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the plane, a 737 was spotless inside. Not a mark, on surfaces or fabric (compared to somewhat shabby marks and wear and tear on US airline interiors). Not one dead trapped insect stuck in a windowed coffin between the inside and outside window of your seat (look next time, and how DO they get there to begin with).
Soon after takeoff we bank to the right to head south across the coast of sydney and the state of new south wales (NSW), over canberra (the national capitol area) into melbourne in the state of Victoria (VIC).
"Afternoon refreshments" in economy class said the announcement once in the air. Wow. Complementary wine and beer (mixed drinks A$6). Ignoring the fact the beer includes Fosters things were good. The "snacks" provided were good too. A joint packet of cashews and apricot. Large portions. Good quality. As the ingredients list, contents 100% cashews. Yum.
Cabin staff, in economy, smiles, friendly, want to help clearly.
Also walked around offering apples as snacks. Good apples. In a huge basket that must have had about 30 apples in it. I wanted to take a picture but I was laughing at the sight.
I LOVE the orange tablemat thing they give out too. It's a perforated nice-feel absorbant material. Its a tablemat. It's also a bag for trash afterwards so as they walk through doing pickup it takes seconds. It's also a napkin. It's a great tablematnapkinbag idea.
It also contains inside a wetwipe and stirrer for drinks that's twice the size/length of the US ones.
Sunsets. I've noticed the sunrises and sunsets occur very quickly here. Like within 15 mins and it's suddenly light, or dark. Must be the hemisphere and season (last week of winter). It's chilly enough at night i had to go buy a coat. My fault for thinking australia, sunny, its august, it will be hot.
Flight time 90 mins. Sydney to Melbourne. Quantas CityFlyer. $
Airport. Terminal 3 sydney. Bigger than National (DCA). Quieter but I realised its the people who go about their airporty stuff with less of a presence or noise. Folks just a few seats away on a cellphone have what appears to be a habit of covering their mouth with their other hand so their calls are not public (and hence quieter). A full flight doesn't have a gate boarding seat area where there are no free seats. Even the gate agent counter area is turned 90 degrees from the US standard so folks queueing are lining up in the area not out into the corridor. Terminal 3 is dedicated to quantas domestic flights. From arriving to boarding was never asked for any photo id. Why does showing some form of unverifable photo id help us with flights in the US?
New Zealand Maori queen laid to rest today. Queen Te Atairangikaahu (Dame Te Ata) reigned for 40 years, lacking any constitutional powers but beloved of the NZ nation. Before europeans arrived the Maori were ruled by many chiefs, their monarchy only came about after contact with the British. New Zealand - originally Aotearoa, the land of the long white cloud - was not colonised by the British in the way Australia was.
The natives, descendants of the Polynesians, often reacted violently to foreign visitors, begining with Abel Tasman in 1642. Captain Cook took possession of the islands for Britain in 1769 - without consulting the natives. The presence of the fierce Maori menat the British preferred and went off to colonise Australia instead.
But foreigners were drawn to New Zealand. British, French and American ships began making regular visits. Mostly whalers, seal hunters and traders. The Maori became part of their trading network and acquired tastes for european and american goods and a knowledge of Pakeha - non-Maori culture.
By 1830's foreign settlers were buying large amounts of land and the numbers of Pakeha had increased to such a point that the British goverment decided to annex New Zealand. Naval officer Hobson negotiated and they agreed to cede sovereignty to the British in exchange for a guarantee of ownership of their lands. Formalized by the Treaty of Waitangi of 1840. Initially NZ was part of the colony of New South Wales but in 1841 because autonomous (with Hobson as Governor).
By 1845 open warfare ensued from chiefs. By 1847 and the First Maori War they realised better to have a consolidated approach. They sought to emulate the unity and disciple of the british and so started the Maori King Movement.
For the first time in 1966 a princess was chosen to ascend the throne and Queen Te Ata became a symbol not only of her people but for NZ women. Long may she rest.
Scans of some papers we found in an old Latin Grammar textbook.
you may use this in personal art projects. ;)
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Alla Villa Reale di Monza dal 30 ottobre 2014 al 6 aprile 2015 c’è una mostra dedicata a Steve McCurry. Americano e vincitore di premi prestigiosi – il Robert Capa Gold Medal e vari World Press Photo, tra gli altri – McCurry è considerato uno dei più importanti fotoreporter contemporanei: ha documentato l’invasione russa in Afghanistan e molte altre guerre, ha girato e fotografato molti paesi, soprattutto l’India. L’ultimo rullino di pellicola prodotto dalla Kodak nel 2010 è stato affidato a lui (ne è nato il progetto The last roll). Qualcuno lo paragona ad una popstar, per via della sua popolarità, e tutti hanno visto almeno una volta la “sua” ragazza dagli occhi verdi finita sulla copertina di un numero storico del National Geographic. McCurry è uno degli autori delle fotografie più familiari e riconoscibili dei giorni nostri. La mostra presenta immagini meno conosciute e tratte dai suoi lavori più recenti, ma anche i suoi famosi ritratti e foto dai reportage in Afghanistan e India, Birmania, Cambogia, Giappone, Brasile, Africa e Italia.
