was expanded between 1890 and 1891. Babb, Cook & Willard designed a seven-story brick-and-terracotta annex at 21–23 East Fourth Street, which was budgeted at $50,000.</p><br>
<p>By 1897, there were plans to construct the first line of the New York City Subway under Lafayette Place, prompting opposition from several landowners along that street, including De Vinne & Co. De Vinnes lawyers claimed that the line would require an 8 ft section of the buildings basement vaults to be destroyed, incurring damages of up to $100,000. After De Vinne died in February 1914, James Bothwell became the president of the De Vinne Press, while De Vinnes stake in the building itself was taken over by De Vinnes estate. The same year, new elevators were installed, and a rooftop bulkhead was also built. Streep & Hill leased one of the building&#39;s lofts in 1917.</p><br>
<h3>Later years</h3><br>
<h4>De Vinne Press bankruptcy and Peek ownership</h4><br>
<p>The De Vinne Press remained in the building until it went out of business in 1922. Valve and hand truck manufacturer Fairbanks Company leased the storefront and two of the upper stories in 1925. Two years later, Charles Schaefer Jr. designed a ramp to the basement, as well as modified the window openings on the first and second stories of the Fourth Street facade. De Vinne and Smiths respective estates continued to jointly own the building until 1929, when the Smith estate bought the De Vinne estates stake in the building. By the 1930s, the tenants included the Reliable Silk Dyeing Company and the American Metal Spinning and Stamping Company. The building also functioned as a metalwork factory in the mid-20th century.</p><br>
<p>In 1938, the Walter Peek Paper Corporation bought the building from the Manufacturers Trust Company. The Peek Paper Corporation paid $77,500 in cash and took over the building&#39;s mortgage; at the time, the property was assessed at $225,000. and to the New York State Register of Historic Places in 1980.</p><br>
<h4>Fisher ownership</h4><br>
<p>Walter Peek Paper Company sold the building to Edwin Fisher in either 1982 This was only the second time that the building had ever been sold. Fisher had originally wanted to buy a nearby building on Astor Place, where his familys business, Astor Wines and Spirits, was located. However, the owner of that building, Jeffrey Gural, had refused to sell the Astor Place building. Fishers son Andrew had told him not to buy the De Vinne Press Building, since the storefront was in the basement. After Gural rejected Fisher&#39;s offer, Fisher agreed to buy the structure from Walter Peek employee Samuel Galewitz, concluding the agreement to buy while riding an elevator. Fisher subsequently renovated the building, and by the late 1980s a lighting store had decided to relocate into the building. The ground floor remained vacant in case Astor Wines and Spirits needed to relocate there. Over the years, Fisher gradually made small repairs to the building. The Serafina restaurant opened in the building in late 1999.</p><br>
<p>By the early 2000s, the architect David Paul Helpern occupied 11,000 ft2 of the building, while the ground floor was occupied by the Serafina restaurant. In addition, Fisher had hired Vincent Stramandinoli & Associates to restore the cornice at a cost of $65,000. occupying 11,000 ft2 there. Andrew Fisher converted the basements press area into a storefront and used the buildings cellar floor as a wine cellar. which opened in 2008. The Astor Center included a cool room, tasting bar, and wine library. To accommodate the Astor Center, the store installed two microturbines in the basement, which were capable of generating 120 kW.</p><br>
<p>The building&#39;s tenants in the 2010s included Astor Wines and Spirits, André Balazs Properties, the Orchard (a digital distribution company), the Shootdigital photo studio and production company, and Helpern Architects. In addition, the Taco Bell fast-food chain opened a temporary pop-up restaurant in the building in 2017. During the COVID-19 pandemic in New York City, in 2020, the education center was closed temporarily.</p><br>
<h2>Reception</h2><br>
<p>When the structure was completed, the Real Estate Record and Guide described the De Vinne Press Building as "affectedly bald and quaint". In 1904, the architect and art critic Russell Sturgis said in The Architectural Record that "More than once visitors on their way to see it have been pulled up suddenly by a sudden sense of its large presence." Sturgis specifically praised the ornamentation around the entrance, which he said showed "how ornament may be concentrated at one point, while still serving well the general purpose of the building as a whole". Homer Saint-Gaudens wrote in 1913 that the structure was "so clean-cut and essentially American as to win instant respect". Albert Kahn wrote in the Architectural Review in 1917 that the De Vinne Press Building was a "very remarkable" structure that preceded a series of "very creditable industrial buildings".</p><br>
<p>The De Vinne Press Building continued to receive praise in the second half of the 20th century. Lewis Mumford wrote in 1953 that the building was a "fine survivor of another day", and Henry Hope Reed Jr. characterized the building in 1962 as an imposing "Roman utilitarian" edifice. According to Reed, the use of alternating round and segmental arches of different sizes contributed to the buildings monumental appearance, despite the lack of ornamentation otherwise. The writers Sarah Landau and Carl W. Condit wrote that, despite the simple appearance of the facade, the openings were arranged in a "highly sophisticated" manner that reflected the buildings use as a printing building. Robert A. M. Stern and the coauthors of his 1999 book New York 1880 wrote that the De Vinne Press Building had a monumental scale despite the relatively simple design.</p><br>
<p>In 2003, architectural historian Christopher Gray of The New York Times described the building as "among the most sophisticated works of masonry in New York, a tour de force of honestly simple bricklaying built for one of the premier printing companies of a century ago." In a 2005 biography of De Vinne, Irene Tichenor wrote that the De Vinne Press Building had been "one of the finest examples of commercial architecture" at a time when structural-steel frames were still uncommon. The historian Barbaralee Diamonstein-Spielvogel, in a guidebook about New York City designated landmarks, characterized the attic windows as giving the building "a distinctive note".</p><br>
<p>The Alfred E. Smith House is a historic rowhouse at 25 Oliver Street in the Two Bridges section of Lower Manhattan. Probably built in the late 19th century, it was the home of four-time governor of New York State and 1928 Democratic presidential candidate Alfred E. Smith . Smith lived here from 1907 to 1923.</p><br>
<h2>Description and history</h2><br>
<p>The Alfred E. Smith House is an architecturally undistinguished three-story brick rowhouse, located on the west side of Oliver Street in Lower Manhattan, across the street from the Alfred E. Smith Elementary School. The building is three bays wide and crowned by a modillioned cornice. Its entrance is in the right bay, topped by a transom window and corniced entablature. The interior retains a number of original period Victorian features, including tile floors and a stairway newel post, but also has alterations that were probably made during the period of Alfred E. Smith&#39;s occupancy, including the provision of glass-windowed doors between the main hall and front parlor. Based on stylisting evidence, the house was probably built between 1870 and 1890.</p><br>
<p>Al Smith occupied this house, which he leased from the nearby St. James Church, from 1907 until 1923. His biographers describe this period as important in forming his political views and philosophy, which propelled him into the New York governorship beginning in 1919, and to is ultimately unsuccessful run for United States President in the 1928 election. Smith&#39;s rise on the national stage marked a trend away from rural or small-town figures in national politics, and toward figures with more urban experiences. He was ultimately hampered in his success on the national stage by his Roman Catholicism, and by a decade of post-World War I prosperity which had largely been overseen by Republican administrations.</p><br>
<p>After Smith moved out of this building in 1923, it housed an undertaker until 1930. It was still owned by St. James Church, and occupied by a single tenant since 1930, at the time of its National Historic Landmark designation in 1972.</p><br>
<p>The Beattie Park Mound Group is a grouping of Late Woodland period Indian mounds located in downtown Rockford, Illinois, United States.</p><br>
<h2>Location</h2><br>
<p>The Beattie Park Mound Group is located in downtown Rockford, Illinois&#39; Beattie Park. It consists of three conical mounds (one outside the park boundaries), an effigy mound in the shape of a turtle, and a linear mound. Beattie Park is north of Park Avenue and south of Mound Avenue, but there is one mound remnant in front of the house at 509 Indian Terrace. On its west, the park is bounded by Main Street and to its east lies the Rock River.</p><br>
<p>Mound groups in eastern North America are primarily located along waterways, as is the case with the Beattie Park Mounds. Effigy (animal-shaped) mounds are found in Wisconsin and adjoining parts of neighboring states south of the conifer hardwood forests and stretch from eastern Iowa to Lake Michigan</p><br>
<h2>History</h2><br>
<p>The mounds and mound remnants in Beattie Park date from an era during the Late Woodland known as the Effigy mound Period. This period spanned from about 700-1100 C.E. in the Upper Mississippi River Valley in parts of Iowa, Illinois, Wisconsin and Minnesota. Native American Mound builders were not a single culture but several groups that interacted and made artifacts and structures such as mounds in similar ways. The mounds in Beattie Park probably date from the early part of the time period 700-1100, when most of the effigy mounds seem to have been built.</p><br>
<p>The grouping represents the remnants of a cluster that originally included nine conical mounds, a linear mound, an earthen embankment, and two effigy mounds: a bird and a turtle. Through the years, some of the mounds were destroyed or disturbed. When Sears now the home of Rockford Art Museum constructed a parking lot on North Main Street in the mid-1950s one of the conical mounds was destroyed. A bird effigy was destroyed when the North Main Manor apartment building was under construction across Park Avenue from the mounds.</p><br>
<p>The Robert Weber Round Barn is a round barn located east of Durand, Illinois, United States along Illinois Route 75 in Harrison Township. The Weber barn was constructed in 1917 and features a roof designed and built by the Haas Brothers, who worked on other area round barns. The barn is 55 ft in diameter and features a 24 ft diameter central silo. The design of the Weber Round Barn stands out from other area round barns in its vitrified tile walls, a development used in later period American round barns. The Robert Weber Round Barn was added to the USA National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>The Robert Weber Round Barn was built in 1917 east of Durand, Illinois in Harrison Township along Illinois Route 75. When the building was nominated for inclusion on the USA National Register of Historic Places in 1984 it was owned by Robert Weber.</p><br>
<h2>Design</h2><br>
<p>The barn building has a diameter of 55 ft and contains a central silo with a diameter of 24 ft. Both the barn and silo walls are constructed of brown, hollow vitrified tile; each tile measures 1 ft by 4¾ inches. The Weber Round Barn was designed as a bank barn, its loft is entered on the north side via an earthen ramp that leads to a metal framed door. Livestock entry is made on the west side of the barn through another metal framed door, in addition, all windows are metal framed.</p><br>
<p>The single hip roof is supported by braces on either side of every rafter in a style promoted by the University of Illinois&#39; Agricultural Experiment Station. The roof is covered in wooden shingles and capped by a small metal ventilator. The roof design and construction, by the Haas Brothers, connects it closely with round barns found in Stephenson County, Illinois that feature Haas Brothers construction. Vitrified tile was preferred by builders during the final period of American round barn construction.</p><br>
<p>The Weber Round Barn stands out from other round barns, such as those in Stephenson County, as well. Compared to those barns, the Dennis Otte Round Barn, the Gerald Harbach Round Barn, James Bruce Round Barn, Chris Jensen Round Barn and the Charles Fehr Round Barn, the Weber Round Barn has an air of sophistication. This is due to its masonry walls, specially braced hip roof and metal framed windows and doors.</p><br>
<h2>Significance</h2><br>
<p>The Robert Weber Round Barn is one of 31 round barns that were constructed in a four county area, the Stephenson County area, that includes Winnebago County, Stephenson County and Rock and Green Counties in Wisconsin. Twenty one of those barns are within Stephenson County, just west of the Weber Barn. The Weber Barn is also significant for its tile walls which demonstrate a later period round barn preference.</p><br>
<p>The Weber Round Barn was nominated for the USA National Register of Historic Places in 1984 as part of the inaugural nomination through the Round Barns in Illinois Thematic Resources Multiple Property Submission. This means it met the criteria laid out beforehand for Illinois round barns. The building was listed on the National Register on February 2, 1984.</p><br>
<p>The original Franciscan mission, Nuestra Señora de la Concepción del Socorro, was founded in 1682 by the Franciscan order, to serve displaced Spanish families, American Indians  from New Mexico, who fled the central New Mexico region during the Pueblo Revolt. The present Socorro Mission was constructed around 1839 to replace an earlier 18th-century mission destroyed in 1829 by flooding of the Rio Grande. The mission, constructed of adobe surfaced with stucco, is particularly notable for its interior. The finely painted and decorated beams, or vigas, are from the 18th-century mission and were reused when the present church was constructed. The massing, details and use of decorative elements of the Socorro Mission show strong relationships to the building traditions of 17th-century Spanish New Mexico.</p><br>
<p>The Socorro Mission is located at 328 S. Nevarez Rd. south of El Paso on I-10 at Moon Rd. and FM 258.</p><br>
<p>A full-size replica of the Socorro Mission was featured in El Paso&#39;s exhibit in the 1936 Texas Centennial celebration, at the Cotton Bowl in Dallas. It was later dismantled and rebuilt as St. Anthony Church in Dallas.</p><br>
<p>The Cook Blacksmith Shop is a former blacksmith shop in Ponca, Nebraska, United States that today is a museum.</p><br>
<p>The Cook Blacksmith Shop was built in 1901 by C. O. Cook, who operated his business for over thirty years. The building is owned by the Ponca Historical Society, which uses the shop as a living history museum. C.O. Cook Blacksmith Shop, with all its original tools and machinery, has been restored and placed in working condition.</p><br>
<p>It was listed on the National Register of Historic Places in 1974.</p><br>
<p>It is a one-story structure with a false front.</p><br>
<p>Decorah Ice Cave State Preserve has one of the largest ice caves in the Midwestern United States. It consists of a 3 acre parcel of land at the edge of Barbara Barnhart VanPeenen Memorial Park in the northern portion of the city of Decorah, in Winnesheik County, Iowa.</p><br>
<p>Ice Cave is open to the public as an enter at your own risk attraction. In the late 1990s, the Department of Natural Resources Geological Survey Bureau required a permanent barrier be installed due to some rock movement. Since then, a large rock has fallen and visitors are now only able to comfortably walk into the cave about 10 feet from the entrance.</p><br>
<p>Ice caves are one characteristic of karst topography, along with sinkholes and cave systems, all of which are present in the area, a portion of the Driftless Area of Iowa. From autumn and into early winter the cave is dry. Ice begins to form in January or February near the entrance and continues down to the lower levels. Several inches of ice on the north wall materializes by late May, and generally remains until late August.</p><br>
<p>The cave was given to Decorah in 1954 and remains the property of the city. It was declared a state geological state preserve in 1973. It was placed on the National Register of Historic Places in 1978.</p><br>
<p>Cherry Mansion is a historic antebellum house in Savannah, Tennessee, located on a bluff overlooking the east bank of the Tennessee River. It has historical significance for its role as General Ulysses S. Grant&#39;s headquarters at the time of the Civil War Battle of Shiloh.</p><br>
<h2>Description and history</h2><br>
<p>Cherry Mansion is a white Georgian building with a two-level porch on its west front, which faces the Tennessee River. A series of terraces descends from the house to the river. The house sits atop the site of a palisaded prehistoric settlement, established some 2000 years ago, that is marked by Indian mounds that were largely obliterated by later construction.</p><br>
<p>The house was built by David Robinson, who was among Hardin Countys early settlers and owned extensive acreage on both sides of the Tennessee River. Sources differ on the date of the houses construction. Most accounts state that it was built around 1829–30 as a wedding gift for Robinsons daughter Sarah and her husband, William H. Cherry. Analysis for the Historic American Buildings Survey found evidence that the house was not completed until around the time of Robinsons death in 1849, and that ownership was transferred to Cherry in 1855.</p><br>
<p>During the American Civil War, Cherry was sympathetic to the Union side. From March 13 to April 29, 1862, before and after the Battle of Shiloh, his house served as headquarters for Union Army Generals Ulysses S. Grant, C. F. Smith, Don Carlos Buell, and W. H. L. Wallace. According to Cherry family accounts, General Grant and his staff had just sat down at the breakfast table on April 6, 1862, when they heard distant cannon fire indicating that the battle had begun about 7 mi up the river. They boarded a steamboat at the landing below the house to travel to the site of the battle, leaving their meals uneaten. Generals Smith and Wallace died in the house in the aftermath of the battle.</p><br>
<p>The Cherry family continued to own the house until 1935. Queen and Alex Haley, the grandparents of writer Alex Haley, worked for the family at Cherry Mansion after the Civil War. Queen was a domestic worker in the house and her husband operated a ferry for the Cherry family. Haleys novel Queen: The Story of an American Family and related television miniseries were based on Queen Haleys life.</p><br>
<p>In the late 19th century, the Cherry family made alterations to the building, replacing some of the houses original porticoes with woodwork of Victorian design. The next owner, Bob Guinn, undertook in 1935–36 to restore the porticoes to their original design, based on recollections of living members of the Cherry family. The restoration of the porticoes was part of a more extensive restoration and remodeling project, based on design plans by Memphis architect Hubert T. McGee, that included addition of a new kitchen and bath facilities, replacing weatherboard on the east wall with brick, and adding emphasis to the houses west front.</p><br>
<p>The house remains in private ownership and was listed on the National Register of Historic Places in 1977. It is opened to visitors by advance arrangement.</p><br>
<p>The Firthcliffe Firehouse is located along Willow Avenue in the Town of Cornwall in Orange County, New York, United States. It was built to protect the homes being built by the Firth Carpet Company for workers at its nearby plant in the early 20th century.</p><br>
<p>In 1996 it was added to the National Register of Historic Places. It is currently being used as a hair salon.</p><br>
<h2>Building</h2><br>
