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A new racing game for VR called Bank Limit: Advanced Battle Racing from Tastee Beverage Studios will release on 28 March in time for the Oculus Rift launch.
The game has been in development for two years and promises intense speed as players race around some mental looking futuristic ...
BARRY MCGEE: ADVANCED MATURE WORK
The inside of this, (14-2-1's photo).
Located at the REDCAT within the Walt Disney Music Hall in downtown Los Angeles. It runs from September 15 to November 25, 2007. If you get a chance, go see this show.
Inspector Paul Rowe and Deputy Police and Crime Commissioner Jim Battle.
Greater Manchester Police (GMP) and partners are raising awareness of the rules around advanced stop lines (ASLs) at traffic lights.
The work forms part of Operation Considerate, GMP’s ongoing campaign to encourage all road users to show each other consideration.
ASLs are designed to help motorists and cyclists by providing an area for cyclists to wait in front of traffic when the lights are red.
Cyclists in this area are more easily visible to motorists, and have space to move off when the lights turn green.
Police are reminding motorists that they must not enter ASL boxes when the lights are on red, as this space is reserved for cyclists.
Motorists crossing the first stop line when the lights are red are liable for a £100 fine and three points on their licence. However, if the traffic light changes from green to amber and they cannot safely stop before the first line, then they may cross it, but must ensure they stop before the second line.
The message to cyclists is very simple – do not cross the second stop line while the traffic signal is red, as doing so is illegal and could result in a £50 fine.
Superintendent Craig Thompson of GMP’s Specialist Operations Branch said: “The main aim of Operation Considerate is to ensure that all road users share the road responsibly, and knowledge of the rules around ASLs is a key part of that.
“During the first two weeks of the campaign we will be educating motorists and cyclists on ASLs at certain junctions around the city centre, and then in the following two weeks we shall be carrying out enforcement work where people may face fines for failing to observe the rules.
“When using the roads we would advise motorists to leave at least 1.5m when passing cyclists, and cyclists need to have fixed lights on their bikes, both front and back.”
Operation Considerate, which will be promoted on Twitter under #OpConsiderate, is fully endorsed by the Office of the Police and Crime Commissioner (PCC).
Greater Manchester’s Deputy PCC Jim Battle said: “Everyone has a right to feel safe on the road – pedestrians, cyclists, and motorists. We all share the road and we all need to obey the rules that help us get safely from A to B.
“Advanced stop lines provide an area of high visibility for cyclists and visibility is critical to cycling safety. GMP will be urging motorists to obey the rules of ASLs and reminding cyclists to maximise their visibility using bikelights and bright clothing – especially now the nights are getting darker.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Cadets from 8th Regiment, Advanced Cmap arrived at Fort Knox, Ky., on June 27, 2021 to begin their training. | Photo by Amy Turner, CST Public Affairs Office
A researcher performs work in a glove box in the Center for Advanced Energy Studies (CAES) Advanced Materials Laboratory.
Advanced Camp 4th Regiment CST, completes Alt-C Rifle qualification At Camby Hills Range 2018. Photo by John Kello.
Premier Christy Clark is in India, with Advanced Education Minister Amrik Virk and a group of registered delegates, to expand international trade and investment in BC.
The Premier travels to New Delhi, Mumbai, and Chandigarh October 9th -18th for face-to-face meetings with key business and government officials. Minister Virk will also travel to Bangalore to raise awareness of the great potential for secondary and post-secondary education partnerships, joint research initiatives, and student exchange between BC and India.
This trade mission is focusing on a number of key areas including education, natural gas, clean technology, life sciences, film, digital arts, and finance.
Featured: Premier Christy Clark, Advanced Education Minister Amrik Virk and Advanced Education DM Sandra Carroll joined by presidents from BC universities, colleges and BCIT
(LR: AVED DM Sandra Carroll, RRU president Alan Cahoon, BCIT president Kathy Kinloch, UVic president Jamie Cassells, UBC president Arvind Gupta, PCC, Langara president Lane Trotter, MAV, SFU president Andrew Petter and CNC president Henry Reiser.)
U.S. Army Cadets assigned to 3rd Regiment, Advanced Camp, perform an assault mission during a field training exercise as part of Cadet Summer Training at Fort Knox Ky., June 27, 2022. The graded event required Cadets to establish a rally point, hold security and perform reconnaissance before finally assaulting an enemy position. (U.S. Army photo by Sgt. Kaden D. Pitt)
Cadets from 2nd Regiment, Advanced Camp prepared for the FTX by participating in Squad Battle Drills. Photo by: Steeley Shacklette
Cadets from 8th Regiment, Advanced Camp arrived at Fort Knox, Ky., on June 27, 2021 to begin their training. Cadets unpacked their bags to be inspected during arrival. | Photo by Amy Turner, CST Public Affairs Office
Army ROTC Cadets from 1st Regiment, Advanced Camp complete the Engagement Skills Trainer at Fort Knox, Ky., June 8, 2023. EST familiarizes Cadets with their weapon and prepares them to qualify for the range using live ammunition. | Photo by Thaliya Martinez, CST Public Affairs Office
2nd Regiment Advanced Camp Cadets exit the Chemical, Biological, Radiological and Nuclear (CBRN) chamber in Fort Knox, Ky. on June 12, 2021 | Photo by Olivia Van Den Heuvel, CST Public Affairs Office
1st Regiment Advanced Camp's Alpha and Bravo Companies navigate the FLRC. June 9, 2018. Fort Knox, KY. Photo by AJ Barnes.
Advanced Photon Source, Argonne National Laboratory, three-dimensional rendering of facility. Credit Argonne National Laboratory
Cadets from 2nd Regiment Advanced Camp rest after completing night land nav in Fort Knox, Ky., June 2, 2019. Night land navigation is a must-pass event at Cadet Summer Training, and tests a cadets ability to find at least one of two points in total darkness, using only their compass and map. | Photo by Kyle Gallagher, CST Public Affairs Office
Course 5/81 (Second Stage) at Tulliallan (Scottish Police College),
Yours truly has just stuck retiral papers in and came across this class photograph. Haven't changed a bit ! (and neither has the Crush Hall in the background) I'm second row from the back, right in the middle. Recognise anyone ??
1st Regiment Advanced Camp's Alpha and Bravo Companies navigate the FLRC. June 9, 2018. Fort Knox, KY. Photo by AJ Barnes.
1st Regiment, Advanced Camp Cadets complete their simulated raid mission during a situational training exercises, Fort Knox, Ky., June 18, 2023. Cadets planned a mission where they scouted out an enemy encampment then moved in to complete a raid. | Erinn Finley, Murray State University, CST Public Affairs Office.
Advanced Camp 10th Regiment learned how to overcome obstacles with their squads and how to assess leadership in each other at the Field Leadership Reaction Course (FLRC). July 18, Fort Knox, Ky. (Photo by Amber Vincent)
Greater Manchester Police (GMP) and partners are raising awareness of the rules around advanced stop lines (ASLs) at traffic lights.
The work forms part of Operation Considerate, GMP’s ongoing campaign to encourage all road users to show each other consideration.
ASLs are designed to help motorists and cyclists by providing an area for cyclists to wait in front of traffic when the lights are red.
Cyclists in this area are more easily visible to motorists, and have space to move off when the lights turn green.
Police are reminding motorists that they must not enter ASL boxes when the lights are on red, as this space is reserved for cyclists.
Motorists crossing the first stop line when the lights are red are liable for a £100 fine and three points on their licence. However, if the traffic light changes from green to amber and they cannot safely stop before the first line, then they may cross it, but must ensure they stop before the second line.