All’esposizione sono presenti dei video in cui McCurry stesso racconta il suo lavoro e i suoi viaggi. La mostra si sviluppa a partire dai lavori più recenti di Steve McCurry e da una serie di scatti che sono legati a questa sorprendente ricerca messi a confronto con alcune delle sue immagini più conosciute, a partire dal Ritratto di Sharbat Gula, che è diventata una delle icone assolute della fotografia mondiale. Oltre a presentare una inedita selezione della produzione fotografica di Steve McCurry, la rassegna intende raccontare l'avventura della sua vita e della sua professione, anche grazie ad una ricca documentazione e ad una serie di video costruiti intorno alle sue "massime". Lo scopo è quello di seguire il filo rosso delle sue passioni, per conoscere la sua tecnica ma anche la sua voglia di condividere la vicinanza con la sofferenza e talvolta con la guerra, con la gioia e con la sorpresa. Il desiderio è quello di capire il suo modo di conquistare la fiducia delle persone che fotografa perché, come dice lo stesso fotografo: "Ho imparato a essere paziente. Se aspetti abbastanza, le persone dimenticano la macchina fotografica e la loro anima comincia a librarsi verso di te".
Steve McCurry has been one of the most iconic voices in contemporary photography for more than thirty years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name. Born in a suburb of Philadelphia, Pennsylvania; McCurry studied film at Pennsylvania State University, before going on to work for a local newspaper. After several years of freelance work, McCurry made his first of what would become many trips to India. Traveling with little more than a bag of clothes and another of film, he made his way across the subcontinent, exploring the country with his camera. It was after several months of travel that he found himself crossing the border into Pakistan. There, he met a group of refugees from Afghanistan, who smuggled him across the border into their country, just as the Russian Invasion was closing the country to all western journalists. Emerging in traditional dress, with full beard and weather-worn features after weeks embedded with the Mujahideen, McCurry brought the world the first images of the conflict in Afghanistan, putting a human face to the issue on every masthead. Since then, McCurry has gone on to create stunning images over six continents and countless countries. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image.
McCurry has been recognized with some of the most prestigious awards in the industry, including the Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest, to name a few.
We had a beautiful day at the Point San Luis Light for our meeting. Then we all walked a little way on the Pecho Coast trail.
for Our Daily Challenge topic - 'Note' - Yay for photoshop for making things like this so easy. This is from the andante part of Beethoven's 'Pathetique' piano sonata. That eighth note is a C.
Here is Daniel Barenboim playing this movement.
Peewee (Magpie-lark) Grallina cyanoleuca built the muddy nest under the cover of the public swimming pool in Brisbane suburban area.
Both parents look after babies.
Read the notes for the "story", and see larger size!
I hope the end will be happy - the birds will grow up and fly away safely. Australia is such a wonderful country for birds!
Hunts Point, Bronx
The American Bank Note Company Printing Plant, designed by the architectural firm Kirby, Petit & Green, was an important symbol of progress for the prominent securities printing firm. The leading producer of money, securities, and other types of printed and engraved products, the American Bank Note Company constructed the plant during a period when it restructured its management and expanded its production facilities. Occupying a prominent location near major transportation routes in the Hunts Point area of the Bronx, the American Bank Note Company Printing Plant has been a neighborhood focal point since its completion in 1911.
Architecturally, the American Bank Note Company Printing Plant recalls a time when the emerging discipline of industrial engineering was beginning to be incorporated into the exterior expression of new industrial facilities. The form of the American Bank Note Company plant, for example, which consists of a low pressroom wing adjacent to a taller “office,” was designed to accommodate a newly-engineered production line, in addition to an engraving department, similar to other printing plants of the era. Signature elements of industrial architecture, such as the saw-tooth roof and large expanses of industrial sash, allowed ample light into the interior spaces of the plant, aiding both the fine work done in the pressrooms and the meticulous hand work of the engravers. The arsenal-like exterior of the plant, which is surrounded by a brick wall, embodied a sense of strength while also providing security for the specialized printing operation.
