View allAll Photos Tagged CONTRIBUTING
Contributing Building - Downtown Bennington Historic District - National Register of Historic Places
NRIS #80000327
No, don't come to Basilon, because the building was demolished sometime between July and October 2020, according to Google Earth satellite imagery. Forget it!
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In downtown Ambridge, Pennsylvania, on July 10th, 2020, 418-420 Merchant St (built 1910, a "contributing property" in the Ambridge Commercial Historic District, 100005420 on the National Register of Historic Places) on the east side of Merchant Street, north of 4th Street.
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Getty Thesaurus of Geographic Names terms:
• Ambridge (7013292)
• Beaver (county) (1002171)
Art & Architecture Thesaurus terms:
• beige (color) (300266234)
• black (color) (300130920)
• brick (clay material) (300010463)
• brick red (color) (300311462)
• capital letters (300055061)
• clothing stores (300005303)
• dry cleaning (300219637)
• frames (ornament areas) (300257245)
• hand-painted (300248263)
• historic buildings (300008063)
• historic districts (300000737)
• last names (300404652)
• laundries (businesses) (300005153)
• paint (coating) (300015029)
• rental (method of acquisition) (300417649)
• shop signs (300211862)
• tuxedoes (suits) (300216052)
• white (color) (300129784)
Wikidata items:
• & (Q11213)
• 10 July 2020 (Q57396811)
• 1910 in architecture (Q2738605)
• 1910s in architecture (Q11185482)
• 1950s in commerce (Q112971757)
• 1952 in commerce (Q112971765)
• all caps (Q3960579)
• Ambridge Commercial Historic District (Q112945203)
• Basilon (Q112971656)
• blue ribbon (Q3315947)
• contributing property (Q76321820)
• demolished building (Q19860854)
• July 10 (Q2689)
• July 2020 (Q55281154)
• National Register of Historic Places (Q3719)
• Pittsburgh metropolitan area (Q7199458)
• possessive (Q2105891)
• self-service laundry (Q1143034)
• Treaty of Fort Stanwix (1784) (Q3536790)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Brick wall signs (sh89002392)
• Brick walls (sh85016796)
• Buildings—Pennsylvania (sh85017803)
• Historic districts—Pennsylvania (sh91004519)
• Lost architecture (sh93000146)
• Painted signs and signboards (sh89005878)
Contributing Building - Cooperstown Historic District - National Register of Historic Places
NRIS #80002742
Built 1867
Style: Italianate
CEA Project Logistics commitment to CSR related activities in community continued last week as a team from CEA head office in Laem Chabang joined forces with over 100 local volunteers and community leaders from Ao Udom.
The mission primarily was to improve the habitat for the local fish, artificial ‘Fish Houses’ were assembled by the volunteers, these would be taken out to sea with the purpose of increasing the breeding potential of the fish in turn creating more fish for the local fisherman to catch and increase their incomes. The fish houses would also protect the smaller fish from their natural larger predators.
When all the fish houses were placed in the sea, the second part of the mission began, this involved cleaning the surrounding beach area from rubbish and overgrowth to create a more aesthetic place to sit, relax and fish for tourists and locals alike.
Contributing Building - Warrenton Historic District - National Register of Historic Places
NRIS #83004243
Built ca 1890
Style: Classical Revival
Architect: William H Baldwin
Contributing Building - Tuskegee Institute National Historic Site - National Register of Historic Places and National Historic Landmark
NRIS and NHL #66000151
Contributing Building - Northeast Gainesville Residential District - National Register of Historic Places
NRIS #80000942
Contributing Building - Southeast Gainesville Residential District - National Register of Historic Places
NRIS #87002435
Contributing Building - Bridge Street Historic District - National Register of Historic Places
NRIS #78001824
Built 1909
Contributes greatly to meeting Service Level Agreements (SLA). Source: www.dcmsys.com/.Information shared above is the personal opinion of the author and not affiliated with the website.