The message to cyclists is very simple – do not cross the second stop line while the traffic signal is red, as doing so is illegal and could result in a £50 fine.
Superintendent Craig Thompson of GMP’s Specialist Operations Branch said: “The main aim of Operation Considerate is to ensure that all road users share the road responsibly, and knowledge of the rules around ASLs is a key part of that.
“During the first two weeks of the campaign we will be educating motorists and cyclists on ASLs at certain junctions around the city centre, and then in the following two weeks we shall be carrying out enforcement work where people may face fines for failing to observe the rules.
“When using the roads we would advise motorists to leave at least 1.5m when passing cyclists, and cyclists need to have fixed lights on their bikes, both front and back.”
Operation Considerate, which will be promoted on Twitter under #OpConsiderate, is fully endorsed by the Office of the Police and Crime Commissioner (PCC).
Greater Manchester’s Deputy PCC Jim Battle said: “Everyone has a right to feel safe on the road – pedestrians, cyclists, and motorists. We all share the road and we all need to obey the rules that help us get safely from A to B.
“Advanced stop lines provide an area of high visibility for cyclists and visibility is critical to cycling safety. GMP will be urging motorists to obey the rules of ASLs and reminding cyclists to maximise their visibility using bikelights and bright clothing – especially now the nights are getting darker.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
36 Park Row, Civic Center, Manhattan, New York City, New York, United States
Summary
The eleven-story Potter Building was commissioned by Orlando B. Potter, a prominent figure in New York politics with prime commercial real estate holdings in Manhattan, and constructed in 1883-86 to the design ofN.G. Starkweather, an architect who had formerly practiced in Baltimore and Washington, D.C. Built to replace Potter's World Building, destroyed by fire in January 1882, the Potter Building had the most advanced fireproofing then available. With its vertically-expressed design executed in red brick and brownstone-colored terra cotta above a cast-iron-clad base, and picturesque, flamboyant fusion of Queen Anne, neo-Grec, Renaissance Revival, and Colonial Revival motifs, the Potter Building was distinguished stylistically from most downtown buildings.
Several aspects of the Potter Building make it today one of New York's most significant surviving tall office buildings of the period prior to the full development of the skyscraper. Its brickwork is among the handsomest in New York City. An early building to employ extensive exterior architectural terra cotta, it is a rare survivor of that period of development of terra cotta in New York. The highly sculpted terra cotta, produced by the Boston Terra Cotta Co., was employed in a notable "constructive" manner in the loadbearing walls.
The Potter Building is also an important surviving example of a New York office building with interior framing mostly of iron, as well as one of the earliest surviving examples of an office building having a C-shaped plan with a major light court facing the street. Its significance is enhanced by the fact that its original design is nearly intact , and its visibility is heightened by its prominent location facing City Hall Park and by its three fully articulated facades.
Orlando B. Potter
Orlando Bronson Potter commissioned the Potter Building in 1882. A Massachusetts lawyer, Potter moved to New York City in 1853 to assist in the development of a sewing machine business; he was president of the Grover & Baker Sewing Machine Co. until 1876. A prominent figure in New York Democratic politics, he achieved recognition by developing a plan for a national banking system and currency that was adopted by Congress in 1863, served as a U.S. Representative in 1883-85, and was a member of the Rapid Transit Commission in 1890-94.
Potter became extremely wealthy, due largely to his commercial real estate holdings in Manhattan upon which he concentrated after 1876. Besides purchasing existing structures, Potter commissioned a number of notable buildings, among them: 444 Lafayette Street ; 746-750 Broadway ; Potter Building , 35-38 Park Row; 808 Broadway , adjacent to Grace Church; and 4-8 Astor Place . In 1886, Potter founded the New York Architectural Terra Cotta Co. with his son-in-law Walter Geer. At the time of his sudden death in January 1894, Potter was thought to have been the wealthiest man in New York City to have died intestate.
The Architect
The Potter Building was designed by Norris Garshom Starkweather. Born in Vermont the son of a farmer-carpenter, N.G. Starkweather was apprenticed to a builder in 1830 and fifteen years later became a contractor on his own in Massachusetts. By the mid-1840s he had established an architectural practice, moving by the mid-1850s to Philadelphia where he specialized in church designs.
The construction of the Gothic Revival style First Presbyterian Church , Baltimore, Starkweather's finest church, was apparently the reason for his relocation to Baltimore in 1856. The 273-foot spire of the church, built of masonry, necessitated "the most massive and scientifically arranged iron framework ever done in this country, or in any other, to our knowledge," according to a contemporary account.5 Achieving some renown for his ecclesiastical and institutional commissions in the Gothic Revival, Italianate, and Romanesque Revival styles, Starkweather also designed some of the most notable Italianate style villas in Maryland and Virginia.6 By 1860 he opened an office in Washington, D.C., and after the Civil War became the partner of Thomas M. Plowman in the architectural and engineering firm of Starkweather & Plowman .
Starkweather continued to be listed in Washington directories until 1881, though nothing is known of his career during the period following the Panic of 1873. His letterhead in 1877 read "Architect, Engineer, and Superintendent, All kinds of House Decorations Promptly Attended to."
Baltimore architect George Frederick reminisced that "after an erratic career . . . [Starkweather] moved to New York."
Arriving in New York City by the middle of 1880, Starkweather was a partner of Robert Napier Anderson in the firm of Starkweather & Anderson, "architects and superintendents," at 106 Broadway.
From 1881 until about 1884 he was the partner of Charles E. Gibbs; the office of Starkweather & Gibbs in 1881 was in the World Building, owned by O.B. Potter, at 37 Park Row. Besides the Potter Building, only two other commissions by Starkweather in New York City are known, both with Gibbs: the previously-mentioned 746-750 Broadway , also for Potter, and the Second Avenue Methodist Episcopal Church at 321 East 118th Street, a Victorian Gothic style composition with flanking asymmetrical towers, executed in brick and terra cotta. Starkweather died in New York in December 1885, prior to the completion of the Potter Building, and was buried in Bridgeport, Conn.
The Tall Office Building in New York City in the 1880s
During the nineteenth century, commercial buildings in New York City developed from four-story structures modeled on Italian Renaissance palazzi to much taller skyscrapers. Made possible by technological advances, tall buildings challenged designers to fashion an appropriate architectural expression. Between 1870 and 1890, nine- and ten-story buildings transformed the streetscapes of lower Manhattan between Bowling Green and City Hall. During the building boom following the Civil War, building envelopes continued to be articulated largely according to traditional palazzo compositions, with mansarded and towered roof profiles.
The period of the late 1870s and 1880s was one of stylistic experimentation in which commercial and office buildings in New York incorporated diverse influences, such as the Queen Anne, Victorian Gothic, Romanesque, and neo-Grec styles, French rationalism, and the German Rundbogenstil, under the leadership of such architects as Richard M. Hunt and George B. Post. New York's tallest buildings — including the seven-and-one-half-story Equitable Life Assurance Co. Building at Broadway and Cedar Street, the ten-story Western Union Building at Broadway and Liberty Street, and the ten-story Tribune Building on Park Row, all now demolished — incorporated passenger elevators, iron floor beams, and fireproof building materials.