The crenellated rectangular tower rising above the Lafayette Avenue wing and the articulation of the walls as massive brick piers forming multi-story arcades reinforced this fortress-like character. Such an expressive approach to industrial architecture would later be abandoned for a more severe, functional aesthetic. Upon completion, the American Bank Note Company Printing Plant was considered one of the most complete facilities of its kind, remaining in operation for nearly 75 years. Today, the expressive and monumental structure continues to serve as an important visual landmark for the Hunts Point neighborhood.
The Early Twentieth Century Development of Hunts Point
Hunts Point, along with Clason’s Point, Screvin’s Neck, and Throg’s Neck, is one of several large salt meadowland peninsulas in the Bronx which jut into the East River. Until the Civil War, Hunts Point was characterized as a rural area where prominent businessmen maintained country estates. As with many New York City neighborhoods, the creation and availability of transit routes to the Hunts Point area in the early twentieth century helped initiate development of the once-remote area. The opening of the extension of the West Side IRT subway into the Bronx in 1904 helped bring about a period of feverish land speculation southeast of Westchester Avenue near the transit line. The opening of the Intervale Avenue subway station in 1910, in particular, has been an acknowledged impetus for development near Hunts Point. The Hunts Point station of the New Haven Railroad, Harlem River branch, which had opened in the 1850s, began serving the area as a station of the New York, Westchester and Boston Railway line after 1912.
In addition to increased transportation options, local boosters could point to the many advantages the South Bronx offered to industry, including the excellent rail service and freight terminals of several major lines that provided the means for transporting raw materials, supplies, and finished products conveniently. There were ample sites for building in the vicinity of the waterfront or adjacent to rail lines, and the power to operate facilities was relatively inexpensive because of the easy access to coal deliveries. The growing local labor force could be supplemented by workers traveling to the Bronx via the rail and transit lines. In 1909, there were 700 factories in the Bronx; by 1912, the number of industrial operations in the borough had more than doubled. By the close of the first decade of the twentieth century, the local real estate press enthused that “a great city [was] building along Southern Boulevard.”
At the start of the twentieth century, most of the Hunts Point area was controlled by a small number of real estate developers, including George F. Johnson and James F. Meehan, who were developing elevator apartment houses, flats, and semi-detached houses near the subway stop.3 In 1908, the American Bank Note Company purchased from George F. Johnson a large tract of land on which the “Old Faile mansion” stood. Although change was already underway in Hunts Point at the time the American Bank Note Company purchased its property, the real estate industry considered that sale to be another great impetus for future development in the area.
Not only would the siting of the plant in Hunts Point help encourage other firms to consider the area for their industrial operations, but it was expected that the large number of skilled and highly-paid employees of the company, “a most desirable body of citizens,” would need housing and other services.4 The Hunts Point area was envisioned as one of mixed use, with residences located near to and north of the rail corridor and industrial establishments to the south on the point.5 In fact, the impending purchase of the American Bank Note Company site may have prompted Johnson and Meehan to construct rows of two-family brick houses on both sides of Manida Street, immediately to the east of the American Bank Note Company site. These buildings would soon become part of a residential area that developed northeast of the printing plant, between Garrison and Lafayette Avenues.6 Construction of housing, including semi-detached houses and multiple dwellings of various sizes, in Hunts Point and in the nearby area, accelerated after 1912.
The American Bank Note Company
The American Bank Note Company has long dominated the specialized field of security engraving. The company was formed in 1858 as the result of the merger of seven major note engraving companies based in several cities throughout the United States.9 The printing of bank notes is a unique type of printing, started during the early nineteenth century by several companies which produced paper currency for the large number of newly-established state banks.
Because of the need to protect documents against counterfeiting and to prevent any losses during the course of printing and issue, the production of securities and currency differed from other types of printing. In order to produce documents that could not be easily replicated, the American Bank Note Company manufactured its own machinery and inks, developed specialized printing methods and unusual types of paper, and used vignettes and other complex designs produced by highly skilled engravers. As the preeminent security engraving firm during the nineteenth century, the American Bank Note Company produced bank notes, postage and revenue stamps, bonds, stock certificates, checks, drafts, and letters of credit for many governments and institutions. In 1891, the American Bank Note Company began producing the American Express Company’s new “Travelers Cheques.”
On its founding in 1858, the American Bank Note Company established its New York City headquarters in the Merchants’ Exchange Building at 55 Wall Street.10 The company would remain in the financial district of New York City for several decades, moving its office and plant to 142 Broadway (at the corner of Liberty Street) in 1867, and again to another new facility at 78-86 Trinity Place in 1882. A period of rapid growth during the early years of the twentieth century, however, coupled with the increased value of Lower Manhattan real estate, created the need for other New York facilities.11 Under the leadership of president Warren L. Green, an engraver who rose through the management ranks of the organization, the American Bank Note Company began to update several aspects of its operation.