Contributing Building - Valencia Subdivision Residential District - National Register of Historic Places
NRIS #92001047
24 Orange Av
Built ca 1925
Contributing Building - Geneva Street Historic District - National Register of Historic Places
NRIS #87000981
A trio of donors contributed nearly $3.7 million dollars to JABSOM, resulting in full-tuition scholarships for 23 students of the MD Class of 2022. The gift celebration at the Oahu Country Club thanked Barry and Virginia Weinman, Hawaii Pacific Health and the Queen's Health Systems in July 2018. Deborah Manog Dimaya photo.
Water scarcity and conflict over freshwater resources have contributed to an “arc of instability” stretching from West Africa through the Maghreb and across the Mediterranean to the Middle East. Rural livelihoods are collapsing, displacing many, and violent extremist organizations like Boko Haram, Al Qaeda, and ISIS are gaining footholds in areas where governance is weak. As local communities demand better provisioning of water, insurgent groups, building on discontent, use water to finance their operations and as a weapon of war. This panel will examine the causes of water conflict in the region, discuss implications for U.S. interests, and examine possible interventions to support better water governance.
Read more: www.wilsoncenter.org/event/west-africa-to-the-middle-east...
Contributing Building - Wilmington Historic District - National Register of Historic Places
NRIS #74001364
Built ca 1892
Style: Victorian Romanesque
Contributing Building - Uvalde Downtown Historic District - National Register of Historic Places
NRIS #SG100004009
Built ca 1919
Style: Neo-Classical
Architect: Will Noonan
aka First State Bank Of Uvalde; Uvalde Credit Company; J W Pawn
CEA Project Logistics commitment to CSR related activities in community continued last week as a team from CEA head office in Laem Chabang joined forces with over 100 local volunteers and community leaders from Ao Udom.
The mission primarily was to improve the habitat for the local fish, artificial ‘Fish Houses’ were assembled by the volunteers, these would be taken out to sea with the purpose of increasing the breeding potential of the fish in turn creating more fish for the local fisherman to catch and increase their incomes. The fish houses would also protect the smaller fish from their natural larger predators.
When all the fish houses were placed in the sea, the second part of the mission began, this involved cleaning the surrounding beach area from rubbish and overgrowth to create a more aesthetic place to sit, relax and fish for tourists and locals alike.
Contributing Building - Eatonton Historic District - National Register of Historic Places
NRIS #75000605
Built ca 1904
Phew - I've just contributed 7 downloads (yes, to individual systems - my file server, my Apache test server, my laptop, and 3 PCs) to the world record attempt. Please help make the web a Micro$oft-free zone by downloading Firefox 3 by 11:16 a.m. PDT (18:16 UTC) on June 18, 2008. That's 11:16 a.m. in Mountain View, 2:16 p.m. in Toronto, 3:16 p.m. in Rio de Janeiro, 8:16 p.m. in Paris, Madrid, Berlin, Rome and Warsaw, 10:16 p.m. in Moscow, and June 19, 2008 at 2:16 a.m. in Beijing and 3:16 a.m. in Tokyo.
Update 20:52 UTC (4 hours and 52 mins into the attempt) Mozilla reports 3,002,824 downloads.
Update 05:39 UTC (half-way mark) Mozilla reports 4,008,665 downloads
Update 07:56 UTC Mozill reports 5,009,277 downloads. Go Zilla!
Contributing Building - Springfield Historic District - National Register of Historic Places
NRIS #86003640
Built 1901
Architects: Snelling and Potter
Style: Colonial Revival
Contributing Building - Downtown Jacksonville Historic District - National Register of Historic Places
NRIS #16000212
Built 1903-06
Style: Gothic Revival
Architects: Snelling and Potter
Contributing Building - St Augustine Town Plan Historic District - National Register of Historic Places
NRIS #70000847
Contributing Building - Model Land Company Historic District - National Register of Historic Places
NRIS #83001439
IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! community event at the All Souls Unitarian Church at 1500 Harvard Street, NW, Washington DC on Saturday afternoon, 28 September 2013 by Elvert Barnes Photography
Performances
George "G." Yamazawa Jr. (Japan)
Follow DC Office of Human Rights / IMMIGRANTS CONTRIBUTE: AMERICA, WE SING BACK! facebook event page at www.facebook.com/events/530488973690958/
The Chaddock-Terry Company has had a factory in Farmville since the early 1900s. The factory was built in an industrial section with other large, multi-story brick buildings. The Chaddock-Terry Company building has capped gabled ends and corbeled brick detailing. The company ceased operations in Farmville in the early 2000s, and later declared bankruptcy. The building was renovated to house retail shops and businesses. The building is located in the Farmville Historic District listed on the National Register of Historic Places and is a contributing structure.