Cage construction, employed in the 1880s in tall buildings in New York and Chicago, was characterized by the Record and Guide as "a frame work of iron or steel columns and girders which carry the floors only, and do not carry the outer walls. In the cage construction the outer walls are independent walls, from the foundation to the extreme top, sustaining themselves only, and therefore, the walls are made less in thickness than if they had to bear the floors as in ordinary buildings such walls would have to do."12 Ever taller skyscrapers were permitted by the increasing use and refinement of the metal skeleton frame, in which the metal columns and girders support both the floors and the outer walls.13 In addition, several hybrid structural forms were used in tall buildings, such as the combination of both masonry and metal for interior vertical supports. Fireproofing was of paramount concern as office buildings grew taller, and by 1881-82 systems had been devised to "completely fireproof' them.
While tall buildings in New York City often had interior light courts,15 George B. Post is credited as one of the first architects to introduce and popularize major light courts that faced the street, a solution to providing office towers with maximum light and air, in the Post Building , 16-18 Exchange Place, and Mills Building , 59 Exchange Place, both of which had C-shaped plans.16 The Potter Building utilized the successful design, construction, fireproofing, and planning techniques of these earlier buildings.
Park Row: "Newspaper Row"
The vicinity of Park Row, Nassau Street, and Printing House Square,18 roughly from the Brooklyn Bridge to Ann Street, was the center of newspaper publishing in New York City from the 1840s through the 1920s, while Beekman Street became the center of the downtown printing industry.
Beginning in the 1870s, this area was redeveloped with tall office buildings, most associated with the newspapers, and Park Row and adjacent Nassau Street acquired a series of important late-nineteenth-century structures: Tribune Building , 154-170 Nassau Street; Morse Building , 140 Nassau Street; Temple Court Building , 7 Beekman Street; Potter Building ; New York Times Building , 40 Park Row; World Building , 53-63 Park Row; American Tract Society Building , 150 Nassau Street; and Park Row Building , 15 Park Row.
Construction of the Potter Building
The Potter Building's lot, at Park Row and Beekman Street, had been the location of the Brick Presbyterian Church . When the church built a new edifice uptown, the church site was divided into two lots; the building erected on the northern lot housed the New York Times. Orlando B. Potter, with Boston friends John and Uriah Ritchie, purchased the southern lot in 1857 for around $350,000, and put up a five-story Italianate style stone structure that became the home of the New York World . Potter became the sole owner of this building in 1867.22 Destroyed by a fire on January 31, 1882, in which several people died, the World Building
"made itself notorious the country over for burning up in the shortest time on record."23 The Real Estate Record & Guide speculated that "the ground is so valuable that it will no doubt be immediately built upon, and a structure will take its place that will vie with the several superb buildings in its neighborhood."24 Potter, understandably determined to replace the World Building with a structure having the most advanced fireproofing then available, had suffered heavy financial loss in the fire.25 The Record & Guide announced on February 18, 1882, that
Mr. O.B. Potter proposes to erect on the site of the structure so recently destroyed by fire . . . one of the largest office buildings yet erected in New York. Mr. Potter proposes to have this building absolutely fireproof inside as well as outside . . . The building will be eleven stories high, the fronts being constructed of pressed brick and terra cotta . . . It is proposed to fit up the first floor for banking houses, while the upper stories will be devoted to offices for lawyers and general business purposes. It is the intention of the owner to make this structure an ornament to the neighborhood and in keeping with the numerous handsome buildings by which it will be surrounded.26 Costs, however, delayed construction until the next year.27 The Record & Guide finally indicated in April 1883 that foundation work on Potter's building had commenced: "The structure is to be made absolutely fire-proof.
A furnace will be put up on the premises to test the various building materials that Mr. Potter has under consideration. Mr. Starkweather's plans have been adopted, and the work will be pushed as rapidly as good building will permit."28
The World Building fire had occurred while Potter's 746-750 Broadway building was under construction, and the firms working on that project were retained for the construction of the Potter Building.29 The day after architect N.G. Starkweather filed his plans for the Potter Building, the New York Times announced that the eleven-story office building, with ground-story commercial spaces, was to cost $700,000, and that "the materials used in the construction of the walls and front will be the best bricks, pressed bricks, terra cotta, and iron . . . The roof and floor beams will be of rolled iron, and all floors, except the basement, will be laid on iron girders."30 The Record & Guide in March 1884 reported that "the Potter building is going forward rapidly."31 Five companies apparently supplied the exterior cast
iron and interior structural ironwork for the building , while Thomas Armstrong was the mason.32 The Fireman's Herald thought that "the new structure will be famous as the result of much thought and many experiments in order to put up an ideal fireproof building, and it will endure for ages . . . The work is not done by contract, but by the day, and every detail undergoes inspection."33 In addition, there was a bricklayers' strike in 1884,34 thus the estimated cost of the project in May 1885 rose to 1.2 million dollars. Construction was completed at the end of June 1886.
Today the Potter Building is recognized as an important and rare surviving example of an 1880s fireproofed New York office building with interior framing mostly of iron. The independent exterior brick walls vary in thickness from forty inches on the ground story to twenty inches on the upper stories. Interior hollow cast-iron structural columns are encased in wire netting covered with "lime water," fire brick, and plaster; flanged wrought-iron joists, set into the brick walls, carry wrought-iron beams; flat-arch tile fireproofing ,35 between and encasing the joists, is coated with plaster; and floors are laid with concrete and pieces of stone and brick. In each of the building's wings an interior masonry wall is set perpendicular to the court, for additional floor support and bracing of the building.36 The Fireman's Herald opined that "on the floors and ceilings depend the whole theory and practice of fire-proofing."
King's Handbook of New York in 1892 called the Potter Building "one of the most substantially constructed and absolutely fireproof among the office buildings in the metropolis."38 Besides the eleven above-ground stories, the building has two basement stories; four passenger elevators were originally located in a lobby that extended through the north end of the building.
Design of the Potter Building
The Potter Building, designed by a non-New York architect with a picturesque, flamboyant fusion of Queen Anne, neo-Grec, Renaissance Revival, and Colonial Revival motifs, was distinguished stylistically from most downtown Manhattan office buildings.
The vertically- expressed design, executed in red brick and brownstone-colored terra cotta above a cast-ironclad base, is organized by continuous piers flanking paired fenestration. The northernmost bay on both the Park Row and Nassau Street facades is narrower, corresponding functionally to the interior elevator halls. Articulation on all three facades is similar, the walls elaborated by ornamental terracotta capitals, pediments, segmental arches, panels, and corbelling. The building's brickwork, incorporating molding and patterns, is among the handsomest in New York City. The quadrilateral shape of the lot and the acute angle created by the juncture of Park Row and Beekman Street were skillfully adapted into the design, which features a dramatic, colossal three-quarter-round column terminating in a pinnacle on this primary corner. The roofline is further punctuated by finials and broken scroll pediments with urns.
Several elements of the Potter Building can be seen in Starkweather's earlier work, such as an overall picturesqueness, exploitation of a dramatic corner, the use of prominent pinnacles and pediments, and elaboration of windows. The Potter Building provided an interesting contrast with its adjacent neighbors, the slightly earlier Temple Court and Morse Buildings.