The removal (in 1908) of the company’s administrative and sales functions to a new building by Kirby, Petit & Green at 70 Broad Street, in the heart of the financial district, was the first step towards easing the space shortage.13 Shortly thereafter (1909-1911), plans were drawn for a new plant at Hunts Point in the Bronx, also designed by Kirby, Petit & Green. This separation of administration and production was accompanied by a restructuring and streamlining of management and a more efficient reorganization of the printing operation. The changes were related to the emerging discipline of industrial engineering, which influenced the industrial production and management of many establishments around the turn of the century.
When the Bronx facility was completed in 1911, the new state-of-the-art plant boasted five-hundred motors powering everything from the facility’s 200 presses to the arc and incandescent lamps located throughout the building. The company apparently maintained a private restaurant and a hospital on site, in addition to machine and carpenter shops in constant operation, a laboratory for developing special inks, and a laundry. At the time the facility was completed, the output of the plant was being shipped to almost “every quarter of the globe” including China, South America, Cuba, and Europe.
The American Bank Note Company was justifiably proud, and considered itself the organization in the bank note industry with the finest office building, the best-equipped plant, the most advanced employee welfare and research programs, and the most skilled designers, engineers, and printers.
“The Most Complete Engraving and Printing Plant in America”1
After considering various locations in the New York City metropolitan area, and after discussing its considerable freight delivery needs with the New York, New Haven and Hartford Railroad – some 10,000 tons annually of mostly paper – the American Bank Note Company selected a large site in Hunts Point for the expansion of its newly decentralized operation.
Located at one of the highest points in the area, just east of the Hunts Point rail station, the plant would be adjacent to small partial blocks which remained vacant for many years near the rail line, and the park-like grounds of the Monastery of Corpus Christi (established in 1889), which occupied the block to the south. These conditions, together with the irregular shape of the block, afforded a self-contained site on which security could be maintained.
The first plan for the printing plant, presented in May 1909, called for a group of four connected buildings placed along the perimeter of the irregularly-shaped block and a pair of towers rising above an elongated structure fronting Lafayette Avenue . The multi-story buildings were intended to house various departments of the operation, while a separate storage building was sited in the yard. The design included a single entrance to the complex through which both employees and materials would pass. This early scheme for the new plant, though characteristic of nineteenth-century industrial design, was not particularly adapted to the needs of the American Bank Note Company operation.
By late 1909, a new layout for the facility had been adopted, one more influenced by the emerging discipline of industrial engineering and more suited to the particular needs of the printing operation. One large T-shaped structure was proposed to occupy nearly the entire block. The shift in design is representative of a change from the practice of arranging production machines into buildings of a standard size, to one of designing spaces to accommodate engineered production lines.18 At the time the American Bank Note Company Printing Plant was being planned, schemes for “ideal” printing plants were being published in printing trade journals. Plans, such as a two-part facility consisting of a large one-story pressroom extending behind a two-story office structure with a tower, printed in one such journal in 1909, apparently influenced the design of the American Bank Note Company facility (see Figure 2).
Later designs for the Bronx plant of the American Bank Note Company were similar in form to industry ideals for printing facilities, featuring a pressroom extending from an “office” wing. The ultimate design for the American Bank Note Company Printing Plant featured a long, narrow, multi-storied “office” wing located along Lafayette Avenue, which was adapted for use as the engraving and lithography departments. The press rooms were housed behind, in the large north “printing press” wing. The two acres of rumbling machinery were located on the upper level of this part of the facility, and were surrounded by a partial mezzanine and offices. The securely guarded plate storage vault, which contained more than 130,000 plates ready to print at a moment’s notice, occupied the lower level, as did several other functions. Joseph R. Ford, the company’s counterfeiter, labored for many years within the offices of the tower above Lafayette Avenue, trying to replicate the firm’s products as part of the internal security program.
Printers, like other manufacturers, placed a high value on economical and efficient facilities that provided ample light and ventilation. The incredible need for sufficient light in both the press rooms and the engraving department of the American Bank Note Company required that daylight supplement electric lighting in these areas. Signature elements of industrial architecture, such as the saw-tooth roof and large expanses of industrial sash, would allow ample light into the interior spaces of the plant, aiding both the fine work done in the pressrooms as well as the meticulous hand work of the engravers, and were thus incorporated into the design of the American Bank Note Company Printing Plant.
