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June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
By Cpl. Han Samuel
USAG Yongsan Public Affairs
YONGSAN GARRISON — “After parents, it’s the educators, teachers, administrators and staff who have the biggest influence on our children,” U.S. Forces Korea Commander, Gen. James D. Thurman said, at the sixth annual Department of Defense Dependent Schools awards and recognition ceremony, April 6.
Thurman recounted how the three most influential people in his life were his father, his scout master, and his high school football coach.According to Thurman, these people had the biggest impact in developing his values in serving the country and teaching him about becoming a good citizen. He thus emphasized the significance that each of the roles, filled by the 66 DoDDS Korea staff members being recognized that day, had.
“What you do every day is so important - it’s the most important thing we’ve got going on here on the peninsula, outside of defending this place,” Thurman said.
In the midst of an uncertain period, Thurman explained that it was especially important that the people who strongly influenced future generations were doing a good job in educating the younger members of the community. Thurman presented each of the 66 DoDDs Korea staff members with scrolls of appreciation, on behalf of USFK.
Staff members included teachers, counselors, secretaries, technicians, librarians and administrators.
Sixteen were recognized for serving DoDDs for over 20 years.
Some of the honorees had four decades of service.
Laurel Eisinger, principal of Daegu American School, who has served DoDDs for 30 years, said she had worked through multiple positions within DoDDs, including the district level, area level and administrative level.
Having invested a significant amount of time in the profession, Eisinger said, “I believe right from the bottom of my heart that effective educators help children to be the successful leaders of tomorrow.”
After being in the profession and meeting many other teachers, however, she said, “I don’t think there’s an educator that doesn’t take this job whose goal isn’t to make a difference.”
While Eisinger is convinced that effective educators are crucial for impacting future generations, she also stated that it’s not just the doing of educators.
Rather, she added, it is a task that is performed by the whole community.
Image Available for purchase from www.ballaratheritage.com.au
Statement of Significance
What is significant?
The Cussen Memorial is a mausoleum located within the Roman Catholic section of the Boroondara General Cemetery, Kew (VHR0049). The sandstone memorial is built in the Gothic Revival style in the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge capping embellishing the exterior. The memorial occupies a landmark position within the Cemetery. The Cussen Memorial was constructed in 1912-13 by Leo Cussen in memory of his son Hubert. Leo Cussen (later Sir Leo) was appointed to the bench of the Supreme Court of Victoria in 1906, where he displayed the qualities which were to mark him, in the words of Sir Owen Dixon, as the 'greatest of all judges', combining legal expertise with great humanity and practicality. Sir Leo was considered by Sir Robert Menzies as 'one of the great judges of the English speaking world'. In addition to his duties as a judge, Leo Cussen accepted responsibility for the consolidations of the Victorian Acts of Parliament, which took place in 1915, and again in 1929. In 1922, after four years of labour over centuries of English legislation, he presented to the Victorian Parliament the Bill for the Imperial Acts Application Act, which was passed without amendment.
The architect for the Memorial was WP Conolly of the firm Kempson and Conolly. Conolly was one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries. Cussen's choice of architect for the memorial reflects his Catholic connections in Melbourne. In 1930, Conolly was asked by Lady Cussen to make alterations to the Cussen Memorial to allow for additional tombs. In spite of being built initially for Hubert Cussen, the Memorial has been strongly associated with Sir Leo Cussen since his burial there in 1933 and is often referred to as the Leo Cussen Memorial.
How is it significant?
The Cussen Memorial is of architectural and historical significance to the State of Victoria
Why is it significant?
The Cussen Memorial is of architectural significance as a fine example of an early twentieth century mausoleum in the Gothic style, designed by WP Conolly, one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries.
The Cussen Memorial is of historical significance for its association with Sir Leo Cussen, justice of the Supreme Court of Victoria from 1906 to 1933, a highly popular and respected judge, legal educator and scholar, who was responsible for the consolidation of Victoria's statutes in 1915 and 1929 and the consolidation of over 7000 English Acts applicable in Victoria in the Imperial Acts Application Act of 1922.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
Educators enjoy a special after-hours viewing of the exhibits at the National Archives while learning about resources and workshops for National History Day. They include options for video conferencing programs into their classroom, DocsTeach online resources and lesson plans, Learning Labs, field trip planning, and more during an Educators Open House at the National Archives in Washington, DC, on September 13, 2018.
