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On April 12, 2017, a semi-tractor trailer struck the Scottsburg Bridge along Highway 38. The truck bent an important part of the bridge, which had to be repaired by heating and cooling the steel.
20" Sq block for the back of Karen's quilt.
Linked to:
WIP Wednesday - www.freshlypieced.com/ - 6/11/14
An original hand-carved, block printed tie available in my store.
As featured on the front page of etsy, 5-14-09!
From 2009 in Penticton when I was there for a soccer tournament...
Greer Block - 1922
LOCATION
Address # Street Community Postal Cadastral
410-414 Main Street Penticton V2A 5C5 P.I.D. 012-459-551
DESCRIPTION
The Greer Block is a two story cement block commercial building on the west side of Main Street. It has a
false front and Edwardian Classical Revival design elements.
Boundaries
Located on the northern half of the east side of the 400 block of Main Street
Heritage Value
The building is of value because of its location in the 400 block of Main, which not only reflects the
economic boom of the post-war, early 1920’s but also reflects the expansion of Penticton’s business district
as it grew south from its core around the waterfront and the two lower blocks of Main Street and Front Street
historic areas.
The building is also notable for its association with Charles Greer, who was typical of the resilient,
resourceful and opportunistic pioneers who were prevalent in the area during its early period of settlement,
exemplified by the many ventures he undertook including farming a pre-emption near Fairview; commercial
building construction in many south Okanagan communities; the livery business; orcharding; building the first
cement block house in Penticton; road construction; proprietor of an early Ford dealership in Penticton; civic
politics; real estate; and finally the establishment of a business block which bears his name.
The continuity of commercial uses to the present day is a reflection of the continuing economic value of
Main Street to the City, and is illustrated by the varied uses this building has had: holding two stores on the
main floor and a hall upstairs, it was initially home to a children’s wear store, a tea house / sweet’s
confectionary, and a dance hall, and has subsequently been home to the Masons, a meat market, a grocery
store, professional offices for accountants and lawyers, and a dance studio. Currently, the upstairs has been
converted to apartments.
Aesthetically, the building is valued as an example of Edwardian Classical Revival architecture, which has
a symmetrical façade framed by two brick pilasters, with a large central window and two narrower ones on the
second floor, surmounted by a cornice and high pediment on the front façade of the building, reminiscent of
earlier false fronted buildings on the street and the era.
Character-Defining Elements
Key elements that define the heritage character of the Munson/Cleland property include:
- Brick pilasters
- Cornice line and pediment
- Original upstairs windows
- Decorative finials above the pediment
- Interlocking rusticated concrete block façade
- Name and date stone
COMMENTS and INFORMATION (not used by registrar)
The Greer Block was associated with Charles Greer who came to Penticton in 1905. He was a business
man involved in many ventures. He had a pre-emption near Fairview and was involved in construction
projects in the south Okanagan, including the Alexandra Hotel in Oliver.
In Penticton, he is the first to have built with concrete, building his house of concrete block construction in
30
1907. He was on City Council in its early years and again in the years leading up to his death in 1922. He
was involved in the livery business, road construction, and later became the Ford dealer.
The Greer Block was built during the early 1920's boom period. Main Street businesses were expanding
and several buildings were erected during this period. Unfortunately, Mr. Greer died suddenly of a stroke just
as the Greer Block was being finished. A Mr. Rossum took it over and opened up a confectionary, while a
clothing store opened up on the other half, and a hall on the second floor. Mr. Rossum went bankrupt in
about 6 months, but the building continued to function. The upstairs hall was rented to the Masons for a
period. Other uses have been a bakery, professional offices, a dance studio, a butcher, grocery store.
Mr. Greer died as the construction of the building was nearing its end, and his name stayed with the
building, being left on the name and date stone on the building's façade. Mrs. Greer stayed on in Penticton
after Mr. Greer's death.