Note: In the early 2020s, the Chaddock-Terry Company came out of bankruptcy and a new Craddock-Terry factory opened in Farmville to resume making military shoes.
This past weekend Dr. Robert Melillo along with 20 members of the Brain Balance Centers team contributed their time to a workshop for parents of children with neurological disorders thanks to connections made by Grammy Award Winner and country singer Zac Brown. The workshop was hosted by Bynum School in Midland, TX and sponsored by Zac Brown.
This past weekend Dr. Robert Melillo along with 20 members of the Brain Balance Centers team contributed their time to a workshop for parents of children with neurological disorders thanks to connections made by Grammy Award Winner and country singer Zac Brown. The workshop was hosted by Bynum School in Midland, TX and sponsored by Zac Brown.
This past weekend Dr. Robert Melillo along with 20 members of the Brain Balance Centers team contributed their time to a workshop for parents of children with neurological disorders thanks to connections made by Grammy Award Winner and country singer Zac Brown. The workshop was hosted by Bynum School in Midland, TX and sponsored by Zac Brown.
Contributing Building - Carlinville Historic District - National Register of Historic Places
NRIS #76000721
Built 1920
Contributing Building - Tuskegee Institute National Historic Site - National Register of Historic Places and National Historic Landmark
NRIS and NHL #66000151
Built ca 1900
Rubber Plant - 1920
Artist: Marsden Hartley (American, 1877–1943)
In 1920 Marsden Hartley announced his allegiance to Dada in an essay titled "The Importance of Being ‘Dada.’" In it, he praised the modernist philosophy of promoting the comedic and commonplace side of art, solidifying his affiliation with Marcel Duchamp and Man Ray, the editors of New York Dada magazine, to which Hartley contributed poetry. New York Dada featured wordplay and witty commentaries on modern mechanization—themes that appear to underlie Rubber Plant, the title of which could have a double meaning: a tree used to make rubber, or a factory that produces rubber goods, such as tires for automobiles (another subject of Dadaist derision and enchantment). Hartley spent his teenage years in Ohio, the nexus of the rubber industry, where several leading companies had established and expanded their headquarters.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Contributing Building - Titusville Commercial District - National Register of Historic Places
NRIS #89002164
Contributing Building - Melrose and Sinkola Plantations - National Register of Historic Places
NRIS #89002275
Contributing Building - Fitzgerald Commercial Historic District - National Register of Historic Places
NRIS #92000383
Contributing Building - Blakely Court Square Historic District - National Register of Historic Places
NRIS #02000452
CEA Project Logistics commitment to CSR related activities in community continued last week as a team from CEA head office in Laem Chabang joined forces with over 100 local volunteers and community leaders from Ao Udom.
The mission primarily was to improve the habitat for the local fish, artificial ‘Fish Houses’ were assembled by the volunteers, these would be taken out to sea with the purpose of increasing the breeding potential of the fish in turn creating more fish for the local fisherman to catch and increase their incomes. The fish houses would also protect the smaller fish from their natural larger predators.
When all the fish houses were placed in the sea, the second part of the mission began, this involved cleaning the surrounding beach area from rubbish and overgrowth to create a more aesthetic place to sit, relax and fish for tourists and locals alike.
Contributing Building - Elberton Commercial Historic District - National Register of Historic Places
NRIS #82002410
Contributing Building - North Main Street Commercial Historic District - National Register of Historic Places
NRIS #89001159
19-25 N Main Street
Built ca 1900
Contributing Building - Greenville Historic District - National Register of Historic Places
NRIS #90000433
Built 1896