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
Manhattan, New York City, New York, United States
The Century Association Building was designed by the firm of Gambrill & Richardson, whose partners were both members of the association and one of whom, Henry Hobson Richardson, went on to become one of this country's most prominent architects. Built in 1869, the building appears to be Manhattan's oldest surviving structure erected as a clubhouse. Its exterior, which remains remarkably intact, heralded a wave of neo-Grec buildings in the early 1870s.
The Century Association, founded in 1847 to promote interest in literature and the arts, attracted authors, artists, and amateurs of letters and the fine arts, many of whom were national leaders in their fields. During the era when the Union Square vicinity flourished as New York's amusement district, the organization established its first permanent home in 1857 on this East 15th Street site in an existing dwelling. The Centurions rebuilt the clubhouse in 1869 to the designs of Gambrill & Richardson and remained there until 1891. The Century Association Building is a concrete reminder of the distinguished history of one of New York's most prominent institutions.
Early History of the Neighborhood
Union Square, designated a public space in 1832 and opened to the public in 1839, was quickly thereafter encircled with rowhouses and larger town houses, churches and small hotels, becoming the city's most fashionable neighborhood during the 1840s. The blocks extending from the east side of Union Square also were characterized by their rowhouses, except for East 15th Street, which in addition contained an industrial complex of five buildings on the south side of the street and two large frame dwellings, one of which was soon to be remodeled for the Century Association, on the north side of the street.
Shops began to appear on the square in the 1860s and during the subsequent years the neighborhood developed into an amusement district, featuring the Academy of Music, many theaters, piano companies and showrooms, music stores, music publishers, public art galleries, studios for painters, photographers, and sculptors, restaurants, and private clubhouses, including that of the Century Association.
The Century Association
During the second quarter of the nineteenth century, a few private clubs were formed by men of similar social standing or shared interests. Among these organizations was the Sketch Club, founded in 1829, which promoted interest in literature and the arts. In 1847 it merged with an organization of Columbia University alumni, the Column Club, to form The Century.
The association's founders, including poet and editor William Cullen Bryant and Gulian C. Verplanck, an author and congressman, adopted its first constitution in January, 1847, and invited one hundred gentlemen — authors, artists, and amateurs of letters and the fine arts — to join the group. The organization's name was a product of the number originally invited to be members. Dedicated to "plain living and high thinking," Centurions were men of culture and achievement noted for their informal social intercourse, frugal dinners and refreshments, inspiring art exhibitions, and jovial Twelfth Night celebrations.
Like other New York clubs during that era, the Century had several temporary locations, eventually settling in the area of Manhattan near Union and Madison squares, now known as Ladies Mile. At first the Century met at No. 495 Broadway, over Del Vecchio's picture store. Subsequently the members rented rooms in No. 435 Broome Street and then in No. 575 Broadway, over a millinery shop. An increase in membership required larger facilities for the semi-monthly meetings, so the club moved to No. 24 Clinton Place (now 46 East 8th Street) in 1852.
During the spring of 1857 The Century was incorporated as the Century Association, increased its maximum number of resident memberships to 250, and purchased No. 42 East 15th Street (now known as No. 109-111, see fig. 1), remaining at that location for thirty-four years.
During the first decades of the club's existence, its membership rolls increased dramatically, comprising a veritable "Who's Who* of American artists, architects, authors, publishers, actors, statesmen, businessmen, and educators. (See appendix A for lists of significant Centurions of that period.)
Many other social, political, and special interest clubs formed in the nineteenth century; however, apparently none of these clubhouses remain. Some of the clubs never erected specialized buildings in the first place, simply converting existing dwellings for their purposes.
The other organizations built clubhouses which they later sold in order to move uptown and these buildings were either demolished or unrecognizably altered. Therefore, it seems that the Century Association Building on East 15th Street is the oldest surviving clubhouse in Manhattan.
The East 15th Street Clubhouse and its Early Transformations.
A two-and-one-half-story frame dwelling of forty-by-twenty square feet stood on this site as early as 1847, when tax assessments began to be recorded for properties on East 15th Street. The dwelling was purchased in 1855 by builder Isaac Lewis, who then sold it to the Century Association in 1857 for $24,000. The club immediately renovated the property to suit its needs, relying on. member Joseph C. Wells, an architect, to oversee the work, which cost $11,000.
Additions included a masonry rear extension, which at fifty-by-twenty square feet had a larger footprint than die original residence, and a stately new facade, in the Italianate palazzo mode. Either sheathed in ashlar stone or stuccoed and scored to resemble stone, the facade was set behind a balustraded staircase and areaways demarcated by balustraded fences.