<p>The firehouse is located on a small lot on the north side of the street. The ground slopes down gently from the road. The neighborhood is residential except for the firehouse, with houses across the street and on either side.</p><br>
<p>It is a one-story three-bay square brick building with hipped roof shingled in slate. A stone watercourse separates the first story from the basement, and all windows and doors have stone lintels and sills. A square bell tower with hipped roof supported by four brick pillars, rises from the east side of the building near the main entrance.</p><br>
<p>On the front facade, the two eastern bays are the former entrance for the fire wagon, now occupied by a window and door. A projecting wooden gable, with a slight bell flare at the eaves and exposed rafters, shelters the entrance. The basement entrance, on the exposed south side due to the slope of the land, is also covered by a similar wooden gable.</p><br>
<p>Several frame partitions have been put up inside to create interior rooms in what was originally undivided space. The fireman&#39;s pole is still in place. A simple wooden stair leads to the basement and the bell tower.</p><br>
<h2>History</h2><br>
<p>Charles Firthcliffe built his textile mill on Moodna Creek near the end of the 19th century. He built a house near the mill, and also built for his workers, who began settling in what became the hamlet of Firthcliffe by 1900.</p><br>
<p>The firehouse was probably built around that time to protect those properties. Its small size suggests it could only house one engine and was therefore meant to protect only a small area. It style was typical for public buildings of that time.</p><br>
<p>Most of the houses built for Firthcliffe and his employees remain, but have been extensively altered. The firehouse is the only intact building from that era in the hamlet.</p><br>
<p>The Chamber of Commerce Building is a commercial building on 65 Liberty Street, between Liberty Place and Broadway, in the Financial District of Manhattan in New York City, New York, USA Designed by architect James Barnes Baker, the four-story Beaux-Arts building was constructed between 1901 and 1902 as the first headquarters to be built specifically for the Chamber of Commerce of the State of New York.</p><br>
<p>The structure is clad with Vermont marble and includes a rusticated masonry base, a short colonnade, and a copper mansard roof. The facade formerly contained statues of John Jay, Alexander Hamilton, and DeWitt Clinton, which had been designed by Daniel Chester French and Philip Martiny. The second story contained the Chamber of Commerces Great Hall, hung with portraits of important individuals from American history. The rest of the building was largely devoted to offices or meeting rooms for the chamber. Over the years, numerous stores and banks have rented out the ground story. The buildings design was largely positively received upon its completion.</p><br>
<p>The building was constructed after wealthy members of the Chamber of Commerce raised funds. The architecture firm of Helmle and Corbett remodeled the interior and built a new floor in 1922, resulting in changes to the mansard roof. French and Martiny&#39;s sculptures, installed in 1903, were removed in 1926 due to severe deterioration. After the Chamber of Commerce relocated to Midtown Manhattan in 1979, the building stood vacant for ten years. The International Commercial Bank of China bought the building in 1989 and the interior was subsequently renovated by Haines Lundberg Waehler.</p><br>
<p>The Chamber of Commerce Building&#39;s design and scale was largely praised upon its completion. The building was designated a city landmark by the New York City Landmarks Preservation Commission in 1966 and was added to the National Register of Historic Places (NRHP) in 1973. The building also became a National Historic Landmark in 1977. It is a contributing property to the Wall Street Historic District, an NRHP district created in 2007.</p><br>
<h2>Site</h2><br>
<p>The Chamber of Commerce Building is in the Financial District of Manhattan in New York City, New York, USA It occupies the southeastern corner of a block bounded by Broadway to the west, Liberty Street to the south, Liberty Place to the east, and Maiden Lane to the north. Liberty Place serves as an alley between the Chamber of Commerce Building to the west and the Liberty Tower, facing Nassau Street, to the east.</p><br>
<p>The building&#39;s land lot has a total area of 7,878 ft2. The lot has a frontage of 83.42 ft on Liberty Street and extends 91.25 ft deep. The Chamber of Commerce Building is surrounded by numerous other structures, including the Liberty Tower and the Federal Reserve Bank of New York Building to the east, 28 Liberty Street to the southeast, 140 Broadway to the south, and One Liberty Plaza to the west.</p><br>
<h2>Architecture</h2><br>
<p>The Chamber of Commerce Building was designed in the Beaux-Arts style by architect James Barnes Baker, a member of the Chamber of Commerce of the State of New York, for which the structure was erected. The building was expanded in 1922 by Helmle & Corbett, while the interior design dates to a 1991 renovation by Haines Lundberg Waehler. as well as for the 1922 expansion.</p><br>
<p>The building is four stories high, plus a half-story attic. Its structural system consists of masonry load-bearing walls. According to the New York City Department of City Planning, the interior gross floor area is 30,681 ft2.</p><br>
<h3>Facade</h3><br>
<p>The facade is made of Vermont marble upon a base of rusticated blocks of masonry. The top story is housed in a mansard roof clad with copper. The main facade on Liberty Street contains four vertical bays and is divided horizontally into three sections: ground story, second story, and third and fourth stories. On Liberty Street, the leftmost bay is generally more elaborate than the three rightmost bays. The side facade on Liberty Place is similar to that on Liberty Street, though more simple in design, and is five bays wide.</p><br>
<p>There are two entrances at the ground story on Liberty Street, both raised slightly above street level. The left entrance is topped by an arched pediment with an elaborate carving. A carved marble band runs above the ground story.</p><br>
<p>On the second floor, in the three rightmost bays facing Liberty Street, there is a small colonnade with six double-height fluted columns topped by Ionic-style capitals. The colonnade contains a pair of columns at each end, as well as two single columns in the center.</p><br>
<p>The third and fourth floors were originally set back behind the Liberty Street facade, creating a terrace above the colonnade. The third floor is plainly decorated, with paired windows in each bay, while the fourth floor is within the dormer roof. Within the mansard roof, there are three dormer windows each facing Liberty Street and Liberty Place. The dormer windows are topped by decorative hoods and flanked by volutes on the side.</p><br>
<h3>Interior</h3><br>
<h4>First story</h4><br>
<p>As designed, the main entrance opened into a large vestibule on the first (ground) floor, which in turn led to a double-height hall measuring 20 by. This hall was made of Caen stone and marble. The buildings elevators, as well as a stair to the second-floor Great Hall, were placed at the end of this hall. The design of the stair was inspired by the Ducal Palace in Venice and led to the second-story main room and elevator hall. The decoration of the halls upper half was extremely elaborate. Colored-marble Ionic columns supported a frieze, above which rose a domed ceiling. Between each set of columns, there were tablets that were inscribed with the names of the Chamber of Commerces officers. At the time of the buildings construction, the tablets accommodated names of past officers and could be inscribed with the names of future officers.</p><br>
<p>The rest of the first floor was rented out as a banking room, the only commercial concern in the building. There was also a banking vault, described in the New-York Tribune as one of the city&#39;s largest vaults that did not belong to a safe-deposit firm.</p><br>
<h4>Great Hall</h4><br>
<p>The Great Hall, the building&#39;s main room on the second story, has floor dimensions of 90 by with a ceiling 30 ft high. The upper part of the main room, above 20 ft, contains the oval windows of the facade. The ceiling has a skylight at its center, surrounded by a gilded coved ceiling.</p><br>
<p>There were nearly three hundred portraits in the room at its peak. The portraits included those of John Cruger, the first president of the chamber; Alexander Hamilton, a Founding Father of the United States; and Ulysses S. Grant, the former President of the United States. The paintings dated to 1772 and were generally only of deceased individuals; the chamber did not remove portraits once they were hung. The collection was also generally viewable only to chamber members, but the public was occasionally allowed inside the building. Many portraits were removed in 1979 when the chamber moved out. The collection was broken up, with some portraits being donated or sold.</p><br>
<p>The floor had a "large and beautiful rug", which covered almost the whole space; The original floor surface was made of marble, although it was covered with a plywood platform in 1991. Mahogany desks for the International Commercial Bank of China were installed in 1991 after the building was renovated.</p><br>
<h4>Upper stories</h4><br>
<p>In general, the upper stories had decorative woodwork and marblework. On the third and fourth stories were meeting rooms as well as space for the Commerce Club. This portion of the building contained the library, presidents room, committee rooms, and offices. Much of the furniture was colonial in design. The presidents room was more elaborately decorated than the other rooms on these levels. Italian woodwork and white marble were used throughout.</p><br>
<p>Following the 1922 renovation, the fourth floor contained an oak-paneled elevator landing and vaulted stair hall. The ceiling of the fourth-floor elevator landing had three octagonal allegorical reliefs depicting commerce, industry, and transportation. The original library on the fourth floor became a banquet room, while another story with a library and committee rooms was added. During the 1991 renovation, the third and fourth floors became executive offices for the International Commercial Bank of China, while the top story became a cafeteria.</p><br>
<h2>History</h2><br>
<p>The Chamber of Commerce of the State of New York was founded in 1768 as the first organization of its type in North America. After the chamber was granted a formal charter by King George III of Great Britain in 1770, it held an inaugural meeting at the Fraunces Tavern with twenty merchants in attendance.</p><br>
<p>Before the current building at 65 Liberty Street was built, the chamber had never been housed in a building specifically constructed for use as its headquarters. Abiel Abbot Low was the first president of the Chamber of Commerce to suggest a dedicated headquarters building for the chamber, in 1865, but nothing came of that plan.</p><br>
<h3>Planning and construction</h3><br>
<p>By the end of the 19th century, the Chamber of Commerce was looking to construct a building with enough space for offices and an assembly room. According to Architectural Record magazine, the Chamber of Commerce wished for its assembly hall to be "spacious and imposing" and for the exterior to be "large enough to avoid insignificance". At the time, the Chamber of Commerce was housed in a "small apartment". While the chamber&#39;s monthly meetings were lightly attended, the annual luncheons drew hundreds of members, even though the previous quarters could fit only fifty people. Alexander Ector Orr, then the president of the chamber, hoped to raise $1 million for the structure by 1897. In addition to offices, a library, and an assembly room, Orr planned to include space on the first floor for a space that could be rented out to a bank.</p><br>
<p>A new-building fund for the Chamber of Commerce had raised $700,000 by June 1897. The New York Realty, Bond, Exchange and Trust Company bought the 65 Liberty Street site in 1899 for $580,000. The chamber had raised its original goal of $1 million by the following April. Wealthy members of the chamber ultimately raised a collective $1.5 million. Subscribers to the fund included Andrew Carnegie, J. P. Morgan, John D. Rockefeller, Cornelius Vanderbilt III, William Collins Whitney, and the Guggenheim family. News media reported in December 1900 that the chamber was considering paying $300,000 for a site on Pine Street.</p><br>
<p>In May 1902, chamber members Morris Ketchum Jesup, John Stewart Kennedy, and William E. Dodge donated the statues of DeWitt Clinton, Alexander Hamilton, and John Jay. The sculptures, to cost $12,000 each, were contracted to Martiny and French after the original plan to decorate the Liberty Street facade with allegorical sculptures was abandoned. The Chamber of Commerce Building opened on November 11, 1902, just more than a year after the opening ceremony. Former USA President Grover Cleveland was the primary orator at the opening ceremony. while the guests included then-current USA President Theodore Roosevelt and various ambassadors and representatives from other nations. The sculptures by Martiny and French were dedicated on November 17, 1903, with a ceremony attended by 400 chamber members.</p><br>
<h3>Chamber of Commerce use</h3><br>
<p>During the first decade of the 20th century, the Lawyers Title Insurance and Trust Company had offices in the Chamber of Commerce Building, with 700 employees. The company moved to its own structure between July and September 1908. The Lawyers Mortgage Company occupied the basement and ground floor from 1906 until 1921, when the space was leased by the Guaranty Trust Company. Following World War I, the Chamber of Commerces influence started to shrink as corporations became more prominent. In June 1921, the building was temporarily closed so architects Helmle and Corbett could remodel the interior. As part of the project, the mansard roof was modified to accommodate a full story, which housed the chambers library and two committee rooms. A dining room was added on the third floor, and a new elevator lobby and emergency stairway was added. The expanded building opened on January 5, 1922, at the monthly meeting of the chambers.</p><br>
<p>The sculptural groups on the facade, having worn down significantly due to chemical reactions and weather conditions, were removed in 1926. The Piccirilli Brothers made casts for the sculptural groups so they could be redone in granite or bronze if the chamber ever requested their reinstallation, although that never occurred. The same year, the Interstate Trust Company opened in the ground floor and basement after alterations were made to these stories. The ground-floor space was occupied by the Harriman National Bank by 1929. Harriman only stayed in the building through the mid-1930s. The Chamber of Commerce was generally slow to adopt new technology, and this was reflected in the buildings machinery. For example, in 1927, the chamber voted to replace the buildings original light dimmers rather than buy a newer lighting system for the building.</p><br>
<p>The ground floor and basement were leased to the Wanamakers department store in 1944, with the space to be used by Wanamakers mens division. After World War II, most of the chambers day-to-day operations were outsourced and the chamber was staffed exclusively by volunteers. The Great Hall was consequently no longer used frequently. In 1968, the general public was allowed to regularly enter the Great Hall for the first time in the building&#39;s history. The New York Chamber of Commerce merged with the Commerce and Industry Association in 1973, and 65 Liberty Street became the headquarters of the Chamber of Commerce and Industry.</p><br>
<h3>Later use</h3><br>
<p>The chamber decided to sell 65 Liberty Street in 1979, relocating to 200 Madison Avenue in Midtown Manhattan and merging with the New York City Partnership to create the Partnership for New York City. With the relocation, the Great Halls portraits had to be removed as well. The new offices could only fit 10 to 20 of the Great Halls 300 portraits, but the Chamber of Commerce Building could store about 200 of these portraits. There was a controversy over the portraits removal, since art experts considered these to be integral to the rooms character, and about 80 portraits would have to be given away. The chamber&#39;s collections curator, Evelyn G. Ortner, said in early 1983 that the chamber was no longer selling portraits. Some of these portraits were subsequently exhibited at the New-York Historical Society.</p><br>
<p>The Chamber of Commerce Building remained unoccupied for ten years because potential tenants balked at the cost of retrofitting it to modern standards, and potential buyers had already twice failed to complete the sale. Two years later, Haines Lundberg Waehler finished renovating the building into office space at a cost of more than $12 million. The badly damaged wall covering was replaced with velvet; a plywood floor surface was laid atop the original marble floor of the Great Hall, and cables were run beneath the plywood floor. The mechanical systems were also overhauled. Since the building was on the National Register of Historic Places (NRHP) and was a New York City designated landmark, the bank hoped to receive a tax credit for the renovation., Mega International still owned the building.</p><br>
<h2>Impact</h2><br>
<p>When the Chamber of Commerce Building was being constructed, a writer for The Century Magazine stated, "Of non-official buildings projected or already begun, none is more important in its indirect bearing on the commercial greatness of the city than the home of the Chamber of Commerce." Upon its completion, the Architectural Record said the structure "is distinguished at once from the merely business buildings by its sumptuous character, its costly materials, and the obvious freedom from ordinary business limitations, shown by its design." The Brooklyn Daily Eagle, in 1910, stated that the building and its portrait collection were "well worth seeing", despite being relatively unknown to New Yorkers. However, as The New York Times reported upon the building&#39;s opening, "Comments on the building as a whole are not always favorable". Among the criticisms was the fact that the colonnade was not genuine and served to "obscure the windows on the top floor", as well as the lack of natural lighting at ground level.</p><br>
<p>Later critics looked favorably on the structure. Ada Louise Huxtable, architectural writer for The New York Times, wrote that "Inside and out, the building is an example of the kind of period architectural opulence that, if you have to ask the cost, you can&#39;t afford it".</p><br>
<p>The Chamber of Commerce Buildings exterior was designated by the New York City Landmarks Preservation Commission (LPC) as an official city landmark on January 18, 1966. and was re-added to the NRHP as a National Historic Landmark in 1977. Following the chambers relocation in 1979, the LPC also considered the Great Hall as an interior landmark. The LPC ultimately decided against it because the agency&#39;s rules mandated that interior landmarks had to be public spaces, and the chamber had claimed that the interior was a private space.</p><br>
<p>The William H. Roberts House is a late 19th-century house located in Pecatonica, Illinois, United States. The house was built in 1883 for Dr. William H. Roberts, who died three years later at the age of 33. The building features a combination of elements from three distinct architectural styles, Italianate, Queen Anne and Gothic revival. The building functioned as both Roberts&#39;s house and office. The house is the only building in Pecatonica listed on the United States National Register of Historic Places, a status it attained in 1979.</p><br>
<h2>History</h2><br>
<p>The William H. Roberts House was built in 1883 for Dr. William H. Roberts of Pecatonica for a cost of US$3,240. At the time, it was considered one of the finest homes in Pecatonica. The house is located on Main Street, on the edge of Pecatonica&#39;s downtown. The location made Roberts accessible to the townspeople and connected his work life as a physician and surgeon with the larger community in Pecatonica.</p><br>