Started my Tula Pink City Sampler Quilt. Im just hopping around the book to try to utilize what awesome scraps a dear flickr friend sent me!! You know who you are!!
Hike from Little Petra to the Monestary and down all the way through Petra to the Vistor's Center entrance - 14 kilometers - 7 hours - 1500 foot total ascent. Difficult for us but spectacular. Maybe the best one-day hike of our decades of hiking.
The CP Canada 150 train is stopped on CN's Wharf Spur in the Port of Montreal on a beautiful summer afternoon.
VHR citation
BLOCK ARCADE
Location
280 - 286 COLLINS STREET 96 - 102 ELIZABETH STREET MELBOURNE, Melbourne City
Google Maps and Google Streetview
Victorian Heritage Register (VHR) Number
H0032
Heritage Overlay Number
HO596
a Level of Significance
Registered
Extent of Registration 1. All the building known as the Block Arcade marked B1 on Diagram 32 held by the Executive Director.
2. All the land marked L1 on Diagram 32 held by the Executive Director, being the land described in Certificate of Titles Vol. 4645 Fol. 875, part of Vol. 9409 Fol. 669, Vol. 9924 Fol. 206, Vol. 9409 Fol. 669 and Vol. 4645 Fol. 874.
Statement of Significance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Year Construction Started 1891
Architectural Style Victorian Period (1851-1901) Mannerist
Heritage Act Categories Heritage place
Municipality MELBOURNE CITY; MELBOURNE CITY
VHR H0032 Statement of signficance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Source Victorian heritage database: vhd.heritage.vic.gov.au/places/result_detail/730?print=true & vhd.heritage.vic.gov.au/vhd/heritagevic_new#detail_places...
Farmer's Wife 1930s paper-pieced block no. 25. Not a nice block to paper-piece - it took forever and the middle was particularly nasty.
You can find all my Farmer's Wife 1930s quilt blocks over at the Patchsmith's blog.
Hand printing fabric is a time consuming process. This man in Jaipur, India prints one color at a time and then adds other color with different blocks.
AIMG_5041
For Bitty Block "Steampunk" swap. I like this propeller-like image and love the steampunk quilt pattern by Jen Kingwell, so thought I'd try a few like this. I'm doing some other completely different ones.
For her month in Bee Unique Bee Knotty Nancy sent a piece of Christmas fabric (the green fabric in the centre of the block) and asked for any kind of pieced Christmas block.
After making this block I was on a paper-piecing kick. This block is "Sunblock" from Quiltmaker's 100 Blocks Volume 3. I think that it looks like a Christmas flower.
Photo by Dan Tucker
BLOCK
A show by NoFit State Circus and Motionhouse.
NoFit State Circus and Motionhouse bring together their unique styles in BLOCK - an exciting new collaboration. Twenty oversized blocks are deconstructed and reformed into an infinite variety of shapes for the performers to play on, move with and explore. BLOCK is about life in the city; its contradictions and challenges. What happens when dance and circus collide? When they converge, rub against each other, blend into one another?
Commissioned by Without Walls, Stockton International Riverside Festival, Norfolk & Norwich Festival and Out There International Festival of Circus & Street Arts. Co-production Archaos, Pôle National des Arts du Cirque Méditerranée and Le CITRON JAUNE, Centre National des Arts de la Rue.
Supported by Arts Council England, Cyngor Celfyddydau Cymru/ Arts Coucil Wales, Llywodraeth Cymru/ Welsh Government, and the Big Lottery.
Stained glass block for Maureen. It took longer to pick out and cut the fabrics than to assemble it!
More photos and details available on my blog here: stampinginspiredby.blogspot.com/2013/01/happy-new-year.html
Thanks for looking!
When I saw this www.fatquarterly.com/quick-curved-ruler-brioni-2.html , I just had to make one for myself. I think these are one of the coolest blocks I've seen. I hope she takes it as a compliment that I copied.
Isolated studio shot of a businessman suffering from writers block trying again after several failed starts.