Four shuttered openings with multi-pane windows pierced the surface of the raised basement. The first-story entrance, articulated by pilasters and a pedimented entablature, was flanked by four shuttered openings with pedimented surrounds and multi-pane windows. Five second-story openings repeated this form but were slightly shorter. The cornice was surmounted by a broad central pediment which featured an oval window.
Within a few years the increased membership of the club and its expanding program of activities necessitated larger facilities, particularly for meetings and servants. In early 1866 a Committee of Thirteen was appointed to study the question of whether the club members should relocate or rebuild their clubhouse.
Due to financial concerns, the committee recommended improving the site on East 15th Street. One member of the committee, Charles D. Gambrill, submitted his proposal for alterations, which included a new front — finished in brick, trimmed in Lockport limestone, and capped by a mansard roof — and a rear extension to accommodate a first-story billiard room and a second-story art gallery.
In May, 1867, the firm of Gambrill & Post submitted the proposal for the rear extension to the Department of Buildings and it was subsequently executed.
For reasons not documented, other interior changes and a new facade were stalled for almost two years; the architect or architects involved in the planning may have been changed and may have modified the proposed alterations.
Between early 1866, when the committee was formed, and March, 1869, when the building impasse was resolved, architect Henry Hobson Richardson became a Centurion and replaced George B. Post as Gambrill's partner.
A contract for construction was settled in early 1869 and when the Department of Buildings issued a permit to build, the architects of record were listed as Gambrill & Richardson. This lag of time between the original proposal and actual construction would have provided an opportunity for Richardson's involvement, though there is no proof of it.
The alterations, which included the extension of the attic into a third story and the erection of a new facade, were carried out in 1869 and cost $21,000. The vague description of the new facade as first proposed (see above) resembles the facade as built, but we cannot know for certain if changes were introduced before the final proposal was approved.
Gambrill & Richardson
Charles Dexter Gambrill (1832-1880)8 was an alumnus of Harvard College who apprenticed in the architectural offices of George Snell in Boston and Richard M. Hunt in New York. He first practiced with George B. Post and then joined Henry H. Richardson in a partnership that lasted from 1867 until 1878, though Richardson moved to Brookline, Massachusetts in 1874.
Later, as a partner of H.E. Ficken, Gambrill was responsible for No. 16 Washington Mews (1880, now in the Greenwich Village Historic District). He is also remembered as a specialist in Queen Anne residences and was among the first Fellows of the American Institute of Architects.
One of this country's foremost architects, Henry Hobson Richardson (1838-1886) studied at Harvard College and the Ecole des Beaux-Arts. Upon returning to the United States, he settled in New York where he briefly maintained an independent practice before establishing a partnership with
Gambrill in 1867. That same year Richardson married and the couple lived in a house of his design, "Arrochar," at 45 McClean Avenue (1868-69) in the Clifton section of Stat en Island, until their departure for Brookline in 1874.
In addition to his connection to the Century Association Building, Richardson's New York oeuvre includes the Jonathan Sturges Residence (1869-70, demolished) at 38 Park Avenue and Frederick Sturges Residence (1869-70, demolished) at 40 East 36th Street; the memorial (1876-77) to Rev. Henry Eglinton Montgomery at the Church of the Incarnation; alterations (1875, demolished) to All Souls' Church on Fourth Avenue; and alterations to five midtown residences (all demolished).
Richardson's fame derives from the development of his highly personal, yet influential style, best seen in projects outside New York. His most prominent ecclesiastical commissions are Trinity Church (1872-77) and Rectory (1879-80) in Boston.
His most memorable public and commercial buildings include the New York State Capitol (1875 and later) in Albany, the Allegheny County Courthouse and Jail (1883-88) in Pittsburgh, and the Marshall Field Wholesale Store (1885-87, demolished) in Chicago. Richardson's residential work is highlighted by the Watts Sherman House (1875-76) in Newport, Rhode Island, the Stoughton House (1882-83) in Cambridge, Massachusetts, and the Glessner House (1885-87) in Chicago. He designed many stations for the Boston and Albany Railroad as well as public libraries throughout eastern Massachusetts.
The question of who was the actual designer of the Century Association Building remains unanswered. Based on Mariana Van Rensselaer's portrayal of Gambrill and Richardson's partnership as being a purely convenient business arrangement with no artistic interaction, later accounts preclude any creative collaboration between the two men. Henry-Russell Hitchcock even denigrates Gambrill's design ability, despite the architect's obituary, which noted that he "was remarkable for the refinement and intelligence which characterized his artistic thought, and all his work bears the impression of a scholarly and singularly fastidious mind."