<h2>Architecture</h2><br>
<p>The two story house was built in three sections, front, center and rear. The front section is clad in Indiana pressed brick while the other two sections are clad in simple common brick. The window and door trim is done in Joliet stone. The Roberts House was constructed as architectural styles in the United States were changing. The Italianate and Gothic revival that had dominated architecture was going out of fashion and Queen Anne was becoming the widely accepted popular style. The William H. Roberts House displays elements from all three styles including the influence of the Queen Anne derivative Eastlake style.</p><br>
<p>The front facade has with a double front door on its left. The door and transom feature etched frosted glass and are surrounded by an ornamented porch. Along the center line of the structure are two oriel type bay windows, one each on the first and second floors. To the right is a second entrance, inset from the facade, designed to mimic the main entryway but with smaller proportions. The inset entrance was used as the door for Roberts doctors office.</p><br>
<p>Essentially, the house is cast in the Italianate style. Its oriel roofs and their bracketed eaves, the asymmetrical arrangement of lines and geometric shapes on bay windows and porches, and the port hole attic window are all indicative of Italianate style. Gothic revival elements originally included both the Joliet stone trimming and the medieval spears attached to each of the three vergeboard peaks. The spears have since been removed.</p><br>
<p>The Queen Anne elements on the house, influenced by the Eastlake principles, include: the ornamental iron fences, geometric squares and scrollwork, the etched and frosted glass on the main entrance, incised flowers on the porch and bay windows and the spindles lining the porch rails. In particular the ornamental iron fence work shows Eastlake influence in its medieval design.</p><br>
<h2>Significance</h2><br>
<p>The William H. Roberts House is the only home identified in Pecatonica from the 1880s period; before 1900, the number of finer homes built in the village were minimal. The 1974 Illinois Historic Sites Survey cited the home for its significance in the area of architecture, calling it a "substantial Italianate residence." The Roberts House was listed on the United States National Register of Historic Places on September 6, 1979, and is currently the only property in Pecatonica included on the list.</p><br>
<p>The H.C. Pitney Variety Store Building is a commercial building in downtown Tampico, Illinois, United States, constructed in 1900. The building is part of a two-story commercial block along Main Street.</p><br>
<p>Between 1919 and 1920, H.C. Pitney operated the building as the H.C. Pitney Variety Store, and the second-floor apartment was occupied by the family of 40th USA President Ronald Reagan. It is listed as a contributing property to the Tampico Main Street Historic District, which was added to the USA National Register of Historic Places in 1982.</p><br>
<h2>History</h2><br>
<p>The building, consisting of two store fronts, was erected by Ray McKenzie in 1900. The H.C. Pitney Variety Store occupied the property, under various owners, from 1911 until 1920. H.C. Pitney owned the store from 1911 until 1914, when he sold it. During his first period of ownership, Pitney employed Jack Reagan as a clerk, the father of 40th USA President Ronald Reagan. While Jack Reagan was employed by Pitney, Ronald was born in the apartment over a bakery/restaurant building at 109 Main Street, across Main Street from the Variety Store. After Pitney sold the store in 1914, the Reagans left Tampico.</p><br>
<p>In 1919, Pitney returned to ownership of the Variety Store and Jack Reagan returned at the same time to work for him. Beginning on August 25, 1919, the Reagan family occupied the apartment above the commercial portion of the building. After Pitney closed the store, the Reagans vacated the premises in December 1920 and moved to Dixon, Illinois.</p><br>
<h2>Architecture</h2><br>
<p>The building once occupied by the H.C. Pitney Variety Store is part of a commercial block and it stands connected to the building next to it. Of the two structures in the block the Pitney Store is the newer; the other building was built a year earlier. The two-story brick building features a metal cornice and two storefronts listed at different addresses. The first store front, at 124 Main Street is 3 bays wide and the second, at 122 Main Street, is 4 bays wide. The building&#39;s windows are flat headed and have stone lintels and sills. The storefronts are still intact but the original windows have been boarded over and painted.</p><br>
<h2>Significance</h2><br>
<p>The family of Ronald Reagan occupied the second floor apartment at the H.C. Pitney Variety Store from August 1919 until December 1920. The building was listed as a "significant" contributing property to the Tampico Main Street Historic District when it joined the USA National Register of Historic Places on June 3, 1982.</p><br>
<p>St. Mark&#39;s Episcopal Church is a parish of the Episcopal Church in Palatka, Florida in the United States, in the Episcopal Diocese of Florida. The current rector is The Rev. Jon Davis, PhD.</p><br>
<p>It is noted for its historic Carpenter Gothic church located at 200 Main Street. On May 9, 1973, it was added to the National Register of Historic Places.</p><br>
<h2>History</h2><br>
<p>The oldest church in Palatka, St. Marks was established in 1853. The Carpenter Gothic church building was erected in 1854 using board and batten siding with corner buttresses on the base of the bell tower. One of the founding members of St. Marks was William D. Moseley, first governor of the state of Florida. During the early years, services were held only in the winter months and were conducted by visiting vicars from the Northern States. During the Civil War, the church was occupied by Union soldiers, who caused much damage to the structure. The church reopened after the war and achieved full parish status by 1873.</p><br>
<h2>National Register listing</h2><br>
<p>St. Marks Episcopal Church</p><br>
<p>(added 1973 - Building - #73000602)</p><br>
<p>2nd and Main Sts., Palatka</p><br>
<p>Historic Significance: Event</p><br>
<p>Area of Significance: Religion</p><br>
<p>Period of Significance: 1850–1874, 1875–1899</p><br>
<p>Owner: Private</p><br>
<p>Historic Function: Religion</p><br>
<p>Historic Sub-function: Religious Structure</p><br>
<p>Current Function: Religion</p><br>
<p>Current Sub-function: Religious Structure</p><br>
<p>The Lake–Peterson House, also known as Jenny&#39;s, is a Victorian Gothic Revival home in Rockford, Illinois, United States. The house was built in 1873, probably by prominent Rockford citizen John Lake - its first owner, but its architect is unknown. The house is a significant example of Gothic Revival architecture and is considered one of the finest such homes in the USA state of Illinois. The Lake–Peterson House is owned and maintained by Swedish American Hospital in Rockford and stands adjacent to the main hospital complex along Business US 20 . The building and its carriage house were added to the USA National Register of Historic Places in 1980.</p><br>
<h2>History</h2><br>
<p>The Lake–Peterson House was built in 1873, most likely by its first owner, John Lake and stands in front of the main complex for Rockfords Swedish American Hospital along Business USA Route 20. Lake was an early and prominent citizen of Rockford as a party to partnerships in the lumber trade. He came to Rockford in 1837 and by the 1870s was one of the citys most important and wealthy citizens. Lake lived in the house until he died in 1907. In 1918 the house was purchased by Pehr August Peterson, a figure in the Rockford furniture industry.</p><br>
<p>Peterson came to Rockford in 1852 among the first wave of Swedish immigrants and in 1876 was named secretary of the Union Furniture Company. By 1892 Peterson directed 7 of the 20 furniture companies in Rockford; at the time, Rockford was surpassed only by Chicago and Grand Rapids concerning furniture manufacture. When Peterson died in 1927 he was president of more than 12 industrial companies. Peterson, a philanthropist, donated the Lake–Peterson House to the Swedish American Hospital in 1919, provided he and his wife be allowed to remain in it until they died. Petersons wife died in 1964 and the house became a residence for the hospitals School of Medical Technology. In 1973 a volunteer organization from the hospital, the Jenny Lind Society, undertook preservation of the house.</p><br>
<h2>Architecture</h2><br>
<p>The Lake–Peterson House is one of the USA state of Illinois&#39; finest examples of Gothic Revival architecture, specifically Victorian Gothic. The house also features tall brick chimneys with corbelled chimney caps, dormers, bay windows and a large veranda. The architect, if there was one, is unknown, though it is probable that Lake himself was the builder. One possibility is that John Lake obtained the architectural plans in England, his native land, where he had returned from as construction on the house began in 1873.</p><br>
<p>This example of Gothic Revival architecture is particularly noteworthy for its exterior trim details. Typically, the gable ends, at the edges, feature curvilinear (or gingerbread-type) vergeboards in residential Gothic Revival styled buildings. The Lake–Peterson House has simple pointed arches with ornamented pendants. The windows are also somewhat unusual in their variety. Three of the home&#39;s four sides have bay windows and other windows are topped by limestone hood molds. The windows themselves show differing forms as well, including the double-hung sash windows on the second floor and the diamond-paned windows with colored glass in the sitting room.</p><br>
<p>Sometime after 1918 the Lake–Peterson House underwent its only major alterations. An addition was added to the southeast portion of the home, it features a smooth stone finish and window groupings characteristic of late period Gothic Revival. At around the same time, a three-story enclosed porch was added to the same area of the house.</p><br>
<h2>Carriage house</h2><br>
<p>The Lake–Peterson House property has an extant outbuilding, the carriage house, which is also cast in the Gothic Revival style. The Lake-Peterson Carriage House was built around the same time as the main house. The building features clapboard siding, arched windows and decorative vergeboards. The carriage house&#39;s most striking feature is its multi-gabled louvered cupola. Surviving, contemporary outbuildings are unusual. The carriage house, aside from the Lake–Peterson House itself, was identified as architecturally significant by the Illinois Historic Sites Survey in 1974.</p><br>
<h2>Significance</h2><br>
<p>The Lake–Peterson House is architecturally significant on a statewide scale, being one of Illinois finest examples of Gothic Revival architecture. Indeed, the 1974 Illinois Historic Sites Survey cited the house as architecturally significant, as well as significant in the area of industry because of its prominent owners. The Lake–Peterson House displays nearly all elements described by architectural historian John Blumenson as embodying the Victorian Gothic style as opposed to later or earlier manifestations of the style. On June 25, 1980, the house was listed on the USA National Register of Historic Places, included as a contributing property to the listing was the carriage house.</p><br>
<p>The Athletic Club of Columbus or ACC, is a private social club and athletic club in Downtown Columbus, Ohio. Located at 136 East Broad Street, it was founded in 1912.</p><br>
<h2>Building</h2><br>
<p>The Athletic Club of Columbus was founded in 1912 as a men&#39;s club for prominent community members. It was first located in the Atlas Building before moving into its current location on E. Broad Street in 1915.</p><br>
<p>The building, dedicated in 1915, was designed by Richards, McCarty & Bulford of Columbus with Advisory Architect Frank Packard in the Spanish Renaissance Revival style. The brick and terracotta exterior with windows along three sides was meant to evoke a "distinctive club" feeling. The original plan included billiard and grille rooms, general and private dining rooms, offices, library, bedrooms, swimming pool, exercise rooms, squash courts, gymnasium, track, and roof garden with a covered promenade. While the main entrance was on E Broad Street, the women&#39;s entrance was along the western side of the building.</p><br>
<p>The club occupies a six-story building totaling 88,000 ft&sup2;. The facility includes basketball and squash courts as well as a swimming pool, bowling alley, and three restaurants. The ACC is a family-oriented club that offers a variety of activities to its 2,000 members.</p><br>
<p>In the 1980s, the club began admitting women members.</p><br>
<p>In 2011, the club&#39;s building was listed on the National Register of Historic Places.</p><br>
<p>Strawbery Banke is an outdoor history museum located in the South End historic district of Portsmouth, New Hampshire. It is the oldest neighborhood in New Hampshire to be settled by Europeans, and the earliest neighborhood remaining in the present-day city of Portsmouth. It features more than 37 restored buildings built between the 17th and 19th centuries in the Colonial, Georgian, and Federal style architectures. The buildings once clustered around a waterway known as Puddle Dock, which was filled in around 1900. Today the former waterway appears as a large open space.</p><br>
<h2>History</h2><br>
<p>The neighborhoods history goes back to 1630, when Captain Walter Neale chose the area to build a settlement, naming it after the wild berries growing along the Piscataqua River. In 1631, Humphrey Chadborn constructed the Great House, marking the first permanent English building in the neighborhood. Subsequent housing and an influx of English ships led the tidal inlet port at Strawbery Banke to be known for its mercantile success. As the settlement grew, the neighborhood now encompassed by the Strawbery Banke Museum was named Puddle Dock in reference to the merchants wharves. Several wealthy Portsmouth merchants resided close to their wharves, further drawing esteem to the area.The neighborhood&#39;s buildings were saved from 1950s urban renewal by the efforts of a large group of historic preservationists. Strawbery Banke opened as a museum in 1965.</p><br>
<h2>Education</h2><br>
<p>Seventeen historic houses are open to the public as furnished historic interiors. Guests learn from staff interpreters the history and lifestyles of each house and how it reflects the social changes of its time period. In some houses, costumed roleplayers portray characters from time periods past. In others, historical interpreters educate visitors about the history. There are also five formal exhibits on archaeology, architecture, woodworking tools and skills, post-and-beam construction, and amusements and entertainment. Hearth cooking, weaving, basket weaving, and coopering demonstrations and tours are offered during a daily program season. Seasonal events are also held around major holidays.</p><br>
<p>Across the street from the museum are the riverside gardens and entertainments of Prescott Park.</p><br>
<p>Strawbery Banke was featured in Bob Vila&#39;s A&E Network production, Guide to Historic Homes of America.</p><br>
<h2>Photo gallery</h2><br>
<p>St. Georges Episcopal Church is a historic church located at 209 East 16th Street at Rutherford Place, on Stuyvesant Square in Manhattan, New York City. Called "one of the first and most significant examples of Early Romanesque Revival church architecture in America", the church exterior was designed by Charles Otto Blesch and the interior by Leopold Eidlitz. It is one of the two sanctuaries of the Calvary-St. Georges Parish.</p><br>
<h2>History</h2><br>
<p>The original St. George&#39;s was a chapel built in 1752 by Trinity Church on Chapel Street (now Beekman Street) in Lower Manhattan, for the convenience of its congregants who lived on the east side of the city. That building had a columned portico, arched windows and a hexagonal steeple. In 1811 the congregation became independent, and in 1846–1856 they built a new church uptown, on very fashionable Stuyvesant Square.</p><br>
<p>The architects of the new church were Charles Otto Blesch and Leopold Eidlitz. The exterior design, attributed to Blesch, was influenced by the Rundbogenstil (round-arch style) Ludwigskirche in Munich and the plain hall churches of Germany. Eidlitz designed the interior spaces. He also designed the rectory—also known as the Henry Hill Pierce House—which was built in the early 1850s. The spires on each tower of the church were completed almost a decade after the remainder of the building.</p><br>
<p>The church was gutted by fire in 1865, and was rebuilt within the next two years under the supervision of Eidlitz. The pastor of St. George&#39;s at the time of the reconstruction was Stephen H. Tyng, who was a leader in the evangelical wing of the Episcopal Church, and considered to be one of the most notable preachers of the time. Under his instructions, the interior of the rebuilt church reflected his views: the altar, for instance, was a plain table.</p><br>
<p>In 1889, more than twenty years after the church had been rebuilt, the spires on the two towers were removed.</p><br>
<p>For decades while J.P. Morgan was senior warden and the churchs most influential parishioner, the church was colloquially referred to as "Morgans Church". By 1880, the Episcopal church sat in the middle of a neighborhood filled with immigrants, who were largely Catholic and Jewish; its parishioners had moved elsewhere under pressure of new populations.</p><br>
<p>Through Morgans initiative, the church brought in the Rev. William Stephen Rainsford as the new rector in 1883. Rainsford, who had experience with urban ministries, felt that "the whole aspect of the modern Protestant churches, in our large cities at least, is repellent to the poor man." His plan, of which Morgan approved, was to downplay doctrinal matters, abolish pew rentals, and offer secular social services programs aimed at helping the poor: an industrial school, sewing classes, soup kitchens, health programs, boys and girls clubs, and other educational and recreational initiatives. Morgan agreed to finance any deficits from these programs. Within seven years, the new direction of the church, combined with Rainsfords socially oriented preaching, had revitalized the congregation and made the church a leader in the institutional church movement.</p><br>
<p>Besides J. P. Morgan, another notable congregant of the church was Harry Thacker Burleigh, the spiritual singer and classical composer. He performed in the church choir for 50 years.</p><br>
<p>In 1976, the parish merged with two others—Calvary Church, which was founded in 1832 and moved to the Gramercy Park area in 1842, and the Church of the Holy Communion, built on Sixth Avenue in 1844—to form the Calvary-St George&#39;s Parish. Calvary Church is still operating, on Park Avenue South at 21st Street, but the Church of the Holy Communion was deconsecrated and sold to pay down the debts of the new combined parish. It was adapted as the Limelight disco. It then operated as a marketplace and from 2017 as a gym.</p><br>
<h2>Historic designations</h2><br>
<p>The church is part of a complex of buildings which includes Eidlitz rectory, and the St. George Memorial House at 207 East 16th Street, designed by his son, Cyrus L. W. Eidlitz, and built in 1886 as a gift from J. P. Morgan, The churchs facade was reportedly restored in 1980; however the primary preservation of facade stone was undertaken in 1985.</p><br>
<h2>Rectors</h2><br>
<p>The Rev. James Milnor, D.D. (1773–1845), was rector at St. George&#39;s Chapel from 1816 until his death on April 8, 1845, in New York City.</p><br>
<p>The Rev. William S. Rainsford (October 30, 1850 – December 17, 1933) was the rector from 1883 to 1906.</p><br>
<p>The Bates–Hendricks neighborhood is situated just south and east of the downtown commercial district of Indianapolis, Indiana. The Fountain Square business district is just to the east.</p><br>