Contemporary comment on the Potter Building was decidedly mixed . A critic with the Record & Guide in 1885 was particularly scathing, stating that "there is not an interesting or refined piece of detail in the whole building . . . All the good work that has been done in recent architecture has been thrown away on the designer of the Potter building, which is coarse, pretentious, overloaded and intensely vulgar."39 Interestingly, this critic also viewed unfavorably the verticality of the design :
There is no effort visible anywhere to broaden the fronts and keep them down. There is not an emphatic horizontal line anywhere, with the single exception of the main cornice. Even the demarcation between the principal divisions is not brought out, while the vertical lines are everywhere emphasized so as to make the building look spindling.40 Carpentry and Building in 1885 remarked, how ever, that one of the most conspicuous new buildings in the lower part of New York City is the Potter
Building . . . noticeable to the casual visitor particularly on account of its hight [sic], and also on account of the combined use of iron and brick on the outside walls . . . A prominent feature of the building is the extensive use of terra-cotta . . . The front of the principal story and the story immediately above it are of cast iron. Iron trimmings are also used in some of the stories above these, and a judicious combination of iron with brick, and iron with terra-cotta, is a marked feature of the exterior treatment.41
King's Handbook in 1892 thought that "the really noble proportions of the Potter Building, and the impressive character of its architecture, make it one of the great and illustrious monuments of commercial success in the Empire City."42 And in 1899 the History of Architecture and the Building Trades of Greater New York found that the building "as a design is unusual and perhaps excessive in detail, but has great interest in the disposition of its masses."
The Potter Building is an early example, and one of the earliest surviving, of a New York office building having a C-shaped plan with a major light court facing the street . The Record & Guide noted that the court was "similar to those of the Post and Mills buildings," while the Fireman's Herald thought the building "is so divided that it looks almost like two buildings."44 Today the Potter Building is one of New York's most notable surviving tall office buildings of the period prior to the full development of the skyscraper. Its significance is enhanced by the fact that its original design is nearly intact . Its visibility is heightened by its prominent location on Park Row facing City Hall Park and by its three fully articulated facades.
The Potter Building and Architectural Terra Cotta in New York City
While there were several attempts in the 1850s to employ terra cotta for architectural ornament in New York,46 it was after the Chicago and Boston fires of 1871-72 that terra cotta began to be used as a significant interior and exterior building material in the United States. Walter Geer observed that "by these fires it was conclusively demonstrated that fire-proof buildings could not be made of unprotected stone or iron, and that only brick and terra-cotta walls were practically fire-proof.
This increased use of brick work, and of terra-cotta as a constructive and decorative material in connection with brick work, revived the demand for the manufacture of this material in or near New York."47 Advantages seen in terra cotta for both exterior architectural ornament and interior fireproofing included its fireproof properties, strength, durability, lower cost and weight in shipping and handling, the relative ease w ith which elaborate decoration could be molded, and the retention over time of crisp ornamental profiles compared to stone. In the 1870s and early 1880s architectural terra cotta was often a color that matched stone that could be employed in pleasant juxtaposition with brick, or as a substitute for brownstone. The Record & Guide remarked that during this period "terra cotta is most generally used for the trimming and ornamentation of buildings, taking the form of panels, courses, friezes, small tiles, roofing tiles and paving blocks."
George B. Post was the leader in New York City in the use of exterior terra cotta, in his designs for the Braem House , 15 East 37th Street;49 Long Island Historical Society , 128 Pierrepont Street, Brooklyn, for which a contemporary said "the material has been employed, for the first time in the United States, both for the building material and for all decorative details";50 New York Produce Exchange , 2 Broadway; and Mills Building. Among other contemporary architects who employed terra cotta were Silliman & Farnsworth, in the Morse Building, then considered the first prominent New York office building to employ exterior terra cotta , and Temple Court Building; and Kimball & Wisedell, designers of the Casino Theater , 1400 Broadway, an early New York building having highly intricate, exotic terra-cotta ornament.
The Potter Building was an early and significant building to employ extensive exterior architectural terra cotta. To day the building is a rare survivor of that period of development of terra cotta in New York. The terra cotta on the Potter Building, highly sculpted in comparison to the lower relief terra-cotta panels and more judicious use of terra cotta found more typically on contemporary buildings, was produced by the Boston Terra Cotta Co.52 One of the first terra cotta firms on the East Coast, the Boston company featured the Potter Building in its 1885 catalogue, declaring that the terra cotta was "used constructively -- fully demonstrating the great bearing strength of the work made by the Boston Terra Cotta Co."
The term "constructively" refers to the manner in which the terra cotta was fully integrated into the exterior brick bearing walls of the Potter Building.
Some 540 tons of terra cotta were employed in the Potter Building, which was further called in 1888 an example of the best use of terra-cotta, both for constructive and ornamental purposes . . . No building yet erected in this country is more solidly constructed, and the weight supported by the piers and arches is simply enormous. If stone had been used in place of terra-cotta, the weight to be supported would have been more than doubled, and the risk and cost of handling would have been greatly increased, to say nothing about the first-cost of stone work, as heavily carved and richly ornamented as the terra-cotta work used in this building.5 James Taylor , "the father of American terra cotta,"55 was superintendent of the Boston Terra Cotta Co. during construction of the Potter Building.
First rising to superintendent of J.M. Blashfield's terra cotta works in Stamford, England, Taylor left and later superintended the Chicago Terra-Cotta Works in 1870-76, the period during which Chicago was the leading location for American terra cotta manufacturing. He advised the establishment of the A. Hall & Sons Fire Brick Works in 1877 in New Jersey. After the owner of the Chicago firm collaborated with the Boston Fire Brick Co. after 1876, to meet the demand for terra cotta on the East Coast, this plant subsequently became the Boston Terra Cotta Co. in 1880 and Taylor became superintendent there. Geer reported that Taylor "was frequently in New York supervising the setting of the terra cotta [for the Potter Building], and had numerous opportunities of meeting Mr. Potter, who always personally looked after the construction of his buildings."
O.B. Potter decided to organize his own firm, the New York Architectural Terra Cotta Co., which was launched in January 1886 with Walter Geer and his father, Asahel Clarke Geer; Taylor was superintendent until he retired in 1893. Ill-starred
to say the least, Potter saw his new terra cotta works in Long Island City totally destroyed by fire in July 1886 .58 The company, the only major architectural terra cotta firm in New York City, became one of the largest such manufacturers in the United States, remaining in business until bankruptcy in 1932. Walter Geer credited George B. Post and Orlando B. Potter as the two men most responsible for the promotion of terra cotta in New York City, praising Potter for having "employed terra cotta largely in all of the numerous buildings which he erected, and [who] did much by his example, and also by his advocacy of the material on all occasions, to promote and encourage its use."59
Early Tenants
King's Handbook mentioned that there were two hundred offices in the Potter Building, "including those of several newspaper and periodical publishers, insurance and other companies, lawyers and professional men."61 Among its newspaper tenants were the editorial and business offices of The Press, a popular penny newspaper founded in 1887 with ties to the Republican party, and the New York-Observer, the oldest American religious newspaper, started in 1823 and previously located in the World Building until the fire. Other tenants included Peter Adams Co. and Adams & Bishop Co., manufacturers of fine papers for printing, maps, photography, etc.; the Mutual Reserve Fund Life Association, established in 1881 and the then-largest assessment insurance firm in the world;62 the business offices of Otis Brothers & Co., manufacturers of elevators since 1855 and the leading maker of passenger elevators; the New York Architectural Terra Cotta Co. offices; and O.B. Potter himself, on the top floor.