Further research on the relationship between the two architects must be done before historians can state with certainty that they practiced independently.
Though normally associated with the style of his mature work that has come to be called "Richardsonian Romanesque," Richardson was trained from 1859 to 1865 in Paris, where he was exposed to the impressive hdtels particuliers and more modest habitations bourgeoises. The latter building type more closely corresponded to American needs and can be seen as a model for his Agawam National Bank (1869-70, fig. 3) in Springfield, Massachusetts, and his William Dorsheimer
Residence (1868-71) in Buffalo, erected for a fellow Centurion. The contemporary French character of those two structures is echoed in the less refined design of the Century Association Building (erected 1869), so it does seem possible that Richardson played some part in the design of the clubhouse, at least for the new facade.
Design of the Century Association Building
Reflecting the architectural developments in Paris, a city much admired at that time for its leadership in architecture and style, the Century Association Building features a facade in the neo-Grec mode (fig. 5). This style, also called "graeco-Ro man tic" and epitomized in Henri Labrouste's masterpiece, the Bibliothfeque Sainte-Genevi&ve (1843-50), was a progressive attempt to formulate a modem architectural expression of the era. In America, the neo-Grec vocabulary was characterized by abstracted classical motifs, angular forms, and machine-cut, incised ornament (especially on lintels), producing a style well suited to cast iron, or, in this case, brick trimmed in stone.
The typical horizontal banding functioned as support at points of structural stress or as design emphasis; eventually, architects began to design staggered bands which were created by connecting stone window lintels or sills with bands across intervening piers.
Richard Morris Hunt's Studio Building (1857, demolished) at 15 West 10th Street was a very early example of the style in New York. The neo-Grec Century Association clubhouse was erected to designs by Gambrill & Richardson twelve years later (1869), just before a wave of neo-Grec buildings appeared. In several of his works built in the 1870s, Hunt again relied on the neo-Grec vocabulary or combined the neo-Grec idiom with the forms of the more popular Victorian Gothic aesthetic.
Other architects in New York and Boston employed a simplified version of the style for prominent building commissions, and the style quickly spread to other American cities. Many of the most visible neo-Grec structures in Manhattan are mercantile buildings in the downtown commercial district now known as Tribeca.
Subsequent History of No. 109-111 East 15th Street
As New York's fashionable neighborhoods moved further uptown and the Centurions again outgrew their clubhouse on East 15th Street, the association sold that building and moved into its present home, No. 7 West 43rd Street (1889-91, a designated New York City Landmark), designed by the firm of McKim, Mead & White, and an exemplar of the grand club architecture that has come to characterize midtown. The Century Association continues to thrive as a prominent institution, its limits for resident and nonresident members having reached 1,200 and 900 respectively.
Relatively few alterations have occurred to the former Century Association Building despite its occupation by several subsequent groups. While still inhabited by the Century Association in 1878, fire damaged part of the clubhouse, but it was soon repaired to designs by Gambrill & Richardson. In 1890 the structure was purchased by the Lager Beer Brewers Board of Trade, which erected a one-story rear extension. Identified as the United Stales Brewers' Association in King's Handbook of New York (1893), this organization represented the interests of its approximately 1,000 members who were distributed throughout the country.
During the late 1920s and early 1930s, the building was owned by the Manhattan chapter of the Sons of Italy Hall and then the Galicia Sporting Club, which affected interior alterations so that the basement and first two floors were used as a clubhouse and the third story accommodated a caretaker's apartment. During the mid-twentieth century, the building was occupied by the New York Joint Board of Shirt, Leisureware, Robe and Sportswear Workers Union. It is currently occupied by an Asian-American trading company. A dry cleaning shop is located in the basement.
Among the alterations to the facade are the painting of the stone, removal of the iron cresting at the roof, installation of a vertically-mounted flagpole, and replacement of most of the window sash.
Most of the changes have occurred at the base in conjunction with the removal of sidewalk projections: filling in the areaways and removing the areaway fences, changes to the cheek walls when the entryway steps were set back, removal of the rusticated stonework except for the keyed quoins at the window openings, the conversion of basement windows into doorways, and replacement of the entrance doors and transom.
Description
The only part of the former clubhouse which currently is visible from the street is its symmetrical, three-bay facade, which is faced in stone (now painted blue-gray), red brick, and gray slate tiles. The raised basement of chiseled ashlar (a simplification of the original stonework) has doorways (originally window openings) in the side bays, each of which is framed by quoining, contains a pair of glazed metal doors, and is reached via a staircase with historic iron railings. (The signage at the eastern doorway was installed in 1992.)