<p>Access to the neighborhood from the north is by way of East Street, while Terrace Street off of Madison Avenue enters the neighborhood from the west and Prospect Street offers access from Fountain Square.</p><br>
<h2>Bates–Hendricks House</h2><br>
<p>The neighborhood takes its name from the historic Bates–Hendricks House, located at 1526 S. New Jersey Street in the western part of the neighborhood. The house is listed on the National Register of Historic Places and home tours are offered by appointment.</p><br>
<p>The home was constructed in three phases. The first section was built about 1830 by Richard Keene, the land&#39;s patent holder. He had purchased the land from the federal government in July 1821, just as the Indians vacated the area. The second section was completed by Hervey Bates in 1851. The newest section was completed in 1858.</p><br>
<p>The smaller Keene section of the house is of Federal design. The larger Bates-built section is of Italianate design complete with a 60 ft tower on the home&#39;s east exposure. The house is one of the oldest standing structures in Indianapolis and Marion County.</p><br>
<p>Bates was Marion Countys first sheriff (1822) and later, president of the Indianapolis branch of the state Bank of Indiana. He and James Lanier (from Madison, Indiana) brought the states first railroad, the Madison and Indianapolis, to Indianapolis in 1847. In 1852, Bates built the lavish Bates House Hotel in downtown Indianapolis, where Abraham Lincoln stayed while en route to his first inauguration in Washington, D.C.</p><br>
<p>Thomas A. Hendricks also lived in the home; he served as USA Senator from Indiana, Governor of Indiana, and Vice-President of the United States.</p><br>
<p>General John Coburn lived in the home for thirty years. He and his troops were the first Union forces into Atlanta during the Civil War and secured the city&#39;s surrender. Upon his return to Indianapolis he became a four-time USA Congressman and set the cornerstone for the Soldiers and Sailors Monument.</p><br>
<p>In the early twentieth century the home&#39;s tower hosted one of the first radio transmitters in Indiana.</p><br>
<p>In 1971, a building survey was done for the Bates–Hendricks House. It was used as the basis of all historic building data information in the years to follow. A copy of the original survey was found in the Library of Congress and reviewed against current known information. Many major errors were found in the 1971 document including the construction dates of the home. Currently, the Library of Congress Survey is being updated to reflect what is now known about the Bates–Hendricks structure.</p><br>
<h2>Neighborhood history</h2><br>
<p>Madison Avenue, the western boundary of the neighborhood, is the old Mauxferry Road. This was the first road built into Indian territory to service the new capital of Indianapolis. It was surveyed in 1822 and completed in 1824. It was the road used to move the tools of government from Corydon (the old state capital) to Indianapolis. It also served as the stagecoach road to reach the steamboats on the Ohio River before the railroad era.</p><br>
<p>James O. Woodruff built the Victorian neighborhood around the Bates–Hendricks House in 1872, calling it Hendricks Place. He would later develop Woodruff Place on the east side of Indianapolis.</p><br>
<p>In October 1900, pharmacist John A. Hook opened the first Hooks Drug Store at the corner of Prospect and East Streets. Although that building no longer exists, Hooks grew to be a chain of over 160 stores throughout Indiana, and after several mergers, became part of the CVS Pharmacy chain.</p><br>
<p>The Sanders-Childers House at 1020 E. Palmer Street is the oldest house in Indianapolis. It is a two-story brick farmhouse constructed around 1820 by William Sanders. The original portion of the house sits at an angle to Palmer and Barth streets because those streets were not laid out until later. Alterations were made at various times, including a modernization in the 1920s by Frank R. Childers, who was the Marion County Recorder from 1927 to 1930. The former Abraham Lincoln School #18 across the street at 1001 E. Palmer Street was built in 1901 and is on the site where a group of Delaware Indians had a sugar camp until 1820.</p><br>
<p>The South Side Turnverein Hall at 306 E. Prospect Street in the northwest corner of the neighborhood was constructed in 1900 by the Southside Turnverein, a German-American gymnastics club. The architects were Vonnegut and Bohn, who earlier had designed Das Deutsche Haus, now known as the Athenaeum, in downtown Indianapolis. Anti-German sentiment resulting from World War I led to the German-American community distancing itself from German culture and a decline in the Turners movement, but the building remained a center for the community. On October 4, 1960, for example, it was the site of a campaign speech by Senator John F. Kennedy. In 1977, the Turnverein sold it to Tony Elrod. He turned the second floor into a basketball court and the building became known as the Madison Avenue Athletic Club. However, the deterioration of the building led to its being placed on the Indiana Landmarks&#39; Ten Most Endangered list. The owners of Point Comfort Underwriters purchased the building in July 2016 for $950,000 and undertook a complete renovation of the building; the project was led by Ratio Architects. The building reopened on November 9, 2018, and now serves as the headquarters for Point Comfort. The building was added to the National Register of Historic Places in 2019.</p><br>
<h2>Redevelopment</h2><br>
<p>In 2008–2009, the 1400 and 1500 blocks of S. New Jersey Street saw a major redevelopment of the housing along the street. New landscaping was also provided to the Woodruff-built esplanade that runs down the center of the street. A similar project was undertaken in 2010 for the 1500 block of S. Alabama Street one block to the west, which contains the only other Woodruff-built esplanade in the neighborhood.</p><br>
<p>In 2010 the New Jersey Street project was awarded third-place in the Physical Revitalization Beautification – Single Neighborhood division of the Neighborhood of the Year Awards awarded by Neighborhoods USA (NUSA).</p><br>
<p>The neighborhood has seen a significant amount of renovation and house-flipping since 2010. Several of the house renovations have been aired on the Good Bones television show. In 2018, the median price of the 149 homes sold was $189,900, ranging from $41,000 for a "fixer-upper" to $409,000 for a completely renovated one. Median household income in 2016 was $24,748, lower than the $43,369 for all of Marion County, but up from 2015, when it was only $19,567.</p><br>
<p>In 2018 the neighborhood association developed a plan to encourage commercial development of S. East Street, which bisects the neighborhood. The plan seeks to maintain the mixed-income character of the neighborhood, focusing on attracting businesses wanted by local residents but avoiding the chain and expensive restaurants, liquor stores, and nightclubs that have proliferated in Fountain Square and Broad Ripple Village.</p><br>
<p>Karen E. Laine and Mina Starsiak Hawk of the Good Bones television series opened a home furnishings store named Two Chicks District Co. at 1531 S. East Street on June 20, 2020. The building was originally the Lincoln Theatre, a silent movie house. Most recently it had housed a countertop laminate fabrication firm. Two Chicks and a Hammer had purchased the building in 2015 for use as a warehouse.</p><br>
<h2>Green space</h2><br>
<p>Most of the Bates–Hendricks neighborhood consists of one- and two-family residences with small front yards and larger back yards. Besides the esplanades on New Jersey and Alabama streets, there are several public green spaces.</p><br>
<p>Hendricks Park, in the 1300 block of Madison Avenue, is part of the Indianapolis Department of Parks and Recreation. Construction began in late 2000 and finished in 2002. This small park on the western edge of the neighborhood is the site of Lars Jonker&#39;s abstract sculpture Play. The park also has a small pavilion.</p><br>
<p>Ringgold Park at 1500 Ringgold Street is a.21 acre minipark with playground equipment. The park was originally constructed in the early 1900s on.9 acre northwest of its current location. At that time it contained a bathing pool, but by 1936 the pool had been removed and swings and volleyball court had been added. By 1956 a baseball diamond had been laid out. In the 1960s, the construction of I-65 through the park resulted in the relocation to its current site. A Keep Indianapolis Beautiful project to revitalize the park by installing native plantings and updating its equipment was begun in 2015.</p><br>
<p>The Pleasant Run Trail cuts through the southeast corner of the neighborhood along the creek of the same name on its way to Garfield Park a half-mile south. The parkways on each side of the creek are part of the Indianapolis Park and Boulevard System designed by George Kessler.</p><br>
<h2>Education</h2><br>
<p>The James A. Garfield School 31, an Indianapolis Public Schools elementary school, is located at 307 Lincoln Street across from the southern end of the Alabama Street esplanade. The Southeast Neighborhood School of Excellence (SENSE) for elementary grades at 1601 S. Barth Avenue is also located within the Bates–Hendricks neighborhood.</p><br>
<p>330 West 42nd Street, also known as the McGraw-Hill Building and formerly the GHI Building, is a 485 ft, 33-story skyscraper in the Hell&#39;s Kitchen neighborhood of Manhattan in New York City, United States. Designed by Raymond Hood and J. André Fouilhoux in a mixture of the International Style, Art Deco, and Art Moderne styles, the building was constructed from 1930 to 1931 and originally served as the headquarters of the McGraw-Hill Companies.</p><br>
<p>The building&#39;s massing, or shape, consists of numerous setbacks facing 41st and 42nd Streets, which were included to comply with the 1916 Zoning Resolution. The facade is made of blue-green terracotta ceramic tile panels alternating with green metal-framed windows, with a strongly horizontal orientation. The facade was intended to blend in with the sky regardless of the atmospheric conditions. The entrance and the original lobby were decorated with light blue and dark green panels. Most of the upper stories had similar floor plans, except for their widths, which varied due to the setbacks on the facade. At the time of its completion, 330 West 42nd Street was controversial for the use of horizontal emphasis on its facade, which its contemporaries lacked. In subsequent decades, architectural critics recognized the building as an early example of the International Style.</p><br>
<p>McGraw-Hill Companies bought the land in early 1930 to replace smaller headquarters; the company originally took three-quarters of the space, renting out the other stories. As the surrounding neighborhood became more decrepit, McGraw-Hill moved in 1972 to 1221 Avenue of the Americas. The building subsequently became the headquarters of Group Health Insurance (GHI). Since then, ownership of 330 West 42nd Street has changed several times. In 2021, the building&#39;s owner, Resolution Real Estate, completely renovated the building, including the lobby, to designs by Moed de Armas and Shannon. The upper stories were converted into apartments starting in 2023. The New York City Landmarks Preservation Commission (LPC) has designated 330 West 42nd Street as a city landmark, and the structure is listed on the National Register of Historic Places (NRHP) as a National Historic Landmark.</p><br>
<h2>Site</h2><br>
<p>330 West 42nd Street is on the south side of 42nd Street, between Eighth and Ninth Avenues, in the Hells Kitchen neighborhood of Manhattan in New York City, United States. The land lot has an area of 27,975 ft&sup2; and a frontage of 130 ft on 42nd Street, extending 197.5 ft deep. It is on the same city block as The Orion to the west and part of the Port Authority Bus Terminal to the east; the building is also across from Holy Cross Church in the north and the remainder of the bus terminal to the south. The New York City Subways station and Eleven Times Square are on Eighth Avenue, less than one block east.</p><br>
<p>In the late 1920s, the surrounding area had low-rise residences. The buildings site was occupied by five tenements of four to five stories on 42nd Street and six tenements of four stories on 41st Street. On the same city block, John A. Larkin acquired several lots totaling 47,500 ft2 in 1926. Larkin had wanted to erect the Larkin Tower, or Larkin Building, a 110-story, 1,208 ft office skyscraper clad mainly in stone and steel, which would have been the worlds tallest building. The floor area of the Larkin Tower&#39;s upper stories would have been so small as to make the building economically infeasible. Critics also disapproved of what was then an extreme height, leading to its cancellation in 1930. Part of the site then became the present 330 West 42nd Street. Many of the surrounding tenements had been converted into office buildings by the 1930s.</p><br>
<h2>Architecture</h2><br>
<p>The McGraw-Hill Building at 330 West 42nd Street was designed by Raymond Hood, Frederick Godley, and J. André Fouilhoux of the firm Hood, Godley, and Fouilhoux. The building has a mixture of International Style, Art Deco, and Art Moderne decorative elements. It was completed in 1931 as the headquarters of publisher McGraw-Hill Companies. The skyscraper measures 485 ft tall, with 33 stories. As Architectural Forum magazine said: "The requirements peculiar to a publishing business have formed the basis for the entire structure—in plan, section, and elevation." In an issue of the McGraw-Hill News in 1931, Hood wrote that "Economy and good working conditions were the three factors uppermost in mind" during the building&#39;s planning.</p><br>
<h3>Form</h3><br>
<p>The structure rises 35 stories, with setbacks to comply with the 1916 Zoning Resolution. The massing of the building contains setbacks at the 11th and 16th floors on both 41st and 42nd Streets, as well as at the 7th floor on 41st Street. On the 32nd and 34th floors, the building contains additional setbacks.</p><br>
<p>Because the setbacks are only placed on the northern and southern elevations of the facade, they are only visible from the west and east. The northern and southern elevations appear to be a slab when viewed head-on. Both elevations are seven bays wide on all stories. Under the 1916 Zoning Resolution, setbacks were not required on the facades that abutted other land lots. Architectural writer Eric P. Nash likened the massing to an ocean liner.</p><br>
<h3>Facade</h3><br>
<p>The building was largely designed with a plain facade; the original ground level and the topmost stories are more elaborately decorated than the middle stories. At the time of the building&#39;s construction, Hood had predicted that the future skyline of New York City would "consist of gaily colored buildings", though this did not come true until postmodern architecture became popular later in the 20th century.</p><br>
<h4>Base</h4><br>
<p>At ground level on 42nd Street, the building contains what were originally a pair of three-bay-wide glass storefronts, which were initially used by McGraw-Hill&#39;s bookstore and a bank. These curve inward to become the walls of the central entrance doorway with five doors recessed within the facade. The curved walls between the storefront and the recessed entrance contain gold- and silver-colored metal bands, alternating with dark-green and light-blue panels. The company newspaper McGraw-Hill News characterized the bands as "lacquered like the body of a motor car". This entrance originally had Art Deco-style letters with the words. Within the doorway were steel doors topped by a glass transom.</p><br>
<h4>Shaft</h4><br>
<p>The exterior walls of the building are blue-green terracotta ceramic panels alternating with sash windows. The terracotta was manufactured by the Federal Seaboard Terra Cotta Corporation. At the time of 330 West 42nd Street&#39;s construction, terracotta was not commonly used in International Style structures, which frequently contained glass, steel, and concrete instead.</p><br>
<p>In designing the building, Hood considered several colors for the terracotta panels, including "Chinese red", orange, yellow, and gray. Ultimately, blue-green was selected for its "atmospheric quality", which was suitable regardless of the color of the sky on any given day. Hood referred to the color as blue, while McGraw-Hill referred to the color as green. McGraw-Hill executive James H. McGraw Jr., who had selected the color himself, was elsewhere for much of the building&#39;s construction in 1931, but was reportedly appalled at the color of the building when he returned. Members of the public nicknamed the structure the "Green Building", the "Green Kremlin", the "green giant", and the "green monster" due to its color. Eric Nash likened the color to the Ishtar Gate of Babylon. The blue-green color contrasted with the red and white of the Daily News Building and the black and gold of the American Radiator Building, both of which were also designed by Hood.</p><br>
<p>There are more than four thousand windows, each of which includes a frame painted apple green. The windows are grouped into sets of three or four, separated horizontally by dark metal spandrel panels, and were built to the maximum height allowed under city construction codes of the time. Due to restrictions on the amount of glass a facade was allowed to have, the windows were divided horizontally by metal bars. The vertical mullions between windows, as well as the tops of each window sash, were painted in vermillion. These painted bands were intended to give the impression that each group of windows was a single window opening.</p><br>
<p>The windows and terracotta panels were juxtaposed to emphasize the horizontal dimensions, a characteristic of the International Style. This was a great contrast to Art Deco facades, which were more vertically oriented. The only deviation from the facades horizontal emphasis is on the eastern facade, which contains a pair of blue-green vertical strips at its center. After the structures completion in 1931, Hood and McGraw-Hill compared the facade to an automobile, a common Art Deco symbol. In particular, Hood thought the facade had a "shimmery, satin finish" similar to that of an automobile.</p><br>
<h4>Top stories</h4><br>
<p>The 32nd and 33rd floors consist of projecting sets of piers, between which are pairs of windows. These two stories originally contained the McGraw-Hill executive offices and were designed to emphasize the importance of McGraw-Hill&#39;s corporate leadership. A vermillion strip ran underneath the projecting course that surrounded the penthouse. The western and eastern facades are clad with horizontal "ribs" at the 34th and 35th stories. Architectural historian Anthony W. Robins likened the ribbed crown to the "German Expressionism of Erich Mendelsohn".</p><br>
<p>A set of 11 ft Art Deco-style letters with the words "McGraw-Hill" is mounted in front of the 34th-story windows. These letters, custom-made of terracotta blocks, stood against the blue and green terracotta panels of the facade, concealing the mechanical equipment atop 330 West 42nd Street. At some point in the late 20th century, the New York City Landmarks Preservation Commission (LPC) approved a motion to change the letters to "GHI", representing former owner Group Health Insurance, although it was changed back in the 1990s.</p><br>
<h3>Features</h3><br>
<p>The McGraw-Hill Building contains 575,000 ft2 of interior space. As designed, McGraw-Hill used about three-quarters of the total internal space. McGraw-Hill required about 350,000 ft2 for office space, while another 200,000 ft2 were rented out as office space.</p><br>
<h4>Lobby</h4><br>
<p>The original lobby covered about 2,650 ft2 and led from the 42nd Street entrance to two elevator banks. Doorways led to the bookstore on the left (east) wall and the bank on the right (west) wall. Elevator staff wore green uniforms to correspond with the green baked-enamel interiors of each elevator cab.</p><br>
<p>The original lobby was demolished in 2021. The modern lobby contains an atrium measuring 35 ft high. There is a reception area to the left and a large seating area to the right. Gerard Nocera, a managing partner for the asset manager that controlled the building, said at the time: "It&#39;s going to be a lobby tenants will gravitate toward and will want to hang out in."</p><br>