Later History
After Orlando B. Potter's death in 1894, the Potter Building was conveyed to the O.B. Potter Trust ,64 then in 1913 to O.B. Potter Properties, Inc. Frederick Potter , a lawyer who had assisted his father with family real estate since 1880, became administrator of the estate and later served as president of O.B. Potter Properties.65 The firm sold the Potter Building in 1920 to Aronson Investing Co., Inc., "relinquished in the best interests of the [Potter] Estate with the changes brought about in the city's development."66 O.B. Potter's daughter,
Blanche, stated that, due to financial worries in 1919, the family sold some of its real estate, including the Potter and Empire Buildings.67 In 1923 the Potter Building was conveyed to Parbee Realty Corp., then to Gening Realty Corp. in 1929, to 38 Park Row Corp. in 1931, and back to Parbee in 1932. Seaman's Bank for Savings foreclosed on the property in March 1941, holding it until 1945, when it was purchased by Beepark Estates, Inc. . The majority of twentieth-century office tenants were lawyers and accountants. The 38 Park Row Corp. acquired the building in 1954 and held it until 1973, when it was sold to Pace College, which intended to demolish four adjacent buildings for the construction of a large office tower on Park Row. After this scheme fell through, Pace sold the Potter Building in 1979 to 38 Park Row Associates, a joint venture of the East River Savings Bank with the BOMA, Ltd., partnership .
The building was converted into a cooperative with loft apartments and the property was conveyed to the 38 Park Row Residence Corp. in 1981.
Description
The eleven-story Potter Building has three principal facades, on Park Row, Beekman Street, and Nassau Street; the C-shaped plan of the building allows for a major light court above the third story on Beekman Street. The building, of fireproofed construction with mostly iron framing, is clad in cast iron on the two stories of the base, and red brick and brownstone-colored terra cotta on the upper stories. Articulation on the three facades is similar, organized by continuous piers alternating with paired fenestration; there is a high degree of ornamentation in the cast iron, brick, and terra cotta. A colossal three-quarter-round column is placed on the acute primary corner of Park Row and Beekman Street. Windows have one-over-one double-hung wood sash . An exterior restoration, performed in 1992-93 by Siri & Marsik, architects, with Henry Restoration, included overall repointing, patching of the terra cotta with Jahn mortar, and some brick replacement.
Base
The two-story base is clad in cast iron. The entire ground story was originally capped by spandrel
panels with segmental arches with bosses, while the second story is capped by spandrel panels with pediments. Shopfronts were originally framed with thin cast-iron colonnettes, and had a display window and a doorway to the right, surmounted by a two-part transom. Historic photographs indicate that doors and entrance transoms were of the multi-pane Queen Anne style. All of the shopfronts have been altered several times over the years, and no historic fabric survives. Shopfronts are currently framed in metal with rolldown gates.
Base: Park Row The northernmost bay of the ground story was originally the entrance to the elevator lobby; it had shallow steps, columns supporting a heavy broken scroll pediment, and double doors. This entrance received a surround with a veneer of polished granite, the entrance steps were removed, and a shop was installed in the former entrance and western portion of the elevator lobby. The ground-story spandrel panels, originally with segmental arches, were covered by cast-stone panels . Base: Beekman Street The center of this facade corresponds to the light court above: the ground story originally had an entrance through a triple-arched portico with a projecting pediment supported by bracketed columns ; the second story has three windows flanked by colonnettes. This is the only facade with its original ground-story spandrel panels with segmental arches exposed.
A Duclos & Co. iron founder's plate is located on the first pier at the southwest corner of the building. Base: Nassau Street The northernmost bay of the ground story was originally the entrance to the elevator lobby; it is now the residential entrance, with metal and glass doors and transom . The ground-story spandrel panels, originally with segmental arches, were covered with cast-stone panels in 1941.
Midsection
The midsection consists of seven stories, the ninth story acting as a transition to the upper section. The spandrels above the third, fifth, sixth, and seventh stories are ornamented by corbelling, and the fourth and eighth stories by segmental arches, all of terra cotta. The piers of the eighth story have heavy terra-cotta stylized composite capitals, the corner column at Park Row and Beekman Street having an eagle. The ninth story is capped by a bracketed terra-cotta cornice. Window sills are cast iron. Beekman Street: Light Court The center section of the Beekman Street facade is the light court. On the third story are three windows flanked by cast-iron colonnettes, surmounted by a cast-iron pediment with an acroterion. A T-shaped fire escape was added across the center of the court in 1916-18. The fire escape was extended to the roof, enclosed with parged masonry walls, and braced with steel beams .
The remaining light court configuration is thus an enclosed interior light court to the north and an exposed southern portion, within which extends the enclosed stairway. The northernmost sections of the side walls of this latter portion of the court still exposed are clad in cream brick.
Upper Section
The two-story upper section has corbelled spandrels above the tenth story and segmental-arched windows with segmental terra-cotta hoods on the eleventh story. Alternate bays are surmounted by pediments. The roofline is punctuated by finials, broken scroll pediments with urns, and a prominent pinnacle above the primary corner column. The roof has later penthouse and service structures.
- From the 1996 NYCLPC Landmark Designation Report
1st Regiment Advanced Camp's Alpha and Bravo Companies navigate the FLRC. June 9, 2018. Fort Knox, KY. Photo by AJ Barnes.
10th Regiment, Advanced Camp completes the Land Navigation Course during Cadet Summer Training at Fort Knox, Ky., July 16, 2022. Cadets are given a map, protractor, compass, and must find points on the Land Navigation course without the use of GPS devices. | Photo by 2nd Lt. Courtney Huhta, CST Public Affairs Office
11th Regiment, Advanced Camp Cadets complete the Rappel Tower and the Confidence Course during Cadet Summer Training at Fort Knox, Ky., July 29, 2022. Cadets learned the importance of trusting their equipment while rappelling and the value of teamwork at the Confidence Course. | Photo by Cristina Betz, CST Public Affairs Office
1st Regiment Advanced Camp's Alpha and Bravo Companies navigate the FLRC. June 9, 2018. Fort Knox, KY. Photo by AJ Barnes.
Grymes Hill, Staten Island, New York City, New York, United States
Summary
This large neo-Renaissance mansion with Arts and Crafts detailing is an excellent example of early-twentieth- century country house design. The house was built for Louis A. and Laura Stirn in 1908 to the plans of Kafka & Lindenmeyr. One of the few houses of its size and type surviving on Staten Island, it is prominently sited on Grymes Hill where it commands a spectacular view of New York Harbor. Grymes Hill was developed with large estates in the 1830s and 1840s and by the early 1900s, had become a fashionable residential neighborhood favored by wealthy German businessmen. Stirn, a German emigre, was a prominent silk commission merchant and owner of textile mills. His wife, the granddaughter of bridge builder John Roebling, was an expert on botany and horticulture. Modeled after an Italian Renaissance villa, the Stirn house is a two-and-one-half-story structure composed of a symmetrical center block and flanking dependencies. Clad with stucco and capped by red tile hipped roof with dormers and deep bracketed eaves, it has Ionic porticos on the front and rear facades and a gabled porch at the entrance to the kitchen wing. Arts and Crafts details include the polychrome terra-cotta frieze, iron balconies, and stained glass rondels. The building incorporated a number of technologically advanced features including glazed polychrome terra cotta, cast concrete, and Portland cement stucco facings.
DESCRIPTION AND ANALYSIS
Grymes Hill'
Located in northeastern Staten Island, where it commands a magnificent view of New York Harbor and the Verrazano Narrows, Grymes Hill is bounded on the northwest by Victory Boulevard, on the east by Richmond Road and Van Duzer Street, on the south by the Staten Island Expressway, and on the west by Clove Road. This land was part of the 5,100-acre manor which was granted to Governor Thomas Dongan (1634-1715) in 1687 and subsequently passed to his nephews and their heirs. In the 1830s, the hill began to be developed with estates. The neighborhood took its name from Madame Suzette Grymes, wife of the noted New Orleans lawyer John "Randolph Grymes. who began buying property near the present-day intersection of Howard Avenue and Grymes Hill Road in 1836, creating an estate known as Capo di Monte.