The band course above the base is interrupted by the central segmentally-arched entrance which is flanked by narrow cheek walls, contains a pair of glazed metal doors and a plexiglass transom, and is reached by marble steps. The cheek walls support a stone
enframement with a cornice supported by end brackets and a raised keystone. Running along the bottom of the first story, a broad stone band is interrupted at the side bays by the window surrounds, which are simplified versions of the central surround and contain historic iron grilles.
The second story features three stone-framed openings that rest on a stone cornice. The slightly wavy brick surface of these two stories is almost flush with its white mortar. The terminal cornice is surmounted by a steeply sloped mansard roof, covered with slate tiles, pierced by three dormers, and framed between brick end walls with coping.
A historic two-over-two double-hung wood sash window survives at the western bay of the attic; the remaining openings have different configurations of wood sash windows. A metal downspout survives at the east side of the facade and a flagpole has been added at the center bay.
- From the 1993 NYCLPC Landmark Designation Report
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
First Thursday: 9/3/2015
Photos by Jennifer Hughes
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Holding Sway: PNCA Faculty and Alumni Exhibition
Sep 3, 2015 – Oct 18, 2015
Opening Reception Thursday, September 3, 2015, 6-8PM
With the first Pacific Northwest College of Art Faculty Biennial to be held in our newly renovated historic Federal Building at 511 NW Broadway, now named the Arlene and Harold Schnitzer Center for Art and Design, we sought to do something that would not only highlight the artists, designers, and scholars who make up the faculty at PNCA, but also to showcase the scope of contemporary art, craft, and design created by alumni from PNCA’s Bachelor of Fine Arts and Masters of Fine Arts programs. The result is the first ever PNCA faculty and alumni exhibition titled Holding Sway.
The faculty and alumni of PNCA are among the nation’s most rigorous thinkers and practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The strength of the creative community formed by the cultural producers of PNCA’s faculty, alumni, and students can be witnessed in the range and depth of work presented in Holding Sway.
Accompanying Holding Sway is a companion publication featuring fiction, non-fiction, poetry, and criticism by PNCA faculty and alumni.
Educators from around the state join Wyoming Army and Air National Guard service members for the Educator Leadership Rendezvous at Camp Guernsey Training Center in Guernsey Wyo., Aug. 4, 2021. Educators were able to experience some of the training that the military does, which included: a ropes coarse, air traffic control, weapons simulations, UH-60 Black Hawk flights, a paint ball course and a land navigation course. (U.S. Army National Guard photo by Sgt. Kristina Kranz)
The Great Charter or Magna Carta .
Woodcut from The Popular Educator 1868.
A complete illustrated Encyclopaedia for Elementary, Advanced and Technical Education.
Published by Cassell, Petter & Galpin, London. Six volumes in three books, half leather and gilt binding with marbled covers and marbled endplates. Total 2500 pages 26cm x 19.5cm .
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
A steady stream of more than 500 applicants flowed through the Community Choice Convention Center, from 8 to noon Saturday morning for the the annual Educator Career Fair. Interviews for high demand positions took place throughout the event, and more than 100 educators will be hired for the 2017-18 school year.
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events
some of the peer educators of saheli sangh, pune, india.
saheli sangh is a sex workers' collective concerned with hiv/aids prevention and protecting the human rights of sex workers. they feed sex workers from the community kitchen, look after their children, distribute condoms and generally radiate awesomeness.
over 50% of the sex workers in pune are hiv positive. that works out at about 6000 women.
Woodcut from The Popular Educator 1868.
A complete illustrated Encyclopaedia for Elementary, Advanced and Technical Education.
Published by Cassell, Petter & Galpin, London. Six volumes in three books, half leather and gilt binding with marbled covers and marbled endplates. Total 2500 pages 26cm x 19.5cm .
Educators at DoDDS-Europe schools in Vicenza, Italy, are reaching out to parents to create effective, nonpunitive approaches to protecting middle and high school students from the adverse effects of online bullying.
Photo illustration by David Ruderman, USAG Vicenza Public Affairs
Learn more about U.S. Army Garrison Vicenza on www.usag.vicenza.army.mil and www.facebook.com/USAGvicenza.
June 2014 Scratch Educator Meetup
Find out what happened at the June 2014 Final Scratch Educator Meetup at MIT - bit.ly/jun2014-scratch-meetup
Check out our events page for more info on upcoming meetups. - scratched.media.mit.edu/events