<h4>Upper floors</h4><br>
<p>Industrial tenants used the second through tenth floors, which were larger and relatively poorly lit, while offices were placed on the smaller, better-lit upper floors. The industrial stories were largely designed for functional purposes,</p><br>
<p>The upper stories were designed in a relatively simple style, characterized by Architecture Plus magazine as "Raymond Hood Colonial". while McGraw-Hill generally occupied the 16th to 33rd floors. On the office floors, natural light illuminated each story to a depth of 40 to 60 ft. A few partitions were erected on these stories, creating an open plan with various open spaces for McGraw-Hill&#39;s subsidiaries. Except for the 32nd and 33rd stories, there were generally no private offices, as an employee who desired such privacy could work from home instead. The penthouse at the 32nd and 33rd stories originally contained the corporate suites of McGraw-Hill Publishers. The McGraw-Hill corporate offices were relatively conservative in design, being designed in the Georgian and Colonial Revival styles. These stories also contained a cafeteria for McGraw-Hill executives and a 250-seat auditorium.</p><br>
<p>Following a 2021 renovation, the upper floors are still arranged in an open plan. The ceilings had been modified so the structural steel beams were exposed. In addition, the windows were replaced, and some of the suites have terraces. There are several tenant lounges, conference areas, event spaces, and a fitness center. As a result of the COVID-19 pandemic, the heating, ventilation, and air conditioning systems were also completely replaced, and air filters were installed.</p><br>
<h2>History</h2><br>
<h3>Development</h3><br>
<p>The McGraw-Hill Publishing Company was formed in 1917 when James H. McGraw and John A. Hill merged their respective companies. It was then headquartered at the Hill Publishing Building at 475 Tenth Avenue, at the corner with 36th Street. With numerous acquisitions of other companies over the following decades, the McGraw-Hill Publishing Company found its existing space insufficient by the late 1920s. The twelve-story building at Tenth Avenue was expanded by an additional story, and some freight elevators in that building were converted to passenger use. Even so, by 1929, employees of that building were being asked to walk up or down some flights rather than take the elevators. The same year, a committee was appointed to oversee the development of a new building.</p><br>
<p>The new-building committee considered numerous sites in the area bounded by 47th Street, Second Avenue, 34th Street, and Ninth Avenue. The group identified Larkins 42nd Street lot, as well as another lot at Eighth Avenue and 41st Street, half a block east, as feasible sites. McGraw-Hill intended for its skyscraper to accommodate both commercial and industrial uses, and much of Midtown Manhattan was not zoned for such a purpose. Furthermore, the site was near the major rail hubs at Grand Central Terminal and Pennsylvania Station; post offices; and the Engineering Societies Building and Engineers&#39; Club.</p><br>
<p>Construction began on December 29, 1930, when the first rivet was driven by the publishing companys vice president, James H. McGraw Jr. Starrett Brothers, the main contractor, hired about 800 construction workers for the project. Steelwork started immediately afterward. The company secured a $3.8 million loan to finance the buildings construction a week after work started. Work progressed quickly and was nearly completed by June 1931; that month, twenty workers received awards for "superior craftsmanship".</p><br>
<h3>McGraw-Hill use</h3><br>
<h4>Early years</h4><br>
<p>McGraw-Hills publishing division moved into the building by October 25, 1931. As one of the tallest buildings in Hells Kitchen at the time, the McGraw-Hill Building stood out from the rest of the neighborhood.</p><br>
<p>Frank Gale of McGraw-Hill wrote in January 1932, three months after the buildings completion, that only six of the 33 usable office stories had not been occupied by then. With the onset of the Great Depression, the industrial equipment on the lower floors was sold in January 1933. In addition to McGraw-Hills headquarters, space was rented to tenants such as the J. C. Valentine Company; the Topics Publishing Company; Charles Eneu Johnson, a printer-ink supplier; Media Records, an advertising-statistics company; the International Development Corporation; the Edge Moor Iron Company; United Cigar Stores; the Home Owners&#39; Loan Corporation; and the Adolphe Hurst Company, an importing concern. By 1935, the building was almost fully occupied. Subsequent tenants included pulp publisher Martin Goodman, who founded Timely Comics (later Marvel Comics) at the building in 1939, as well as soap firm Givaudan. McGraw-Hill experienced financial issues of its own, occupying only 34 percent of the floor area by 1939.</p><br>
<h4>1940s to 1970s</h4><br>
<p>During World War II, the McGraw-Hill Buildings owners devised emergency blackout procedures in case of an air raid warning because of the buildings large number of windows relative to other structures in the area. The western part of McGraw-Hills lot, which had not been developed for the McGraw-Hill Building, was proposed as the site of an interstate bus terminal in 1940 due to the buildings proximity to the Lincoln Tunnel entrance to New Jersey. The terminal was approved in early 1941, but plans for the terminal were delayed by the war, and the terminal was ultimately built one block south in 1950. The adjacent lot was ultimately developed as a post office. In the mid-1950s, the Port Authority of New York and New Jersey started training "spotters" to look at traffic on the Lincoln Tunnel approaches from the 35th floor of the McGraw-Hill Building. The spotters used two-way radios to direct traffic, as well as a CCTV camera mounted on the top of the building.</p><br>
<p>The McGraw-Hill Companies moved some of its publications to 1301 Avenue of the Americas in 1964 due to a lack of space at 330 West 42nd Street. At that time, the company occupied 94 percent of the space at 330 West 42nd Street and was planning to expand the structure. The company also took space at 620 Eighth Avenue. McGraw-Hill then announced its intention to develop additional stories atop the Port Authority Bus Terminal annex, being built immediately to the east, but the plan did not come to fruition. The company was unable to expand to the west because the post office was there. Ultimately, McGraw-Hill announced in 1967 that it would construct a new headquarters at 1221 Avenue of the Americas, one of the "XYZ Buildings" at Rockefeller Center. McGraw-Hill sold 330 West 42nd Street to C. Russell Feldmann in 1970. The sale price was subsequently reported at $15 million. Although Feldmann wanted to convert the building into office space, his financial troubles led McGraw-Hill to retake the property in February 1973 to satisfy an unpaid mortgage of $11.1 million, netting McGraw-Hill a profit of $4 million.</p><br>
<h3>Late 20th century</h3><br>
<p>McGraw-Hill moved to 1221 Avenue of the Americas in 1972.</p><br>
<p>The building was purchased in late 1974 by medical insurance company Group Health Insurance (GHI) for $5.5 million, becoming the GHI Building. At the time, GHI was headquartered at 230 West 41st Street, one block west, but urgently needed another 350,000 ft2. Following lobbying from that organization, and added to the New York State Register of Historic Places on June 23, 1980.</p><br>
<p>330 West 42nd Street was taken over by Newmark & Company in February 1980, although GHI remained in the building. The new owners commenced a $2 million rehabilitation of the building; to reduce vacancies, Newmark president Jeffrey Gural rented space to any tenants who could reliably pay. The lobby was renovated by architects Warner Burns Toan & Lunde and interior designers Valerian Rybar and Jean-Francois Daigre. Mechanical systems were also updated throughout the building. A site-specific artwork, an angular metal sculpture by Owen Morrel known as Boomerang, was mounted 300 ft up the southeast corner in 1981. By the end of that year, 330 West 42nd Street was fully rented again, due in part to the redevelopment of the surrounding stretch of 42nd Street. Gural had become more selective with tenants, only accepting large leases and telling The New York Times in 1981 that he could bring the building to full occupancy "three times over in ten minutes". These tenants included a Paine Webber trading floor. The base of the building became a popular performance venue for bands.</p><br>
<p>330 West 42nd Street was declared a National Historic Landmark on June 29, 1989. GHI moved out of 330 West 42nd Street in 1994, taking space at its own building at 441 Ninth Avenue. The same year, Deco Towers Associates, a foreign investment group, acquired 330 West 42nd Street as its sole property. The sale had become complicated by the fact that the Federal Deposit Insurance Corporation had taken over the buildings mortgage holder, the American Savings Bank, which had gone bankrupt. A long-term restoration of the building began in 1998 and continued over the next two decades. Shortly after the project began, Deco Towers dismantled Boomerang, having found severe deterioration in that sculpture during inspections over the previous five years. The company had offered to give the work to Morrel or restore it if funding was provided. The New York City Department of Cultural Affairs (DCLA) moved to a 13,000 ft2 space at 330 West 42nd Street in 1998, having been forced to relocate from 2 Columbus Circle. The DCLA relocated to the city-owned Surrogates Courthouse in 2006.</p><br>
<h3>21st century</h3><br>
<p>330 West 42nd Street received some facade renovations during the mid-2010s. The restoration of the facade won an award in 2019 from the New York Landmarks Conservancy. At the time, the Service Employees International Union (SEIU) was a major tenant, although its lease was scheduled to expire in October 2020. Deco Towers announced in 2018 that it planned to convert the 16th through 34th floors into residential condominiums, following the expiry of SEIU&#39;s lease. The plan to convert the upper stories into apartments was subsequently abandoned.</p><br>
<h4>Renovation and residential conversion</h4><br>
<p>By early 2021, the building had been vacated in preparation for its renovation. That February, the LPC approved a plan by Moed de Armas and Shannon Architects (MdeAS) to renovate part of the building. The plans called for renovating the facade and signs on the ground floor, as well as a new tenant doorway at West 42nd Street.</p><br>
<p>The $120 million renovation included adding amenities such as outdoor terraces, event rooms, and a fitness center; refurbishing the office floors into an open plan; reconfiguring the lobby; and installing windows and air filters. In addition, Deco Towers replaced windows that were not part of the original design; added doors for loading docks and outdoor terraces; and replaced the elevators. In September 2021, the New York Supreme Court dismissed a lawsuit from preservationists who sought to protect the lobby, in part because the lobby had been substantially modified. The owners were allowed to dispose of the lobby&#39;s decorations, which had been placed in storage. The renovation was completed the same month, and Resolution Real Estate started leasing office space.</p><br>
<p>By late 2022, Deco Towers was considering converting the 12th to 32nd stories into apartments and converting the top two floors into residential amenity spaces because of declining demand for office space during the COVID-19 pandemic. Under this new plan, designed by Gloria Glass of SLCE Architects, the upper floors would largely contain studio apartments and one-bedroom units, as well as several two-bedroom units. This plan also included creating separate entrances on 42nd Street for office and residential tenants. and preservationists also advocated for the restoration of the original lobby. Signature Bank, which had placed a $140 million loan on the building, was looking to sell the loan around that time. Signature was unable to sell the loan, and Blackstone Inc. instead bought a portion of the debt. Blackstone and Rialto Capital Management began foreclosing on the building&#39;s loan in July 2024; the conversion of the upper floors was still in progress.</p><br>
<h2>Reception</h2><br>
<p>Upon the McGraw Hill Buildings completion, much controversy arose over its use of the International Style, which was then relatively new compared to Art Moderne and Art Deco. Chappell found the buildings mass and color to be unappealing, though he did approve of the building&#39;s limited use of ornamentation. Ultimately, North was unable to determine the style in which 330 West 42nd Street was designed.</p><br>
<p>Others spoke more positively of 330 West 42nd Street. Upon Hoods death in 1934, shortly after the buildings completion, the New York Daily News called the building "among the finest modern achievements in architecture", along with Hoods American Radiator Building, Daily News Building, and Beaux-Arts Apartments. The building was the only skyscraper in the city displayed in Henry-Russell Hitchcock and Philip Johnsons influential International Style exhibition at the Museum of Modern Art in 1932</p><br>
<p>With the greater acceptance of the International Style, the McGraw-Hill Building became known as an early example of that style, When GHI bought the building, an opinion writer for The New York Times celebrated the fact that the "distinctive green giant" would be preserved, even though it was not yet an official landmark. The architect Rem Koolhaas said of the McGraw-Hill Building: "Once again Hood has combined two incompatibles in a single whole."</p><br>
<p>The Nachusa House is a former hotel building in Dixon, Illinois, United States along Galena Avenue . The building was constructed in 1853 and operated continuously as a hotel until 1988. It underwent many alterations during the time it operated as a hotel. Following its period as a hotel the five-story mansard roofed building fell into disrepair and was nearly demolished in 1997. The building was restored by the Illinois Housing Development Authority and a Chicago developer at a cost of US$3.2 million and renovated into affordable housing for senior citizens. During its height the Nachusa House was a popular stop along rail and stagecoach lines and was a known layover for Abraham Lincoln. The Nachusa House was added to the USA National Register of Historic Places in 1983.</p><br>
<h2>History</h2><br>
<p>The Nachusa House was first conceived in 1837 by John Dixon, the founder of Dixon, Illinois, and a group of early settlers when they returned from a trip to the then-state capital of Vandalia. While in Vandalia the group had pushed the state legislature for a charter to establish the Dixon Hotel Company. Money was raised and a foundation laid in 1838 but the Panic of 1837 put a halt to the project.</p><br>
<p>The Nachusa House was finally constructed in 1853 as a four-story limestone building with simple wooden lintel and sill windows. The structure is perched on a hilltop overlooking the Rock River, directly across the street from the Lee County Courthouse. The hotel gets its unique name from John Dixon. "Na-Chu-Sa" was the name area Native Americans gave to Dixon, meaning "head white hair".</p><br>
<p>The past commercial success of Nachusa House is reflected through the many changes to its design. The first addition to the hotel was in 1854 when the old west annex was added, this four story, 60 room structure was demolished during the 1950s and rebuilt as it appears today. In 1868 the mansard roof and fifth floor were added to the building; both features were important in solidifying the hotels image as a first class hotel. Other architectural details were added and removed through the years, including the addition of a thin coat of stucco in the 1880s. In 1914 the buildings south annex was added, though it was essentially gutted during the 1950s and very little of the original 1914 structure remains.</p><br>
<p>When the hotel was listed on the USA National Register of Historic Places in 1983 it was one of the oldest continuously operated hotels in the state of Illinois. In 1996 the Landmarks Preservation Council of Illinois listed the Nachusa House on its top-ten most endangered landmarks list. The hotel seemed destined to be demolished in 1997 when the Illinois Housing Development Authority (IHDA) and a Chicago developer stepped in to save the building, not as a hotel, but as affordable housing for senior citizens.</p><br>
<p>The $3.2 million restoration project was paid for, in part, through the federal Low Income Housing Tax Credit Program, commonly known as Housing Credits. The program, which dates to 1986, is the primary federal affordable housing resource. The restoration of the building began in 1997, by September there were already names on a waiting list for the 35 apartment units and by 1998 residents were occupying the spaces.</p><br>
<h2>Architecture</h2><br>
<p>The Nachusa Houses main, nearly square, building forms the centerpiece of the present-day structure. The main building is the most historically and architecturally significant portion of Nachusa House. Nachusa Houses main construction occurred in 1853 and 1868. The 1853 portion of the building stands upon the limestone foundation, laid in 1838. It was built as a four-story limestone building with 2 foot (.6 m) thick walls and wood framed floor and roof construction; originally the limestone walls were undressed. In 1868 the second period of construction on Nachusa House added the fifth floor, mansard roof, and now removed cupola. These alterations established the image that became iconic of the hotel.</p><br>
<p>After 1868 the building continued to evolve, stucco was added to the stone walls in the 1880s and seventy years later wrought iron grill work was added to the balconies and porches. Galena Avenue was widened in 1965 forcing the removal of the original front stairs which led to the lobby porch.</p><br>
<h2>Significance</h2><br>
<p>As early as 1878-1879 commentators noted the Nachusa House as one of Dixon&#39;s most substantial and eye-catching buildings. The building possesses significance of a social, commercial and architectural nature and was called a "prized landmark" in the 1983 National Register of Historic Places nomination form and the building was added to the National Register on February 10, 1983.</p><br>
<p>Throughout its history, the hotel hosted notable guests including USA Presidents Abraham Lincoln, Ulysses S. Grant, William Howard Taft, Theodore Roosevelt and President of the Confederate States of America Jefferson Davis. Lincoln stayed at the Nachusa House numerous times and generally occupied the same room."</p><br>
<p>President Ronald Regan viewed a homecoming parade from the Nachusa House Hotel on February 6, 1984.</p><br>
<p>," Articles, Lee County Historical Society. Retrieved July 19, 2007. A Lincoln room was established in his honor within the hotel during its later years, the room was furnished much as it was when Lincoln stayed at the hotel. The balcony outside the room was known to be a place where Lincoln would sit and socialize. The room has since been converted into an apartment.</p><br>
<p>The Elliott House is a historic residence in the city of Indian Hill in northeastern Hamilton County, Ohio, United States.</p><br>
<p>Native of Ireland, John Elliott left Londonderry for the United States in 1784. He married Mary Miller in Pennsylvania, in 1786. They soon settled along the Little Miami River in present-day northeastern Hamilton County, it consisted of a simple rectangular floor plan with chimneys on each end. Soon after the original portion was completed, the Elliotts added a wing to the southwestern corner of the original house. Later modifications included enclosure of the rear porch, replacement of the tiny original front porch with a far larger structure, and construction of a hallway to serve the rear addition.</p><br>