Other notable landowners included Orondates Mauran, who built a summer house in 1831 on property extending along the west side of Howard Avenue between Eddy Street and Ada Place, and Major George Howard, who purchased forty-two acres on Grymes Hill between 1830 and 1833, including all the land on Howard Avenue between Louis and Eddy Streets. Howard, a former soldier who served as boarding officer for the port of New York and later as keeper of the public stores on Staten Island, built a house for himself on the southwest corner of his land. The northern half of his property was divided into fifty-foot-wide lots which were sold at auction in August 1836. The property now occupied by the Stirn house was part of a larger group of lots purchased by real estate investor Caleb Tompkins Ward. In 1841 Ward sold his Grymes Hill lots to Harvey North, an importer, from New Orleans. In 1853, North moved to France, selling his property to Thomas Eakin of Nashville who built a house known as "East Over" to the designs of James Renwick. In 1879. Eakin's heirs sold a tract of land to the actor- journalist Henry Sedley, owner of the adjoining property at 37 Howard Avenue. In 1895, Henry Sedley sold his house on Grymes Hill to Eleanor Phelps Sedley. In June 1907 she sold the land acquired from on the Eakins family to Louis A. and Laura Stirn. The property had a frontage of about 275 feet on Howard Avenue and extended down the hillside about 600 feet to Sunset Terrace. (The lot now measures 274 feet by 200 feet.)
In 1907, when the Stirns bought their property, Grymes Hill was considered one of the most "attractive residential sections of Staten Island" featuring a mix of large estates, suburban houses, and institutions that complemented the residential character of the neighborhood. These included the Church of Our I^ady of Good Counsel (1899) at 44 Austin Place and Notre Dame Academy which was established in an old house (built c. 1850, enlarged 1903) at 21 Howard Avenue in 1904, and moved to its present quarters (built c. 1854- 57, enlarged 1920s, 1930s) at 76 Howard Avenue in 1906. Additions to the neighborhood also included two new enclaves of large developer-built suburban houses: Brighton Heights Park and Morningside (c. 1906). In addition to Louis Stirn, several businessmen were erecting large mansions for their private use. These included silk merchant C. Allan Blyth who built a Craftsman-inspired residence, designed by the noted architect Henry Atterbury Smith, at 103 Howard Avenue (1907-08) and brewer William Horrmann who erected an eccentric mansion modeled after a Bavarian castle at 189 Howard Avenue (completed 1910, demolished). During this period a number of German families began settling on Grymes Hill. In addition to the Stims and Horrmanns, "prominent German families who called Grymes Hill home for generations [included | the Heinrichs, the Badenhausens, the Strohmeyers, [and] the Druckliebs.""
Louis A. and Laura Stirn
Louis A. Stirn, the son of a prominent Lutheran clergyman Rev. Samuel Stirn and his wife, Emma Kauffman Stim, was born in 1853 in the village of Eschersheim, a suburb of Frankfurt, Germany. In 1877, at the age of fourteen, Louis Stirn left Germany to move to New York City where he found employment in the silk business. In 1884 he became a partner in the firm of Oscar Schoenherr, who was a commission merchant representing several German manufacturers of velvets and woolens. Stirn established his own firm in 1894. Three years later, his brother Edmund became a partner in the firm, which was known as L. & E. Stirn. Initially, the firm was an import house dealing in ribbons, silks, velvets, and chiffons which it distributed to such leading firms as Marshall Field & Co. By the 1910s, it had become an export house and commission agent specializing in the sale and distribution of domestic cloth. Louis and Edmund Stim also controlled the Concordia Silk Mills which had operations employing several thousand workers in Philadelphia, Pennsylvania, Watertown, New York, and Johnstown, Tennessee.
Louis A. Stirn moved to Staten Island in 1882. Six years later, he married Laura Natalie Methfessel, daughter of Professor Anton Gottlieb Methfessel and
Laura A. Roebling Methfessel. Professor Methfessel (1829-93) was one of the most prominent educators on Staten Island, who in 1862 founded the Methfessel School, a boys' boarding and day .school that became the Staten Island Academy and Latin School, the island's most prestigious private primary and secondary school. His wife, Laura A. Roebling Methfessel, was the daughter of John Augustus Roebling, the famed bridge builder and manufacturer of wire cable, who planned and oversaw the early construction of the Brooklyn Bridge (1867-83, a designated New York City Landmark), completed under the direction of his son Washington and daughter-in-law Emily.
The Stims took an active part in the community life of Staten Island. Louis Stirn was a member of the Staten Island Chamber of Commerce, the Staten Island Civic League, and the Richmond County Country Club. He was also active in several national trade organizations and was a member of the Manhattan Club. Laura Stirn was a founder of the St. Cecilia Society of Staten Island (a women's singing society) and was a member of the Staten Island Institute of Arts & Sciences, the Staten Island Bird Club, and the Garden Club of Staten Island, where she was known for her collection of rare plants. She was also active in several charitable organizations, including the Stapleton Day Nursery and the Staten Island Hospital, where she served as a member of the board of trustees.
Kafka & Lindenmeyr
Organized around 1906. Kafka & Lindenmeyr was the successor firm to Hugo Kafka & Co. Hugo Kafka, Sr. (1843-1915), the firm's founder, was bom in Prague and was educated at the Polytechnikum in Zurich, where he studied under Gottfried Semper. In 1874. he immigrated to Philadelphia to work with Herman Schwarzmann on the Centennial Exposition of 1876. In 1878, Kafka moved his architectural practice to New York. He had numerous commissions for apartment buildings and houses. He also designed Saint Peter's German Evangelical Reformed Church, now the Free Magyar Reformed Church, in Kreischerville, Staten Island (1883).
During his career Hugo Kafka [Sr.J formed several partnerships. At the turn of century Kafka established the firm of Hugo Kafka & Sons with Hugh (aka Hugo, Jr., b. 1875) and Frederick P. Kafka (b. 1876), a civil engineer. In 1903, Hugo Kafka. Sr.. began to curtail his involvement with the firm due to rheumatoid arthritis. He retired entirely in December 1905. By May 1906, Frederick P. Kafka also left the business to pursue a career in the manufacture and installation of fireproof building materials. In June 1906, Ludwig
Lindenmeyr, a twenty-six year old New Jersey-bom architect, became a partner in the firm of Kafka & Lindenmeyr. Hugh Kafka and Ludwig Lindenmeyr worked together until around 1912, when Hugh Kafka left the firm to become the manager of the New York office of the Bay State Pink Granite Company. Ludwig Lindenmeyr continued to practice under his own name until around 1918. He died prior to 1920, when his wife was listed in the Manhattan directory as a widow. During the mid- 1920s, Frederick and Hugh Kafka were partners with Pierce Taylor in the Kafka-Taylor Building Construction Company in New Rochelle, where the Kafkas had resided since the early 1900s.