Although the aesthetic basis of American industrial building design was rarely strictly utilitarian, neither was it ever firmly rooted in the traditions of recognized architectural styles. In the United States, the American round-arched style, an interpretation of the Rundbogenstil style developed in Germany during the 1830s and 1840s that relied largely on brick and locally available stone, was widely used as the basis for both commercial and industrial building design. The style was largely characterized by the use of round or segmentally arched openings, pilasters and horizontal bands forming grids, elaborate brick corbelling, and molded surrounds. By the late nineteenth century, the articulation of monumental arcades had become the tradition of warehouses and other building types in New York City. The facades of the American Bank Note Company plant clearly follow in this tradition, featuring a combination of large, self-supporting brick piers forming multi-story arcades, and recessed brick spandrels.
Adaptations of Gothic details also became popular in both British and American industrial buildings in the early twentieth century, as architects emphasized entrances with Gothic tracery and ornament, and made visual connections between buttresses and exterior piers, considering this to be an honest expression of a building’s underlying structure. The arsenal-like exterior expression of the American Bank Note Company plant, with its central tower with crenellated parapet, and fortress-like, Gothic-inspired pointed-arch window openings, follows this tradition, while also providing the building with a “pervading sense of strength and security essential to the type of work being performed within.” The massive brick piers, according to the architects, further emphasized the company’s “strength and foreshadow the heavy construction within,” while the tower simultaneously reinforces the structure’s fortress-like character and reflects the ideal plant designs of the era. A brick wall encloses much of the block.
After several years of planning and construction, upon completion in 1911, the American Bank Note Company Printing Plant was considered one of the most complete facilities of its kind in the country and an important symbol of progress for the securities printing firm. The machines in the press room were powered by the most advanced means of electric drive – individual motors attached to each machine. Moreover, the new plan allowed for the expansion of the company’s commercial printing services, while also reducing production costs. In addition to the engraved currency and steel plate divisions’ production of certificates of stock, bonds, and postage stamps, the typographic division printed catalogues, booklets, folders, maps, railroad tickets, and business literature for railroads, steamship lines, and other clients.
In the ensuing years, the American Bank Note Company Printing Plant site would be further developed with auxiliary structures. A garage, designed by Kirby, Petit & Green, was built in a complementary design in 1910 at the corner of Garrison Avenue and Barretto Street. In 1928, the garage was nearly doubled in size and the additional space was used for ink production. A one-story addition designed by architect H.W. Butts in 1912 extended from the Lafayette Avenue wing of the plant along Barretto Street (later known as the Barretto Street wing), and would house a laundry and pulp mill. This structure, raised to a height of three stories in 1928 by architect Oscar P. Cadmus, would later provide additional space for printing presses and the machine shop, and was also designed in a manner sympathetic to the existing buildings on the site. Nearby, other facilities of the American Bank Note Company (not included as part of this designation) included a building used for employee welfare and research across Barretto Street on Lafayette Avenue (1913, W.H. Butts, architect), a distribution center (1925), and a paper storage warehouse (1949).
Subsequent History
Although described in the 1939 WPA New York City Guide as “…an area of bleak residences, industrial plants, and tidal flats…,” Hunts Point’s reputation as a thriving economic zone continued to grow during the first half of the twentieth century. The opening of the New York City Produce market in 1967, the Hunts Point Meat Market in 1974, and the designation of Hunts Point as an In-Place Industrial Park in 1980, furthered the area’s viability as a location for industrial and commercial activity later in the century. Despite increased economic growth, however, the 1960s and 1970s represented a period of increasing violence and abandonment for the greater South Bronx area, and for the Hunts Point neighborhood, in particular. By the 1980s, the name Hunts Point had become largely synonymous in New York City with the urban decline ravaging so many of the nation’s inner cities at the time. This low period in the history of Hunts Point, characterized by frequent arson and mass abandonment, was further emphasized by the flight of nearly 60,000 of the area’s residents – approximately two-thirds of the existing population.
In 1984, the American Bank Note Company relocated its printing facilities to a more modern and secure site in Rockland County, New York. Among the numerous motivations for the move were the financial incentives being offered by the upstate town, which included a three percent discount off of the plants’ immense electric bills, made possible by a new state law which was not available for companies already established in other areas. Approximately 500 people were employed by the American Bank Note Company Printing Plant, which had occupied its Hunts Point site for more than seven decades, at the time it relocated.