<p>Having completed his house, Elliott proceeded to construct an industrial complex on his property. Following the placement of a dam on the Little Miami, he established a gristmill, a distillery, a carding mill for wool, and a sawmill on the property. Using these facilities, Elliott began to engage in business at great distances; many of his products were sold in New Orleans after transportation down the Ohio and Mississippi Rivers.</p><br>
<p>In 1898, the property was bought by a family named Sterrett, who occupied it for more than twenty years; after they sold it to Henry Livingston in 1920, he donated it to a Jewish social agency, which maintained a summer camp around the house into the 1960s. In 1967, the village of Indian Hill purchased the land; for many years, it was used as an educational center for schoolchildren, and in 1976, the Elliott House was listed on the National Register of Historic Places. It qualified for inclusion on the Register because of its place in local history, for it is one of the oldest houses in the Miami Purchase, and also because of its well-preserved historic architecture. Soon afterward, a widescale restoration effort took place: all recent additions were removed, the original elements were restored, and the surrounding property was archaeologically investigated. Finances proved insufficient for more extensive renovations, but the house was in a condition sufficient for occupation, and Indian Hill sold it to private owners in 1985.</p><br>
<p>The Elliott House is one of five sites in Indian Hill that is listed on the National Register, along with the Jefferson Schoolhouse, the Gordon E. Pape House, the Methodist church, and the Washington Heights School.</p><br>
<p>Elsinore Arch  is a registered historic structure in Cincinnati, Ohio, listed in the National Register on March 3, 1980. The building, at Gilbert Avenue and Elsinore Place, was constructed in 1883 for the Cincinnati Water Works. It&#39;s said to be inspired by the Elsinore Castle  featured in Hamlet.</p><br>
<p>In 1883, the Cincinnati Water Works wanted to extend its efficient water supply main tunnel (which had remained incomplete for several years) 185 feet to the line at Gilbert Avenue. This efficient main started at the reservoir in Eden Park. To control the flow of water at the base of the steep hill, a valve house was needed. Because the Water Works wanted to enhance the landscape of the park, plus they wanted a structure that would also serve as a new entrance to the park, they felt that the valve house needed to have a special design.</p><br>
<p>That spring, Cincinnati was host to the Shakespearean Dramatic Festival at Music Hall. The highlight of the festival was the performance of "Hamlet" on Friday evening, May 4. The Shakespearean actor James Edward Murdoch played the role of Hamlet. Even at the age of 72, this actor was very popular in Cincinnati, mainly because Cincinnati was his hometown. Although many in the audience felt that Mr. Murdock was too old to play the role of Hamlet, they were highly impressed with the stage sets, especially the opening scene. This particular stage set was a 65-by-65 foot painting of Elsinore Castle (also known as Kronberg Castle), where the moody Denmark prince walked at night and spoke with the ghost of his father. A local artist named Merry painted this stage set. In the audience that night was Water Works Superintendent A.G. Moore. He was so impressed with the painting of Elsinore Castle that that next Monday morning he appeared at the offices of Samuel Hannaford and Sons (famous local architectural firm that designed, among other structures, Music Hall and the Cincinnati City Hall) with a newspaper illustration of the Elsinore stage set. What resulted was that Charles B. Hannaford, the son of Samuel, was commissioned to design the valve house in the form of Elsinore Castle. The Elsinore Tower was built later that year for a cost of $15,000.</p><br>
<p>What resulted is the Norman Romanesque Revival mini-castle consisting of a cylindrical castellated tower joined to a smaller square tower by a battlemented archway. Since the Cincinnati Art Museum officially opened in 1886, a flight of Cincinnati steps were placed behind the Elsinore Tower as a short cut to the museum in Eden Park. However, the steps were too steep to ever become popular; and with the ever-increasing prevalence of motorized travel, the Elsinore Tower soon lost its appeal as an entrance to the Park. As of 1988, it was reported that the reservoir valves were housed in a vault underneath the tower and that the Cincinnati Water Works used the Elsinore Tower for equipment storage.</p><br>
<p>The adjacent WCPO-TV building was built with stonework similar to that used in the archs construction. (That same building site was once the home of Cincinnatis Natural History Museum.)</p><br>
<p>St. Luke&#39;s Episcopal Church, formerly the Episcopal Church of the Resurrection, is a historic Episcopal church in the Sayler Park neighborhood of Cincinnati, Ohio, United States. Designed in the 1870s by master architect Samuel Hannaford, it has been named a historic site.</p><br>
<h2>History</h2><br>
<p>The community of Fernbank was platted by Charles W. Short in 1875; it was a separate community for more than one-third of a century before annexation into Cincinnati as that citys Sayler Park neighborhood in 1911. Within a year of its establishment, Episcopalians in the community began meeting for worship, using each others homes at first. The situation changed in 1877, as Short and his brother John Cleves Short donated money to erect a church building for the congregation in honor of their deceased parents. An English Gothic-influenced design was chosen, and Samuel Hannaford was hired as the architect. St. Lukes is typical of Hannafords churches from the period, most of which were stone Gothic Revival structures.</p><br>
<h2>Architecture</h2><br>
<p>One story tall, St. Luke&#39;s is a simple rectangle in its floor plan, with ends that rise to steep gables. A small bell gable is placed at one end, sitting atop rubble masonry walls, while a large circular window sits under it at the center of the gable. On one side sits an ornate frame-built vestibule with large timbers visible for structural support. These elements, together with the small ogive windows set into the walls, lend the building the appearance of an English country church.</p><br>
<h2>Preservation</h2><br>
<p>From its earliest years, the parish was known as the Church of the Resurrection, and it retained this name into the 1970s, although its name has since been changed to that of St. Luke. The parish is subject to the jurisdiction of the Episcopal Diocese of Southern Ohio.</p><br>
<p>In 1977, the Church of the Resurrection was listed on the National Register of Historic Places; it qualified for inclusion due to its well-preserved historic architecture. One year later, nearly 40 other properties in Cincinnati and other parts of Hamilton County, including 9 other churches, were added to the Register together as part of a multiple property submission of buildings designed by Samuel Hannaford and/or his sons. Although it was already listed on the Register, the Church of the Resurrection was included within the multiple property submission as another significant Hannaford design.</p><br>
<p>The building changed hands in 2021 and was sold to the Hillgrove family, a significant exterior restoration has since started and the building will be converted to a private residence.</p><br>
<p>A consecrated Altar still stands to the rear of the property.</p><br>
<p>The Charles Fay House is a historic residence in the city of Wyoming, Ohio, United States. Erected in the late nineteenth century, it was originally the home of one of the city&#39;s leading educators, and it has been designated a historic site because of its distinctive architecture.</p><br>
<h2>Architecture</h2><br>
<p>Designed in the Stick-Eastlake style and built of wood on a stone foundation, the Fay House is one of Wyoming&#39;s best Victorian residences from an architectural point of view. Among its most distinctive features is its roofline: it is primarily covered with a hip roof, there are three different gabled sections, one of which is composed of two corbelled chimneys. Exquisite "gingerbread" carvings decorate the many bargeboards, while most of the rest of the house is covered with simple wooden weatherboarding. The house has been expanded since its 1875 construction: two small bays (one on the eastern side, and one on the front) were seemingly added in the 1890s, and a small front porch and a small rear shed were also attached to the house after its completion.</p><br>
<h2>Historic context</h2><br>
<p>Good transportation is a leading reason for Wyoming&#39;s prosperity. The city lies near the old pre-statehood road that connected Cincinnati with locations farther north, such as Fort Hamilton and Fallen Timbers. Curves in the road were cut off in 1806, forming a new road that is today followed by Springfield Pike through central Wyoming. Improvements in the 1830s only enhanced its importance. By this time, another mode of transportation had become significant: the Miami and Erie Canal was built a short distance to the east in 1828, and the village of Lockland grew up along its side. Railroads reached the city in 1851 with the construction of the Cincinnati, Hamilton, and Dayton Railroad on the border between Lockland and Wyoming.</p><br>
<p>Because of Wyoming&#39;s proximity to the industry of Lockland, its easy transportation to the booming city of Cincinnati, and its pleasant scenery, many wealthy industrialists purchased local farms and built grand country houses. Most such houses were built in the Wyoming Hills area, west of Springfield Pike; growth in this area continued until the coming of the Great Depression. Charles Fay was himself not a businessman; when Wyoming established a school system in 1882, he was appointed the principal, and he remained in this office until 1922.</p><br>
<h2>Historic site</h2><br>
<p>In 1979, a local historic preservation group began a citywide survey to identify Wyoming&#39;s historic buildings, and this effort culminated with a multiple property submission of eighteen houses, the Wyoming Presbyterian Church, and one historic district to the National Register of Historic Places in 1985. Along with all but one of the other properties, the Fay House was listed on the Register in the following year, qualifying because of its historically significant architecture. It is one of five Reily Road houses included in this group, along with the Luethstrom-Hurin House, the John C. Pollock House, the Louis Sawyer House, and the William Stearns House.</p><br>
<p>The Fenwick Club was a historic building in downtown Cincinnati, Ohio, United States, which was constructed to serve a Catholic social organization for unmarried men. Although named a historic site in the 1970s because of its architecture, it is no longer standing.</p><br>
<p>Founded in 1915, the Fenwick Club was organized to serve unmarried Catholic men under the age of 40 by providing them with space for cultural and social activities, as well as lodging space. It was named for Edward Fenwick, the first Bishop of Cincinnati and the founder of the Dominicans in the United States. The institution was meant to provide a Catholic alternative to YMCA, due to heavy Protestant influence in YMCA, so it included components similar to a YMCA, including a library, sports facilities, and living space, and it sponsored social events for the residents. The club initially used space at 319 Broadway, and although it soon completed a building on Commercial Square, rapid growth forced the leaders to buy an adjacent lot in order to construct an annex building in 1921, just four years after their first building was constructed. After the building was constructed, a Catholic chapel was built next door: this building, the Chapel of the Holy Spirit, was constructed in 1927.</p><br>
<p>The institution&#39;s primary building was nine stories tall, built of brick with details of stone and terracotta, while the annex was just three stories tall. The structure was also built of brick, resting on a stone foundation and detailed with elements of limestone and iron. The facade included two dormer windows in its steeply pitched front roof. The facade was divided into five bays, topped with miniature gables on the end and middle bays and a dormer in the other two; windows filled all bays except for the central, which included a columned main entrance on the first floor and a small balcony on the second.</p><br>
<p>In 1973, the Fenwick Club&#39;s annex building was listed on the National Register of Historic Places, becoming the seventh downtown building with this distinction; it qualified both because of its historically significant architecture and because of its place in local history. Despite its status as a historic site, the building was destroyed in 1979: it sat near Procter & Gamble headquarters, and as the company was looking to expand its office complex, several neighboring buildings were removed. Besides the Fenwick Club, the project resulted in the destruction of Wesley Chapel, Allen Temple AME Church, and the adjacent Catholic chapel. Although destroyed more than thirty years ago, the annex building officially remains on the National Register.</p><br>
<p>Eliphalet Ferris House is a registered historic building in Mariemont, Ohio, listed in the National Register on May 29, 1975. The house was constructed in 1802 or 1803, in 1812.</p><br>
<p>It was restored in 1927 by Richard H Dana. By 1936 it was in use as the Mariemont Historic Museum, with rooms furnished by the Daughters of the American Revolution.</p><br>
<h2>Historic and current use</h2><br>
<p>Domestic single dwelling</p><br>
<p>Museum</p><br>
<p>The Walter Field House is a historic residence located along Reading Road in northern Cincinnati, Ohio, United States. Built in the 1880s to be the home of a prosperous local businessman, it features elements of popular late-nineteenth-century architectural styles, and it was produced by one of the city&#39;s leading architects. It has been named a historic site.</p><br>
<p>Walter Field was a Cincinnati-area business executive, holding offices such as the presidency of the American Cotton Oil Company and the Cincinnati Ice Manufacturing and Cold Storage Company. He moved into the house soon after its completion in 1884. As the architect for his new residence, Field chose Samuel Hannaford, an English-born architect whose design of the Cincinnati Music Hall had catapulted him into local prestige in the 1870s. Many of Hannafords surviving houses in Cincinnati are masonry structures, including several built in the mid-1880s, but the Field House is a frame structure. Built at the end of Hannafords Victorian phase, the Field House includes various Victorian elements, such as the shingles and decorative details characteristic of the Eastlake movement, but the rest of the house is more heavily in the Shingle Style. Its plan is asymmetrical, featuring components such as a multi-gabled roof, a pavilion with large porch across the front, and an eight-sided gazebo on the southern end of the facade. Decorated with a heavily spindled section in the place of the frieze, the porch and gazebo dominate the appearance of the two-and-a-half-story building. Other components, such as a turret on the northern side, are less easily observed from the street.</p><br>
<p>In 1980, the Field House was listed on the National Register of Historic Places, qualifying because of its historically significant architecture; it was added to the Register as part of a multiple property submission of dozens of Cincinnati buildings designed by Samuel Hannaford. The building is no longer a house; by the time it was added to the Register, an addition had been constructed, and the interior had been chopped up to form twenty-four studio apartments.</p><br>
<p>First Unitarian Church is a historic congregation of the Unitarian Universalist Association in Cincinnati, Ohio, United States. Founded in the early nineteenth century, it survived a series of division and reunifications in the nineteenth century. Among the people who have worshipped in its historic church building on the city&#39;s northern side are many members of the Taft family, including William Howard Taft, the President of the United States.</p><br>
<h2>History</h2><br>
<p>In 1828, a Unitarian minister from Boston visited Cincinnati for approximately five weeks. Upon his return to New England, John Pierpont proclaimed to his compatriots the attractive features of Cincinnati, and within two years a Unitarian congregation was founded in the city. Located at the intersection of Fourth and Race Streets downtown, their first church building was dedicated on May 23, 1830; it was later replaced by a building at the nearby intersection of Eighth and Plum Streets. In its first year, the church was led by a succession of young ministers; although these early pastors were among the most prominent of the denominations young ministers, many of these men typically left the pastorate at unusually young ages due to failing health. As a result, the congregation was frequently left without a preacher and forced to look to New England for new ministers. Among these men was William Henry Channing, who served the congregation from 1839 to 1844. Following Channing was the former lawyer James H. Perkins, who drowned in 1849; during his five years of ministry, he engaged the congregation in a range of social justice purposes, such as prison reforms and welfare for the poor. Controversy arose in the 1850s: questions of abolitionism were tense in a city located so close to the slave state of Kentucky, and theological differences over the existence of miracles caused the church to split into two. These tensions were resolved in the 1870s: both congregations had come to reject the existence of miracles, and the Thirteenth Amendment had ended slavery throughout the United States. Under the ministry of George Thayer, which began in 1882, the congregation was faced with widespread movement of members from downtown to the citys northern edges; as a result, the present building was erected along Reading Road, 2 mi northeast of the former site.</p><br>
<h2>Architecture</h2><br>
<p>In the late 1880s, the congregation arranged for the construction of a new church building along Reading Road. This new building was erected in 1889, with random blocks of ashlar being employed for the churchs exterior. Architect James C. McLaughlin introduced many Richardsonian Romanesque elements into the churchs design, such as rounded arch windows, structural elements that visually divide the structure into two parts, and random ashlar walls. Among the most distinctive elements of the building&#39;s design is the large rose window on its northern side; designed by Tiffany craftsman Frederick Wilson, it centers on a large image of a personification of Truth. McLaughlin employed primarily stone in the construction of the building: the foundation is built of sandstone, while the walls and some other elements are built of other types of stone.</p><br>
<p>For many years immediately prior to the construction of the new building, the congregation had been declining because many of its members moved away from its previous location; by relocating to a site in a growing neighborhood that was easily reached by public transportation, the leaders hoped to increase its accessibility. McLaughlin&#39;s design included such features as a tile roof, massive golden stained glass windows, and two fireplaces in the sanctuary. The sanctuary itself is a square measuring 56 ft on each side; at the time of construction, it was capable of seating approximately three hundred worshippers. A large platform underneath the rose window served as the location for the organ and the hand-carven oak pulpit.</p><br>
<h2>Taft family</h2><br>
<p>Among the leading members of First Unitarian Church were Alphonso and Louise Taft and their children. For many years, Alphonso served as one of the churchs trustees, sitting as the chairman of the board of trustees for a period of time. He was often absent from the church in his later years, due to his many responsibilities as the United States Attorney General and Secretary of War. From his youth, Alphonso and Louises son William Howard was an active member of the congregation, taking part in many youth activities; decades later, when he was running for president, the congregations minister remembered his part as a fairy in a play organized by the congregations Unity Club. Although his attendance also became less frequent as his governmental responsibilities increased, his influence in the congregation endured, as evidenced by the removal of the congregations pacifistic minister in a popular wave sparked by Tafts public support for American involvement in World War I.</p><br>