The Earlv Twentieth-Century American Country' House and the Design of the Louis and Laura Stirn House
In the 1890s, the increasing density of America's cities created "a nostalgia for the healthier and more tranquil world of the countryside." A new interest arose in nature, gardening, outdoor recreation, and country living, fostered by such publications as House and Garden, Country Life in America, American Homes and Gardens, House Beautiful, and Town and Country. Within a few years, a boom developed in country and suburban house building which lasted through the 1920s. This movement was fueled by a rapidly expanding economy which greatly enlarged the ranks of the wealthy. It was also aided by improvements in public transportation and the advent of the automobile which made commuting to the suburbs and country much easier, and by large-scale immigration which provided the numerous workers needed to build and staff large country houses and maintain estate grounds. In contrast to the country houses of the Victorian period, which were often erected as vacation homes in resort areas, the country houses of this period were usually permanent residences that were located in the environs of a major city and were occupied year round.
An excellent example of early-twentieth-century country house design, the Stirn house presents an interesting blend of formal classicism with an Arts and Crafts aesthetic. This melding of design traditions was a fairly recent innovation in the field and is usually associated with such leading designers of the period as Charles Piatt and Robert W. Gardner. In keeping with current theories which stressed the integration of country houses with their surrounding gardens and landscape, the Stirn House is set well back from the road behind a broad expanse of lawn and a semi- circulardri veway. The house is located just at the edge of the hillside with its rear porch extending onto a slight jut of land that formerly commanded a spectacular view of Stapleton (now obscured by trees) and the harbor. The choice of the Italian Renaissance style for the house may have been suggested by this siting, since Italian villas are often built on hillside sites and usually have terraced gardens. In addition, Italian Renaissance villas and their gardens were becoming an increasingly fashionable source of inspiration for designers and writers on design during this period, notably for the influential architect and landscape designer Charles Piatt, whose Italian Gardens of 1894 was the first illustrated book in English on the Italian Renaissance garden, and Edith Wharton, who published the popular Italian Villas and Their Gardens with illustrations by Maxfield Parrish in 1905.
While far from a direct copy of a Italian Renaissance villa, the Stifn house exhibits such characteristic features as the block-like form of the main portion of the house, the symmetrical treatment of the principal facades, the stucco cladding, the low- pitched hipped-roof covered with terra-cotta tiles, the deep overhanging eaves supported by brackets, the columned porticos, and the arched first-story windows surmounted by smaller rectangular windows. Other elements of the design, such as the stylized Ionic capitals of the porch columns and bracketed keystones of the window surrounds and the decoration of the wrought-iron balustrades, the polychrome terra-cotta frieze and elaborate bracing beneath the roof eaves reflect the influence of the Arts and Crafts movement. The simplicity of the moldings and the emphasis on the textured surfaces of the stuccoed walls and tiled roofs are also typical of Arts and Crafts design.
Though designed in a historic style, the Stim House incorporated the latest in mechanical equipment and construction materials, including concrete window surrounds, cast "composition" column capitals, fireproof terra-cotta roof tiles, and Portland cement stucco facing materials which were deemed to be permanent in color and texture and therefore maintenance free. The polychrome terra-cotta used for the frieze was also a recent innovation and was very unusual for a suburban house of the period.
Construction and Later History of the Stirn House
Kafka & Lindenmeyr filed plans for the Stirn house with Staten Island Department of Buildings in March 1908. Construction began almost immediately and was completed in December 1908. The cost of construction was $32,000. excluding the land which had cost 514,000.
The large house provided accommodations for Louis and Laura Stirn. their five children, Laura Stim's widowed sister, Emily Wicchers, her son Manolo, two maids, and a cook. According to Laura Patrick, the Stirns' granddaughter, there was a great hall, living room, music room, conservatory, dining room, kitchen, pantry, and powder room on the first floor; six bedrooms, a sitting room, and two bathrooms on the second floor; and two large bedrooms, and three maid's rooms, on the third floor.
The Stirns continued to occupy their "charming residence... known for its splendidly appointed gardens and beautiful view of the surrounding country and adjacent waters" until their deaths- Laura Stim died in 1943, Louis Stim in 1962. During the 1920s Stim built houses on Howard Avenue for his son Albert Stim (No. 55) and son-in-law Arthur Benbow Elliman (No. 56) and their families. Following Louis Stim's death the house was sold to Reuben Gross, a prominent attorney and leader in the Jewish community, and his wife Blanche Gross. The house is now owned by the Estate of Blanche Gross.
The house remains remarkably intact. Changes to the exterior have included a sympathetic modification of dormer windows on the south gable in the 1910s, replacement of the original trellised siding on the conservatory with modem materials in the 1970s- 1980s, and replacement of most of the attic dormer windows in the 1990s. It is, together with Ernest Flagg's Stone Court (1898 to c. 1917, a designated New York City Landmark), one of the rare surviving examples of the early-twentieth-century country house design on Staten Island and is one of the few houses of its size and type within the city limits.
Description
The Louis and Laura Stirn House is located at the center of a trapezoidal mid-block lot which has a frontage of 274 feet along Howard Avenue and is approximately 200 feet deep. The house is approached by a semi-circular driveway. An Italian Renaissance- inspired villa with Arts and Crafts detailing, the house is constructed of stucco-clad masonry and is capped by a clay-tiled hipped-roof with overhanging bracketed eaves. Approximately sixty-six feet wide and forty- seven feet deep, the building has a symmetrically arranged two-and-one-half story main block which is flanked on the north by a two-and-one-half story service wing and on the south by an enclosed porch (originally a conservatory). Aside from changes to the south porch, the house retains most of its original detailing. The first and second stories have original wood multipane sash and casement windows including several windows with stained glass rondels. The
original attic windows have been replaced with non- historic six-over-one vinyl sash windows. Western Facade:
Main Block The primary facade facing Howard Avenue features a columned portico which extends across the three recessed center bays of the main block. The porch is articulated with paired Ionic columns and Doric comer piers which support a full entablature and a paneled parapet. The concrete columns, entablature, and parapet are painted. The floor of the porch is covered with terrazzo tiles bordered with concrete. The recessed entry wall at the rear of the porch has three openings. At the center of the facade, a rectangular window is divided by mullions and transom bars into a large central opening (with paired casement windows), sidelights, and transoms. The windows retain their original leaded glass; the center casements and transom are decorated with stained-glass rondels. The south entrance bay retains its original Arts and Crafts wood door with an arched window protected by a wrought- iron grille. The north window is a sash window which has its original multipane leaded-glass lights. The comer pavilions have floor-length windows at both the first and second story. The arched first-story windows have recessed surrounds set off by bracketed keystones. The openings retain their original paired multilight French doors, curved transom bars, and transoms with radiating lights framing central lunettes. Decorative wrought-iron railings extend across the base of the window openings. Matching railings are used for the balconies beneath the second story windows. The rectangular second-story window openings have their original paired single-light French doors topped by multi-light transoms. Partially screened from view by the parapet surmounting the porch, the three rectangular windows in the recessed center section of the facade have original six-over-one wood sashes. The north and south windows also retain their original lou vered wood shutters. The second story is surmounted by a paneled terra-cotta frieze. Extending from the frieze are heavy shaped brackets that support the bracing for the shaped rafters beneath the overhanging eaves of roof. Wire mesh has been installed in the spaces between the brackets and eaves to prevent birds from nesting. The building's low-pitched hipped roof has hipped cross gables capping the projecting comer pavilions. At the center of the facade are three hipped-roofed dormers with stucco walls and simple wood surrounds which set off non-historic six-over-one vinyl sash windows. An old pipe vent projects from the roof between the north dormer and the hipped roof of the north pavilion. Ser\'ice Wing The service wing, which projects from the main block on the north side of the building, consists of a hipped-roofed two-and-one-half story block and a shed-roofed one-story extension. The wing is lower in height than the main block and is capped by a simple cornice. An entrance on the west wall of the extension is set off by a wood porch resting on a masonry base. The porch is approached by four stone steps which are flanked by masonry plinths with stuccoed walls and cast concrete capstones. The porch is sheltered by a gabled roof which is supported by paired square columns with bracketed capitals. The gable pediment is articulated by molded raking cornices and horizontal comer cornices which frame the shallow arch of the vaulted porch ceiling. Non-historic metal numerals reading "79" are affixed to the pediment. On the sides of the porch the space between the columns and the west wall of the service wing is filled by original wood lattices decorated with an arch motif. The segmental arched entrance on the west wall of the service wing retains its original paneled wood-and- glass door. The entry is lit by a non-historic light fixture. To the south of the entrance the western facade of the two-and-one-half story portion of the service wing is pierced by a large segmental-arched opening at the first story and a rectangular window opening at the second story. The segmental opening retains it original molded wood surround which is divided into a pair of four-over-one sash windows, two-over-one sidelights, and multilight transoms. The second story also retains its original wood-framed window which consists of a pair of multilight leaded casements topped by a multilight transom with a central stained glass rondel. The basement windows, which are almost completely below ground level, also retain their original multilight wood sash. North Facade:
The north facade is divided into three parts: the west comer bay which is articulated to match the primary facade facing Howard Avenue, the east comer bay which is articulated to match the building's eastern (hillside) facade, and the northern facade of the service wing.