After 1986, several neighborhood rehabilitation projects were initiated that helped to slowly transform the South Bronx back into a livable community. Zoned for industry, physically separated from the rest of the Bronx by the elevated Bruckner Expressway, and the home of waste transfer stations, warehouses, scrap metal shops, and a 1.9 million square foot food distribution center, it is not surprising that the Hunts Point neighborhood was slower to experience the resurgence. By the late 1990s, however, storefront vacancies on the area’s main street, Hunts Point Avenue, had fallen, from 60 percent in 1997 to 25 percent in 2000. The year 2000 also brought the arrival of many of the area’s first amenities in decades, if not in its history, including its first post office, the first banking service in 25 years, a primary care clinic, youth recreation center, and a new park located along the Bronx River. In 2004, the Fulton Fish Market, a former staple of the Lower Manhattan waterfront since 1853, was relocated to Hunts Point.
Since closing its printing operations in 1986, the American Bank Note Company Printing Plant building has served as home to a variety of tenants. Soon after the property was vacated by the American Bank Note Company, the building was used to provide space for garment manufacturing, and became known as the Bronx Apparel Center. Presently, much of the Lafayette Avenue wing of the building serves as the Bronx branch of the John V. Lindsay Wildcat Academy, an alternative high school for students who have dropped out of or have been dismissed from regular schools. The current owners of the building plan to undertake a commercial adaptive reuse project.
Description
Plan & Circulation
The American Bank Note Company Printing Plant occupies an irregularly-shaped, sloping block bounded by Lafayette and Garrison Avenues to the north and south, and Tiffany and Barretto Streets to the east and west. The site is surrounded by brick walls along Tiffany Street, Garrison Avenue, and Barretto Street, with the main vehicular gate located along Tiffany Street, and the primary pedestrian entry at the corner of Tiffany Street and Garrison Avenue.33 The principal T-shaped structure features a long, narrow wing along Lafayette Avenue (ranging from four to six stories exposed above grade) and a lower, broader, perpendicular printing-press wing extending to the north (three stories above grade). A third, later wing is located along Barretto Street, and follows the curvature of the road. Primary entry into the complex of buildings is via the west facade of the printing-press wing. Additional entries into the buildings can be found along Lafayette Avenue and Barretto Street. A one-story red brick garage is located on the northeast corner of the landmark site. All three wings of the steel-framed building feature red brick exterior walls and originally featured large expanses of industrial steel-sash in window openings. Nearly all facades of the American Bank Note Company Printing Plant, including the associated garage structure and the remaining original sections of the enclosing brick wall, are laid in a five-course American bond. A small, non-historic, one-story gable-roofed metal building is located immediately north of the printing press wing.
Lafayette Avenue Wing
The Lafayette Avenue wing of the American Bank Note Company Printing Plant, while only three bays deep, runs nearly 465 feet in length along Lafayette Avenue. The Lafayette Avenue (south) facade of this wing features three-story arcades formed by substantial brick pilasters that are spanned by recessed brick spandrels, thus separating the facade into 22 equal-sized bays. An additional narrow bay flanks each end of the Lafayette Avenue facade. Each of the pilasters, which separate the bays, is capped by a stepped-brick motif that is repeated on the remaining facades of this wing. Each of the recessed, round-headed arches that span the distance between the pilasters is detailed by a single header course of brick. Beneath each arch, most of the original arched steel-sash windows with operable sections remain with simple, rectangular sills (typical for the site), although unsympathetic glazing repairs and the intrusion of through-the-wall air conditioning units and louvered vents are visible.
The first and second stories of the arcades feature square-headed fenestration surrounded by brick lintels (also typical for the site) and the same simple, rectangular sills of the arched third story fenestration. The windows of the first story are substantially taller than those of the second story. Many of the original steel-sash windows with operable sections also remain along the first and second stories of the arcades, although they, too, have seen unsympathetic alterations and inclusions. Non-historic mesh security grilles have also been added to the first story window exteriors of the arcade located o the right of the central tower. At the second story, to the left of the central tower, two narrow, rectangular windows with iron security grilles appear to be original to the building, and probably serviced an interior area where less daylight and more security was requisite.
Directly above the arcades, the top-most story of the Lafayette Avenue facade is composed of a twobay-deep 1925 addition to the wing, constructed of materials that closely match the original. Similar to the first and second stories of the arcades, this upper story features square-headed fenestration surrounded by the typical brick lintels and rectangular sills. Some of the original steel-sash windows with operable sections remain, while several have been replaced with modern windows or have received unsympathetic alterations and inclusions. Three bays to the left of the central tower feature narrow, rectangular windows with iron security grilles and appear to be original to the addition.