<h2>Recent history</h2><br>
<p>In 1976, First Unitarian Churchs church building was listed on the National Register of Historic Places under the name of "First Unitarian-Congregational Church," qualifying because of its historically significant architecture. Starting two years later, many of the churchs members united with musician Richard Waller to help form the Linton Chamber Music Series, a partnership with the Cincinnati Symphony Orchestra.</p><br>
<p>Today, the church is an active part of the Unitarian Universalist Association. Rev. Constance Simon became the minister in 2018.</p><br>
<p>First Universalist Church is a registered historic building in Cincinnati, Ohio, listed in the National Register on March 3, 1980.</p><br>
<h2>Historic uses</h2><br>
<p>Religious Structure</p><br>
<p>This church incorporated as City Temple—First Universalist Church was the result of a merger between the "First Universalist Church of Cincinnati" and the "New Thought Temple". It was located on Essex Place in the Walnut Hills section of Cincinnati. The church has stained glass windows dedicated to early Cincinnatians such as the poets Alice Cary and Phoebe Cary. The tower was at some point capped with a conical steeple-like roof and topped with a stone cross. There was an ink drawing of it published in the Cincinnati Enquirer by Carolyn Williams. In the drawing that roof is shown.</p><br>
<p>The founder of the New Thought Temple was Dr. Harry Grannison Hall, he and his followers found a home in the Universalist Church and eventually blended into that organization. The church later moved its location and changed its name to Heritage Universalist Unitarian Church.</p><br>
<p>The Abraham J. Friedlander House is a historic residence in downtown Cincinnati, Ohio, United States. Erected in 1830, although brick is employed in some of the walls, both the foundation and the walls are predominantly sandstone. At the time of its construction, the house was used as a multi-person home; its residents were multiple tradesmen in the house&#39;s early years. Among its uses since that time has been that of a law office.</p><br>
<p>Many elements of the house demonstrate a heavy Greek Revival influence; notable among them are the front entrance, which features a transom above the door and sidelights on either side. The overall theme of the house demonstrates that the architect, whose name is unknown, was influenced by leading period architect Minard Lafever, who wrote extensively on the various forms of Classical Revival architecture.</p><br>
<p>In 1979, the Friedlander House was listed on the National Register of Historic Places, due both to its well-preserved historic architecture and to its connection with Friedlander himself. One year later, a short segment of Ninth Street was designated the Ninth Street Historic District and added to the National Register; the Friedlander House was named one of the district&#39;s contributing properties.</p><br>
<p>Fulton-Presbyterian Cemetery is a registered historic site in Cincinnati, Ohio, United States. It was listed in the National Register on August 24, 1979.</p><br>
<h2>Historic uses</h2><br>
<p>This is actually three adjacent but distinct cemeteries: Presbyterian Cemetery, Fulton Cemetery and Fulton Mechanick&#39;s Cemetery. The Presbytery of Cincinnati was awarded title to the Presbyterian Cemetery in 1970 by local courts in response to a suit for quiet title. The Court also charged the Presbytery with "use and care" of the two Fultons, but the Presbytery does not own the Fultons. Recorded deeds indicate the Fultons would be owned by the descendants of the original plot owners. The Presbyterian Cemetery dates to 1794 and is the final resting place of at least eight Revolutionary War veterans, allegedly including Sgt. Willam Brown, the first man to receive a Purple Heart from George Washington. Brown was active in the area, although his headstone has not been found and confirming documentation does not exist.</p><br>
<p>These cemeteries were severely vandalized and used as dumps since around 1900. Unfortunately the story about Brown being the first to receive the Purple Heart, or Badge of Merit, is incorrect. He was the second to receive the Badge of Merit.</p><br>
<p>In 1999, Bart Rosenberg initiated a cleanup, preservation and restoration project which continued into 2012. The GPS coordinates given are within 25&#39; of the entrance.</p><br>
<p>There is an Ohio Historical Marker along the Ohio River Trail that provides information on both the cemeteries and Sergeant Brown.</p><br>
<p>The Stephen A. Gerrard Mansion is a historic residence in the North Avondale neighborhood of Cincinnati, Ohio, United States. Constructed for a self-made grocery magnate, the Tudor Revival mansion has been named a historic site.</p><br>
<p>Born in 1860 in the Cincinnati-area community of Cherry Grove, Stephen Gerrard supported himself in his youth as a street peddler, but ultimately made himself wealthy by taking advantage of refrigerated rail cars to transport cantaloupes nationwide, selling them far more widely than was otherwise possible. His sales of Colorado melons throughout the countrys central and eastern regions enriched Gerrard, gaining him the nickname of "Cantaloupe King", and enabling him to build the present house in 1915 as well as constructing a grand mausoleum in the same section of Spring Grove Cemetery as other prominent local businessmen. Its location in North Avondale, a gaslight neighborhood, made Gerrard a neighbor to some of Cincinnatis economic élites. However, his fortune was destroyed by the Great Depression, and he died in 1936.</p><br>
<p>Built of limestone with a limestone foundation, the Tudor Revival house is covered with a slate roof. Two and a half stories tall, the house features an irregular plan, with battlement-topped bay windows in assorted gables, tall chimneys, and a porte-cochère sheltering the main entrance. The windows are sheltered by hoodmolds, and the upper and lower sections of the facade are separated by a stone belt course. Decorative elements in the upper part of the house include a pair of gargoyles atop the roof and the ornamental chimney pots atop the chimneys. Extensive wooden panelling beautifies the interiors, which feature ornamental ceilings and marble fireplaces. Upon its completion, the house possessed its own pipe organ, made by W.W. Kimball of Chicago. The entire house has an area of 5,400 ft&sup2;.</p><br>
<p>In late 1987, the Gerrard mansion was listed on the National Register of Historic Places, qualifying because of its historically significant architecture. Another house with the same designation, the older Richard H. Mitchell House, lies just a few minutes&#39; walk away.</p><br>
<p>The E. V. Haughwout Building is a five-story, 79 ft commercial loft building in the SoHo neighborhood of Manhattan, New York City, at the corner of Broome Street and Broadway. Built in 1857 to a design by John P. Gaynor, with cast-iron facades for two street-fronts provided by Daniel D. Badgers Architectural Iron Works, and which attracted many wealthy clients &ndash; including Mary Todd Lincoln, who had new official White House china painted here. It was also the location of the worlds first successful passenger elevator.</p><br>
<h2>Description</h2><br>
<p>Architecturally, the building is fairly typical of the period, with cast-iron facings in an arcaded system with two orders of columns that was derived from the Sansovino Library in Venice.</p><br>
<h2>World&#39;s first elevator</h2><br>
<p>The building installed the world&#39;s first successful passenger elevator on March 23, 1857, a hydraulic lift designed for the building by Elisha Graves Otis. It cost $300, had a speed of.67 ft/s, and was powered by a steam-engine installed in the basement. Although the five-story structure was no taller than other buildings of the time, and did not actually require an elevator, Haughwout knew that people would come to see the new novelty, and stay to buy merchandise. The elevator has since been removed.</p><br>
<h2>Landmark status</h2><br>
<p>The building was in danger of being razed for Robert Moses&#39; planned Lower Manhattan Expressway, which was proposed in 1941 and not finally defeated until 1969. While the building was not in the direct path of the planned highway, the construction of the new highway could have posed a negative effect on the old building. The building was designated a New York City landmark in 1965, and was added to the National Register of Historic Places in 1973. Its facade was restored, and the columns re-painted to their original "Turkish drab" color, in 1995, under the supervision of Joseph Pell Lombardi.</p><br>
<p>Grumblethorpe was the home of the Wister family in the present-day Germantown section of Philadelphia, who lived there for over 160 years. It was built in 1744 as a summer residence, but it became the family&#39;s year-round residence in 1793. It is a museum, part of the Colonial Germantown Historic District.</p><br>
<h2>History</h2><br>
<h3>18th century</h3><br>
<p>Grumblethorpe was built as a summer residence in 1744 by Philadelphia merchant and wine importer John Wister, when Germantown was a semi-rural area outside the city of Philadelphia. It eventually became the family&#39;s year-round residence when they withdrew from the city during the Yellow Fever Epidemic of 1793.</p><br>
<p>It has a stone and oak facade and was known as "John Wister&#39;s Big House". It has lower-ceilinged rooms than those at Cliveden, Loudoun, and Stenton, other historic houses in the area. The stones for the house were quarried on the property and the joists were hewn from oaks in Wister Woods, also owned by the family. The original section of the Grumblethorpe Tenant House was built as a dependency.</p><br>
<p>The Wister family lived in the house for over 160 years. Diarist Sally Wister subsequently lived there from 1789 until her death in 1804.</p><br>
<p>Because it was built on the fertile soil of the region, Grumblethorpes garden was highly productive. It was primarily a working farm, and it dominated Philadelphias horticultural trends for nearly two centuries from 1740 to 1910. The land was a prime source of marketable crops and animal husbandry from the 1740s to the 1870s, and it decreased in practical use only when the farmstead grew smaller in the late 19th century.</p><br>
<h3>American Revolutionary War</h3><br>
<p>In September 1777, the house was the scene of events in the Battle of Germantown. While the Wisters were staying in another home, British General James Agnew occupied the house as his headquarters during the battle. He was wounded and died in the front parlor, where his blood stains can still be seen on the floor.</p><br>
<h3>20th century</h3><br>
<p>In the 1960s, the house was restored and refurnished to match the original period, removing an early 19th-century Georgian-style façade, and now serves as a museum. The gardens are also being restored.</p><br>
<p>Grumblethorpe was listed on the National Register of Historic Places in 1972. It is a contributing property of the Colonial Germantown Historic District, which has been designated a National Historic Landmark.</p><br>
<p>The Haines House is a historic house in Alliance, Ohio that was an Underground Railroad station.</p><br>
<h2>Description and history</h2><br>
<p>The house is located at 186 W. Market Street. The architect was John Grant and the building was constructed between 1827-1842. The architectural style is Federal. It was placed on the National Register of Historic Places on July 30, 1974.</p><br>
<h2>History of the Home and Family</h2><br>
<p>John and Nancy Grant were some of the earliest families to settle in Stark County, Ohio. Upon their settling in Stark County the couple purchased a grant of land of 160 acres in 1812. This land would make up a large portion of the west side of Alliance. The house was completed in stages beginning in 1827 and finalized in 1842. It was inherited in 1852 by Grants son-in-law Jonathan Ridgeway Haines. Haines was married to Grants daughter Sarah. The Haines had six children, one of whom fought in the civil war.</p><br>
<p>Haines and his wife would go on to operate the home as an underground railroad station. The home was located in a “hotbed of Abolition” since the area was known for underground railroad activity in the years prior to the civil war. Johnathan and Sarah along with their families were avid abolitionists and members of the Western Anti-Slavery Society of which Johnathan would later be elected the Vice President in 1860. The Haines would often host meetings and famous abolitionists like Abby Kelley Foster and her husband on their 126-acre farm. The family would use their small attic to hide former slaves and provide shelter before moving them to Limaville or Marlboro then to Randolph.</p><br>
<p>The Haines would raise their children on the home and later in life would sell pieces of the property to sustain their life. Ridgeway Haines died in 1899 and Mrs. Haines in 1903. They are buried in Alliance City Cemetery.</p><br>
<p>After the Haines family passed the home was turned into two apartments. Over the years multiple repairs were made including electricity in 1921 and the addition of two bathrooms. In 1941 the home suffered a fire which left charred wood in the attic. The home was reduced in 1966 by an art professor at Mount Union College. Work began to restore the home to its original status and have it placed on the National Register of Historic Places.</p><br>
<h2>Today</h2><br>
<p>The Home was purchased by the Alliance Area Preservation Society in august of 2001 who continued the work to restore the home. Restorations are still ongoing but the Preservation Society has worked to recreate the historical home and get the atmosphere as accurate as possible. Today the home is used as a museum to educate on the history of Alliance and the underground railroad. The Museum provides accurate rooms that recreate what the home would have looked like for the Haines family. It also has several exhibits about the preservation work that the museum does. The museum also works to provide underground railroad re-enactments to create a hands-on experience. The Home has also been recognized by the National Park Service&#39;s Network.</p><br>
<h2>Layout</h2><br>
<h3>First Floor</h3><br>
<p>The first floor comprises 6 rooms and two sets of stairs. At the front of the home is the Haines Parlor which has been restored as a formal parlor of the 1870s. This room is filled with various antiques and restored, period accurate woodworking. Across from the Parlor is the Community Room. Formally known as the Evan and Suzanne Morris Community Room it was once the East Parlor. It is one of two rooms in the home with a fireplace. It is currently used for meetings and events.</p><br>
<p>Behind the Community Room is the dining room. This room is known for its multiple doors to let air during the summer. It is believed the room originally served as a work or sewing room. It is currently used to house exhibits. Connected to the dining room is the new kitchen that was originally the back porch. It was enclosed in 1910 when the home was divided into apartments. Connected to and across from the new kitchen is the original home or old kitchen. This section of the home was the first piece of the one-room home. It houses a loft for sleeping. In the original home the only piece of furniture that was owned by the Haines family is housed. In Between the main parlor and the original house is the Gallery.</p><br>
<h3>Second Floor</h3><br>
<p>After walking up the steps and to the right is the Grant bedroom. Named for the original owner of the home John Grant and reflects mid-19th century bedrooms. The second floor also has a childrens bedroom that was decorated to reflect what childs room might have looked like This room also contains a rope bed and straw tickling. Behind the childrens room is the attic that was used to hide fugitive slaves while on the underground railroad. It was also used for storage. There is also an office that was a bedroom that had been decided into a nursery and bathroom. It is currently used as an office for the preservation society. The founders preservation room is also on the second floor. It was once a fourth bedroom but currently houses education programs and exhibits about local preservation efforts. There is also a small research library for historic preservation.</p><br>
<p>The Gilbert Row, as of 2005 often referred to as Emery Row, is a group of historic rowhouses in the southern part of the Walnut Hills neighborhood of Cincinnati, Ohio, United States. Composed of six individual small houses and a more substantial structure designed as a commercial building, the row was built by the real estate firm of Thomas Emerys Sons according to a design by the Steinkamp Brothers architectural firm. Built in 1889, the complex became a model for many residential complexes constructed by Thomas Emerys Sons during the 1890s, including multiple apartment-style properties in Walnut Hills.</p><br>
<p>Buildings in the Gilbert Row are generally constructed on foundations of stone; their walls are built of brick or iron, and they feature other elements of brick and stone. Most buildings in the group do not feature iron: it is only present in the cast iron front of the building constructed as a store. Typical houses in the row feature porches with hip roofs, wooden posts with chamfered and reeded details, lattice-shaped valences, and ornamental brackets. Setting the complex apart from almost all other groups of rowhouses in the city is its general architectural style: it is a clear example of the Queen Anne style of architecture, which was rarely employed in the construction of rowhouses in Cincinnati.</p><br>
<p>In May 1982, the Gilbert Row was listed on the National Register of Historic Places; it qualified for inclusion because of its well preserved and historically significant architecture, which was seen as important throughout the local area. Little more than a year later, a portion of southern Walnut Hills bounded by Morris, Gilbert, and Sinton Avenues was designated a historic district, the Gilbert-Sinton Historic District, and listed on the National Register, and the buildings of the Gilbert Row were among the district&#39;s contributing properties.</p><br>
<p>The structure underwent a complete renovation between May 2005 and November 2006, transforming the building into 12 townhomes and 6 condominiums.</p><br>
<p>Glencoe–Auburn Hotel and Glencoe–Auburn Place Row Houses was a registered historic district in Cincinnati, Ohio, listed in the National Register of Historic Places on December 10, 2003. It contained 54 contributing buildings. The complex was originally constructed between 1884 and 1891, by a Jethro Mitchell.</p><br>
<h2>History</h2><br>
<p>The exact date of construction of the Glencoe Complex is disputed amongst sources. Hamilton County tax records list the buildings as being constructed between 1870 and 1875, although the application for historic status lists the years 1884 to 1891 as the dates of construction. 1891 is also the first year the buildings are shown on a Sanborn Fire Insurance Map.</p><br>
<p>The architect of the building is unknown, however the builders/developers are often listed as being either Truman B. Handy or Jethro Mitchell. Both were prominent figures of the time, and Mitchell was Handy&#39;s son in law (having married his daughter despite being 42 years older). Jethro Mitchell can be inferred as the official builder, for Handy died in a carriage accident in 1884. Handy and Mitchell both spent time working with famous Cincinnati architect James W. McLaughlin, so it is possible that he may have had a hand in the design of the complex.</p><br>
<p>Despite the outward appearance of the facade, the buildings are divided up into single story apartments rather than walkup row houses. It is for this reason, along with early accounts and descriptions of the hotel, that the complex was, and has been intended to be housing for the poor.</p><br>