West bay At present the first story of the west comer bay is concealed by shrubbery. Historic photographs show that it is lit by a pair of narrow rectangular window openings which originally contained two-over- one wood window sash. The rectangular second story has its original four-over-one wood sash but has lost its louvered shutters. The attic dormer located near the service wing has a non-historic vinyl sash window in place of its original paired triple-light casements. Ser\'ice wing The shed roof of the projecting first- story extension of the service wing is set off by heavy brackets. The first-story facade features a central wood and stucco oriel flanked by oculus windows with keyed enframements. The oriel retains its original paired casements which are divided by wood glazing bars into a four-over-one arrangement. The casements are surmounted by a transom which retains its original multipane leaded glass and central decorative rondel. The angled sides of the oriel are pierced by narrow lights which have their original two-over-one wood casements. The oculi also retain their original multipane wood sash. The second story of the service wing is lit by a single window at the center of the facade. It retains its original six-over-one wood-sash window. At the center of the attic is an tripartite dormer consisting of a tall gabled center bay with an arched window flanked by lower shed-roofed bays with square-headed openings. Th£ wood casement windows in these sidelights and the wood fanlight in the arched transom in the center bay are original, but the lower portion of the center bay contains a non-historic six- over-one vinyl sash window.
East Bay A massive stuccoed chimney is set into the comer where the east bay meets the service wing. This bay contains the building's basement entrance which is approached by concrete stair and paved areaway which are protected by a non-historic iron pipe rail. The basement entrance has a historic six-light wood door which is surmounted by a triple-light transom. At the first story, the rectangular window opening has its original wood casement windows which are topped by a transom. At the second story the window retains its original six-over-one wood sash window. Eastern facade:
Main block The articulation of the eastern facade is similar to that of the Howard Avenue facade except that it has an elliptical portico and the windows are larger. Because the site slopes to the east, the facade has a high basement which is screened from view by a terrace that extends across the entire length of the main block. The terrace is approached by a graceful curving masonry staircase which leads to the portico at the center of the facade. The original balustrade with turned posts which extended the perimeter of the terrace has been replaced with a non-historic concrete block balustrade; however the terrace retains its historic brick floor laid in a herringbone pattern. The porch has its original wood ceiling. It has a non-historic light fixture at its center. Chains have been suspended from the ceiling to support a non-historic wicker swing seat.
At the rear of the porch, the door and window openings align with the openings on the Howard Avenue facade. The entry has a historic multi-pane glass-and-wood door, the large window has a tripartite transom with a center stained glass rondel surmounting a single clear pane in a historic wood surround. The porch is also accessed by a doorway on the south wall of the north pavilion which retains its original paneled wood door with multi-pane windows and multi-pane transom.
The comer pavilions flanking the entrance porch have original projecting wood bay windows at the first story and large segmental arched openings at the second story. The wood bases beneath the bays have been modified but the windows remain intact. They are divided into a large central light and sidelights which are surmounted by transoms with multipane leaded glass and a central stained-glass rondel. At the second story the arched openings contain a pair of French doors with four-light-over-single-light windows flanked by narrower sidelights with two lights over a single light. The windows open on to small balconies screened by curved wrought- iron railings above the first story bays. Like the Howard Avenue facade, the eastern facade is lit by three dormer windows which have non-historic vinyl sash.
Service wing The basement of the east wall of the service wing is partially excavated to accommodate the staircase down to the areaway and basement entrance. There are three large square-headed basement windows which retain historic multipane wood window sash and are protected by historic iron grilles. A smaller rectangular window with a historic iron grille is located at the base of the shed-roofed extension. The first story has a large segmental arch window opening which retains its original window sash featuring a pair of four- light-over-one-light casements and two-light-over-one light sidelights and is topped by a tripartite transom with leaded stained glass. The square-headed second- story window has an original four-over-one wood sash window. South Facade
The south facade is divided into three sections by a pair of massive chimneys. The narrow outer bays have arched window openings at the first story and square headed window openings at the second story. The first story windows are original and match the comer pavilion windows of the Howard Avenue facade. The second story windows retain their original four- over-one sash windows. The center section is distinguished by its elliptical one-story enclosed wood porch which originally served as a conservatory. The porch retains its elegant bowed cornice, pilasters, and bracketed keystones, but the window openings have been partially enclosed with non-historic wood in-fill; the window glass has been replaced, and decorative wood trim which created a latticework pattern on the pilasters has been removed. The porch retains its original entrance at the center of the facade, but the door and transom are non-historic replacements. The center bays at the second story have the same articulation as the outer bays and retain their original large hipped roofed dormer which has four windows with non-historic vinyl sash.
- From the 2001 NYCLPC Landmark Designation Report
Automatic lid opening, bowl light, heated seat, washing, hot air drying, and probably a lot more. Could have an internet connection for all I know.
The Advanced Photon Source, which hosts 5,000 users from industry and academia every year. Visible at the bottom of the photo is the main building and auditorium; attached white building on the right is the Center for Nanoscale Materials; at top, the Advanced Protein Characterization Facility.
...Or that's what I'm calling it, anyway. Can't call it the BM&R #425 in my instructions, lest I step on any copyrighted toes.
This was, by far, the MOST difficult thing I've ever LDrawn. While normally it wouldn't have been a big deal for me - I've done huge, complex things before - I had the added difficulty of doing it to create instructions. That meant not only did I have to put all the parts in the right places, but I had to put them in the right order and put all the step objects in the right places.
I should charge through the nose for these instructions. Too bad I'll only be charging $8. ;)
Cadets from 4th Regiment, Advanced Camp rest after throwing live hand grenades at Fort Knox, Ky., June 18, 2019. Throwing live grenades introduces Cadets to the same training their future soldiers receive in Basic Combat Training. | Photo by Kyle Gallagher, CST Public Affairs Office
Abbey Prescott, a Cadet with the Alpha Company, 1st Regiment, has her first COVID-19 test of Advanced Camp by the medical personnel testers on Ft. Knox, KY on May 24, 2021. The testing is to ensure that incoming Cadets do not have COVID-19 and can continue training in a safe environment during Advanced Camp training. | Photo by Anna Pray, Cadet Summer Training Public Affairs Office