Beneath the three-story arcades, a series of square-headed “basement” level windows is visible, although only five such windows exist to the right of the central tower due to the slope of the site. The steel-sash fenestration with operable sections of this story is flush with the brick facade and features the typical lintels and sills for the site. Modern flashing and other alterations are visible at this level, particularly to the right of the central tower where the glazing of at least one window has been entirely replaced by louvered vents, exhaust flues, and a mesh security grille. Several square headed, “sub-basement” level windows are present to the left of the central tower.
Each set of the paired fenestration of this level is equivalent in width to the windows of the stories above and features the typical lintels and sills. Like the fenestration in other parts of the building, the windows here are industrial steel-sash, but do not feature operable sections. The majority of the windows are covered by mesh security grilles and also have suffered from unsympathetic repairs and replacements of glazed elements.
To the left of the central tower, a “sub-sub-basement” level of windows is visible below grade along a depressed areaway. The windows of this level are identical in size and placement to the windows of the “subbasement” level, and also feature the typical lintels and sills of the site. Nearly all of the original steel-sash windows of this level have been bricked-in or otherwise altered. A non-original iron fence is present along the areaway, both to the left and to the right of the central tower.
The narrow bays that flank each end of the Lafayette Avenue facade are articulated in a similar fashion to the rest of the facade. The majority of the windows are square-headed and align with the other windows of the facade. The windows that align with the arcades complement the design of the arcades, featuring windows that are recessed slightly from the brick facade, with the top-most windows characterized by round-headed arches. Doorways are present at ground level, accessible above two-concrete steps. Above each doorway is a large, rectangular, industrial steel-sash transom. Due to the slope of Lafayette Avenue, the narrow bay to the right of the central tower is only four stories in height, while the bay to the left is six stories tall. The transom of the left bay is presently obscured by a mesh security grille. Non-historic signage is also present above each doorway.
The nine-story, rectangular tower that rises through the center of the Lafayette Avenue wing is carefully articulated as a more solid volume and is divided into two equal-sized recessed, pointed-arch bays containing narrow windows. The recessed openings containing the windows widen gradually in steps as they rise to pointed-arch terminations. The pointed arches are detailed by a single header course of brick with three consecutive recessed brick arches beneath. The pointed-arch window openings are present on all four of the tower’s facades, as are the narrow, slit windows of the tower’s top-most story.
Below the pointed-arch windows on all four sides, the spandrels are corbelled to meet the flanking piers and suggest balconies. The windows that align with the rounded-arch windows of the arcades to the left and the right of the central tower repeat the rounded-arch motif and are also articulated with a single header course of brick. At the ground level of the tower there are two openings, not original to the building, one a raised garage door, the other a standard doorway. To the left of the raised garage door, at both the “sub-basement” and “sub-sub-basement” levels, steel-sash windows have been replaced with glass block. All of the remaining windows of the tower retain their original steel-sash windows with operable sections and feature the typical lintels for the site. The rectangular sills beneath the windows within the bays extend beyond the window openings, spanning the width of the recessed areas. Below the third-story window openings, a balcony supported by concrete brackets spans the tower. A flagpole once rose above the tower’s crenellated parapet but is no longer extant.
The east and west facades of the Lafayette Avenue wing of the American Bank Note Company Printing Plant are articulated in a very similar manner to the Lafayette Avenue facade. Both the east and west facades feature substantial brick pilasters spanned by recessed brick spandrels that separate them into two equal-sized bays. A shorter, third bay to the north projects slightly from the west facade, but is recessed slightly at the east facade. The bays closest to Lafayette Avenue on both the east and west facades feature narrow, recessed rectangular windows, while the remaining openings feature the typical large expanses of industrial steel-sash windows. The typical lintels and sills are also present on both the east and west facades.
The windows of the two bays closest to Lafayette Avenue, including the rounded-arch windows of the top-story of the arcades, align with similar windows along the south facade. The top-most story of the shorter, northern bays of the east and west facades also feature rounded-arch windows. On the west facade, the large, square-headed windows of the “sub-sub-basement” level have been filled in with brick. Cellular phone antennas are present on this facade, particularly along the shorter, northern bay. Attempts to camouflage the antennas as brick elements have been made. Two vehicular openings have been cut into the shorter, northern bay of the otherwise identical east facade.
The north facade of the Lafayette Avenue wing is similarly articulated as multiple bays separated by substantial brick pilasters. To the west of the printing press wing, nine four-story arcades are visible, each capped with a rounded-arch window opening. Recessed above the roofline, an additional two stories are visible. The fenestration of these top-most stories align with similarly placed windows along the south facade of the Lafayette Avenue wing. Many of the original steel-sash windows with operable sections still remain along the north facade, although many, particularly at the bottom-most story, have unsympathetic alterations and inclusions, including at least one roll-down security gate. Adjacent to the north facade, a sheet-metal clad chimney stands next to a small, adjoining, one-story brick structure. The chimney, though original to the site, has apparently been shortened since the time of construction. Fire escapes are visible on the north facade.