<h2>Rehabilitation</h2><br>
<p>The first rent strike to occur in the city of Cincinnati took place at the Glencoe complex.</p><br>
<p>In the 1990s, however, the site fell into disrepair and poverty, and once again became known for its drugs and crime rather than its redevelopment success. When area developer Pauline Van der Haer of Dorian Development purchased the property in 2004, the buildings had been vacant and boarded up for two years.</p><br>
<p>A demolition permit was filed on December 20, 2012 and was issued on March 13, 2013. Demolition began five days later.</p><br>
<p>The Glendale Historic District encompasses the historic core of Glendale, Ohio. Developed in 1851, Glendale is one of the earliest known examples of a planned residential village subdivision, its layout made using principles developed for rural cemeteries popular at the time. The district features shaded winding residential lanes, and a large assemblage of well-preserved period buildings. The district was designated a National Historic Landmark in 1977.</p><br>
<h2>Description and history</h2><br>
<p>The village of Glendale is located in southwestern Ohio, about 15 mi north of Cincinnati. Its historic core is an area of about 392 acre, bounded roughly by Coral and Washington Avenues on the north, Springfield Pike (SR 4) on the west, Oak Street on the south, and South Troy Avenue on the east. South Troy parallels railroad tracks, and the villages business district basically straddles those tracks near Sharon Road. Congress Avenue is a major road passing through the district north from the junction of Springfield Pike and Oak Street. The area east of Congress Avenue is heavily residential, with winding roads and mature landscaping. There are two small parks in this area, both on East Fountain Avenue, which travels generally southwest to northeast. Houses in the district are mostly either Italianate or Second Empire, reflective of the villages development period in the 1850s. The railroad depot included in the district holds a museum of memorabilia of the village&#39;s past, including when John Hunt Morgan went through the village on his great raid.</p><br>
<p>Glendale was the brainchild of George Crawford and Henry Clark, two Ohio businessmen who saw the possibility of a suburban residential development along the railroad line of the Cincinnati, Hamilton and Dayton Railway. To that end, they ended up purchasing 600 acre on which Glendale was built. 200 acre were laid out by Robert Phillips, a civil engineer, and development proceeded once the railroad began running in 1851. The village streets were at first lit by coal oil lamps, which were upgraded by 1872 to natural gas; these fixtures are still used.</p><br>
<p>The Moses Goldsmith Building is a historic residence in Cincinnati, Ohio, United States. Built in 1900,</p><br>
<p>A brick house with elements of sandstone and limestone, the Goldsmith Building has been ranked as a fine example of Renaissance Revival architecture. Distinctive elements of its design include prominent string courses and molding courses, plus a large loggia.</p><br>
<p>The Goldsmith Building was erected in the Clifton neighborhood at a time when that neighborhood was expanding greatly. Large numbers of prosperous members of Cincinnati society built grand homes in the neighborhood, making it a highly distinctive portion of the city. The house did not long stay in the Goldsmith family; Moses died within a few years of its construction, and his heirs sold the property in 1912. After Goldsmith&#39;s time, it was converted from a single-family residence to a multi-family residence. In 1982, the Goldsmith Building was listed on the National Register of Historic Places, due to its historically significant architecture; key to this designation was its loggia, which is almost unknown in Cincinnati.</p><br>
<p>A book about The Moses Goldsmith Building was written in 2022. It is titled Notions: The Story of Cincinnati&#39;s Moses Goldsmith Building by Lisa Govan.</p><br>
<p>The Goodall Building is a historic commercial building in Cincinnati, Ohio, United States. Located on Ninth Street in the northwestern portion of the citys downtown, it was designed by George W. Rapp and erected in 1893. The buildings walls are constructed primarily of brick and sandstone, although elements of iron and of other kinds of stone are also manifested on the exterior.</p><br>
<p>The buildings first owner, William Goodall, was a dealer of stone objects, selling blocks of granite and marble for various purposes. Both before and after arranging for the present structures construction with Rapp, a leading city architect, he occupied premises nearby. Rather than using his new structure for his own business, he rented it to others; among his tenants were banks and various corporate offices. In 1894 the Cincinnati Theosophical Society occupied “the entire seventh floor of the new Goodall Building on Ninth Street opposite the new City Hall.”</p><br>
<p>The Goodall Building is distinguished from surrounding structures by its many Second Renaissance Revival architectural elements. Such stone details as prominent columns and pilasters, a cornice with many articulations, and large blocks of sandstone, combined with the buildings oriel windows, have led architectural historians to see it as one of Cincinnatis best examples of commercial Second Renaissance Revival architecture. In recognition of its well-preserved historic architecture, the Goodall Building was listed on the National Register of Historic Places in early 1984.</p><br>
<p>The Sir Alfred T. Goshorn House is a historic residence in the Clifton neighborhood of Cincinnati, Ohio, United States. Designed by a leading Cincinnati architect for an internationally prominent businessman, the stone house was named a historic site in the 1970s.</p><br>
<h2>Goshorn</h2><br>
<p>Alfred T. Goshorn was a Cincinnati businessman who headed a firm producing white lead. A native of the city, he was a pioneer in the newly emerging game of base ball, becoming president of the country&#39;s first professional squad, the Cincinnati Red Stockings. However, his greatest significance was that of organizing a series of industrial exhibitions, beginning with an 1870 show in Cincinnati that continued into the 1880s. By the middle of the decade, he was sufficiently well regarded to be chosen as the director-general for the Centennial Exposition of 1876. For his handling of the exposition, nine different European nations granted him honors, including a British knighthood from Queen Victoria. Goshorn and his family moved into the present house in 1888,</p><br>
<h2>Architecture</h2><br>
<p>Goshorns house is a stone building with a tile roof and additional elements of metal. Three stories tall, the house has an irregular plan: a gambrel roof covers the center of the building, while the rear parlor was originally one story tall with a flatter roof, and the other end possesses a turret-shaped oriel and an enclosed porch. The second story of the rear section is a McLaughlin-designed art gallery added in 1899, a significant modification that required a complete reconstruction of the parlors lighting: skylights had originally supplied all light, similar to those of a room at a nearby house, Scarlet Oaks, and the octagonal addition with its new spiral stair required additional lighting. The style is Richardsonian Romanesque, similar to another McLaughlin house nearby, the John Uri Lloyd House; both buildings include radical new components, such as disjointed sections without the smooth transitions favored both by style namesake Henry Hobson Richardson and by McLaughlin&#39;s local contemporary Samuel Hannaford.</p><br>
<h2>Historic site</h2><br>
<p>In 1973, the Goshorn House was listed on the National Register of Historic Places, qualifying because of its historically significant architecture. It is one of numerous such sites on Clifton Avenue; several city blocks were designated the Clifton Avenue Historic District in 1978, and both the Clifton Methodist Episcopal Church and the Probasco Fountain are located within a quarter mile to the south and north, respectively.</p><br>
<p>St. Michael and All Angels Episcopal Church, formerly known as Grace Church, is an historic church in Cincinnati, Ohio. It is the only church in the North Avondale neighborhood listed on the National Register of Historic Places. On September 16, 1982, it was added to the National Register of Historic Places. Four of the original stained glass windows carry the signature Tiffany Studios, New York City, but were sold to The to fund renovations on the main sanctuary in 2010.</p><br>
<p>St. Michael&#39;s Church was closed on Easter Sunday 2008.</p><br>
<p>The building now houses Gabriel&#39;s Place, which intends “to provide a safe, beautiful, and spiritually nourishing place for the Avondale Community to gather in mutual respect to learn, interact, and go out in peace." It was dedicated in 2011. Events such as free meals and gardening classes are held there.</p><br>
<p>Time Hill, the former offices of the Gruen Watch Company, is a historic building in Cincinnati, Ohio, United States.</p><br>
<p>When completed in 1916, Time Hill was divided primarily into large rooms in which watchmakers sat at manufacturing desks under high ceilings with visible beams. The grand lobby, two stories tall, featured a mahogany staircase and a fireplace covered with Rookwood tile. The building sits elevated from McMillan Street, with a steep gabled roof parallel to the street and brick walls covered with half-timbering. The roof is ceramic tile and the structure is surrounded by an asphalt parking lot. A modern two-story addition adjoins the southeast portion of the original structure. Because of the grade differences, most of the addition is concealed.</p><br>
<p>During the 1990s, Time Hill was occupied by an insurance firm, which subjected the building to an abortive attempt to create a modern office complex in the interior; nearly all of the interior was removed and replaced with new styling. After the venture failed, the building was sold at sheriffs sale to Union Institute & University, which already owned the similarly styled Procter and Collier-Beau Brummell Building across the street; a primarily online university, Union was outgrowing its space in the Brummell Building and bought Time Hill with intentions of converting it into the universitys headquarters. In 2008, the university sold the building to Lighthouse Youth Services.</p><br>
<p>In 1996, Time Hill was listed on the National Register of Historic Places, qualifying both because of its place in local history and because of its historically significant architecture. The adjacent Brummell Building was given the same honor twelve years earlier.</p><br>
<p>Gwynne Building is a registered historic building in Cincinnati, Ohio, listed in the National Register on August 3, 1979.</p><br>
<h2>History</h2><br>
<p>The almost 125,000-square-foot thirteen-story Gwynne Building was completed in 1913. The building was designed by Ernest Flagg, who also designed the Singer Building in New York and the Corcoran Gallery of Art in Washington, DC.</p><br>
<p>The structure was commissioned by Flaggs cousin, Alice Gwynne Vanderbilt, who was the wife of Cornelius Vanderbilt II. Alice and Ernest were first cousins as Alices mother, Rachel Moore Flagg, was the sister of Flagg&#39;s father, Jared Bradley Flagg. Alice named the Gwynne Building in honor of her father, Abraham Evan Gwynne, a prominent Cincinnati lawyer and Judge. Her paternal grandfather, Major David Gwynne, was a real estate broker in Cincinnati, whose family was among the early settlers of Cincinnati, and Alice was said to be a distant relative of the Longworth family. She inherited the property at 6th and Main St. and her brother took the corner of 4th and Main St.</p><br>
<p>The tallest section, the tower, is 14 stories. The Beaux-Arts style building is made of steel and concrete the exterior is rendered in Indiana limestone, brick and granite. Originally the building was considered fireproof as there was "no wood of any description being used," and the floors were finished in polished concrete with the hall floors containing mosaics. The corners of the building are adorned with ox heads.</p><br>
<p>In addition to the 1913 building, the east building was built in 1916, and the north building was built in 1939.</p><br>
<h3>Tenants</h3><br>
<p>From 1935 until 1956, the office building housed the headquarters of Procter & Gamble (P&G). The P&G World Headquarters are now located in twin towers several blocks to the east.</p><br>
<p>In 1992, the building was purchased by a group of tenants and investors from EQ Office, which was owned by Chicago billionaire real estate investor Sam Zell, founder and chairman of Equity International. The purchase was followed by an about $1,000,000 in renovations.</p><br>
<p>In July 2014, the building, which was then 88% occupied, was offered for sale. the Charles H. Dater Foundation and the Greater Cincinnati & Northern Kentucky Film Commission. It was purchased by an investment group led by Patrick Gates.</p><br>
<p>Haddon Hall is a historic apartment building in Cincinnati, Ohio, United States. Constructed in the early 1900s, it has been declared a historic site.</p><br>
<p>One of the areas better Dutch Colonial Revival buildings, Haddon Hall was built by Thomas Emerys Sons (a real estate agency) according to a design by architect Joseph G. Steinkamp. In the 1890s and 1900s, Emery&#39;s became the first company in the Cincinnati metropolitan area engaged in the construction of apartment buildings, and Haddon is typical of their construction.</p><br>
<p>Haddon Hall is built of wood and brick; the building rests on a stone foundation and has other elements of wood and stone. Its walls are brick with wooden elements on the outside; the stone and wooden details are found largely around the entrances and the Doric-style capital on the entrance columns respectively. Four stories tall, the building is constructed in the Dutch Colonial Revival style and features that style&#39;s characteristic gambrel roof; Palladian windows are placed in the ends of the fourth floor, and windows on all floors feature detailed stone lintels. Access to the building is provided primarily by a single ground-floor entrance with a portico.</p><br>
<p>In 1982, Haddon Hall was listed on the National Register of Historic Places, qualifying both because of its architecture and its place in local history.</p><br>
<p>The William Henry Harrison Tomb State Memorial is the final resting place of William Henry Harrison, ninth President of the United States, his wife Anna Harrison, and his son John Scott Harrison . It is located on Brower Road approximately one-half mile west of USA Route 50 in North Bend, Ohio.</p><br>
<p>Harrison died April 4, 1841, one month after taking office, and was buried in the Congressional Cemetery in Washington, D.C. in June of that year, his remains were removed for transport to their final resting place in North Bend. The Harrison family chose a site at the crest of Mt. Nebo on the family estate and the interment occurred July 7, 1841. In 1871, John Harrison sold all but 6 acres of the estate. He offered this portion, containing the tomb and other burial sites, to the state of Ohio in exchange for a pledge of perpetual maintenance.</p><br>
<p>After several years of neglect, the tomb and grounds fell into a state of disrepair until 1919 when the Ohio General Assembly formally accepted the bequest and appropriated funds for its care. The tomb was listed in the National Register on November 10, 1970.</p><br>
<p>The tomb is managed by the Harrison - Symmes Memorial Foundation on behalf of the Ohio History Connection. In 2007, improvements at the site included installation of kiosks to educate visitors about Harrison, his role in settling the Ohio River Valley and USA history.</p><br>
<h2>Historic uses</h2><br>
<p>Cemetery</p><br>
<p>Graves/Burials</p><br>
<p>The Harrison–Landers House was a historic Federal-style residence near the village of Newtown in Hamilton County, Ohio, United States. Built in the first quarter of the 19th century, it served a range of residential and commercial purposes throughout its obscure history, but enough of its history was known to permit its designation as a historic site in the 1970s.</p><br>
<p>The house was built by a Mr. P. Harrison in the early 19th century, Executed in brick,</p><br>
<p>Mr. Harrison was related by marriage to a prominent citizen of early Newtown, the miller Nathaniel Armstrong. Members of Armstrongs family later owned a carding mill in Newtown, and years after Harrisons residence at the house, it was known as the "Armstrong Mill". Comparatively little is known about its historic uses (the 1930s surveyors noted that the only sources of information were the current owner and one other local resident), although it appears to have been used for commercial purposes: located on the road from Newtown to Plainville, it was employed as a saloon and tavern, primarily by farmers taking their animals to market. By the late twentieth century, it had been converted into a boarding house.</p><br>
<p>In 1975, the house was listed on the National Register of Historic Places under the name of "Harrison–Landers House", deriving the latter half of its name from the family that occupied it in the 1930s. It qualified for designation because of its historically significant architecture, which closely resembled that of the James Whallon House in Greenhills to the northwest. Historic designation has not been enough to preserve the house, which has been demolished.</p><br>
<p>The Elmer Hess House is a historic residence in the city of Wyoming, Ohio, United States. Erected in the late nineteenth century, it was originally the home of a Cincinnati industrialist, and it has been designated a historic site because of its distinctive architecture.</p><br>
<h2>Architecture</h2><br>
<p>Built of weatherboarded walls on a stone foundation, the house is covered by a slate roof. Two stories tall, the frame Hess House mixes details of the Queen Anne and Colonial Revival styles. The facade features a veranda-style porch with a delicate balustrade and Ionic columns. Underneath the porch roof, the main entrance is surrounded by large sidelights, while a transom window of leaded glass sits above the doorway. The overall floor plan is that of the letter "L", divided into four bays on the front and three on the sides.</p><br>
<h2>Historic context</h2><br>
<p>Good transportation is a leading reason for Wyoming&#39;s prosperity. The city lies near the old pre-statehood road that connected Cincinnati with locations farther north, such as Fort Hamilton and Fallen Timbers. Curves in the road were cut off in 1806, forming a new road that is today followed by Springfield Pike through central Wyoming. Improvements in the 1830s only enhanced its importance. By this time, another mode of transportation had become significant: the Miami and Erie Canal was built a short distance to the east in 1828, and the village of Lockland grew up along its side. Railroads reached the city in 1851 with the construction of the Cincinnati, Hamilton, and Dayton Railroad on the border between Lockland and Wyoming.</p><br>
<p>Because of Wyomings proximity to the industry of Lockland, its easy transportation to the booming city of Cincinnati, and its pleasant scenery, many wealthy industrialists purchased local farms and built grand country houses. Most such houses were built in the Wyoming Hills area, west of Springfield Pike; growth in this area continued until the coming of the Great Depression. Hess was typical of these industrialists, being the president of the Spring and Axle Company in Cincinnatis Carthage neighborhood; he lived in the house from its construction in 1900 until 1911.</p><br>
<h2>Historic site</h2><br>
<p>In 1979, a local historic preservation group began a citywide survey to identify Wyoming&#39;s historic buildings, and this effort culminated with a multiple property submission of eighteen houses, the Wyoming Presbyterian Church, and one historic district to the National Register of Historic Places in 1985. Along with all but one of the other properties, the Hess House was listed on the Register in the following year, qualifying because of its historically significant architecture and because of its connection to Hess.</p><br>