With the exception of the crenellated tower, the Lafayette Avenue wing of the American Bank Note Company Printing Plant features a flat roof beyond a shallow parapet. The parapet features terra-cotta coping on all sides. There have long been three bulkheads on the roof of this wing: one near the west end, one just west of the central tower, and one near the center of the wing. Non-historic lighting, cellular phone antennas, security cameras, and signage, are present throughout.
Printing Press Wing
The larger, printing press wing, located north of and perpendicular to the Lafayette Avenue wing, is articulated similarly to the Lafayette Avenue wing, divided into three-story arcades framed by shallow pilasters. The pilasters of the printing press wing terminate with square caps, rather than the stepped caps present on the Lafayette Avenue wing. The east and west facades are divided into 16 bays each.
The seven bays adjacent to the Lafayette Avenue wing are somewhat taller and wider than the nine bays located to the rear (north). The difference in height is made up by slightly taller third-story windows present in the seven bays adjacent to the Lafayette Avenue wing and accommodate a partial mezzanine level inside. The north facade of the printing press wing is divided into 11 bays, while the wing is fully attached to the Lafayette Avenue wing to the south. The top-most story of the three visible facades of the printing press wing feature rounded-arch windows similar to those of the Lafayette Avenue wing. To the east, only this upper story is visible from street level, as the rest of the facade is obscured by the Barretto Street wing. The north facade is partially obscured from street level by the brick wall that surrounds the landmark site.
A loading platform extends along much of the west side of the printing press wing. At the main entrance to the building, which is located at the approximate mid-point of the west facade, a canopy protects four arched openings. The main entrance currently features two pairs of non-historic aluminum-framed doors, and is slightly recessed in its arched opening below a blocked transom. A non-historic iron railing presently lines the loading platform.
The saw-tooth roofline and numerous vents are visible above the edge of the roof parapet of the printing press wing. Several fire escapes serving the roof and upper stories are present on both the north and west facades of this wing. Many of the original industrial steel-sash windows have been replaced or altered, including the addition of through-the-wall air conditioning units. Towards the center of the north facade, a non-original third-story garage door is present. A shallow parapet surrounds the printing press wing on all four sides and is capped by terra-cotta coping, similar to the Lafayette Avenue wing.
- From the 2008 NYCLPC Landmark Designation Report
Кейс книжка в 2-3 раза тоньше обычно классической книжки для смартфона. Подкладка используемая на внутренней стороне корпуса мягкая защищает экран телефона, очищает дисплей от отпечатков пальцев, придавая дополнительный уровень роскоши.
printofon.ru/shop/nillkin-qin-chehol-flip-kejs-dlya-xiaom...
Those blue notes were performed by my friend Erik Truffaz and Christophe along the "Bassin de Neptune" (Neptune's fountain) in the gardens of Versailles.
Christophe didn't sing live since many years and he invited several prestigious guests to join him on stage.
It was a night to remember...
Christophe is a French famed singer and talented songwriter.
His first hit was “Aline” in 1965 and he is famous for his eternal songs "Les Paradis perdus" ("Lost Paradises" - 1973) and "Les Mots bleus" ("The Blue Words" - 1975).
Whenever he is performing he is illuminating the stage, gathering any kind of people from all generations.
Christophe is a decadent and flamboyant dandy who is a mysterious loner drifting apart from the showbiz scene.
He is notorious for being an uncontrollable rebel with panache and poetry.
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
So yesterday when it was time to go to school, Jessie was busy doing something and I told her to stop or we would be late. In a nutshell, I upset her.
This morning while having breakfast, she handed me this note and said she was sorry. She then proceeded to bury her face in her hands, ran to her room and cried her eyes out. From what I gather from reading her note, she went to school yesterday and thought to herself that I was stupid (that's the s word) and that she hated me. I guess the guilt overwhelmed her. Jane said she came home from school last night and told her about it while she cried her eyes out to her. She really has a guilty conscience.
So I went up stairs and spent the next 10 minutes trying to calm her down. I asked why she was crying. She said because she didn't want me to be sad. I told her I wasn't sad, but I just wanted to understand why she felt this way about me. She said she didn't want to tell me. I'm pretty sure it had to do with me not letting her do whatever it was she was doing before we left for school.
Man, I'm in serious trouble. I dunno how I am going to handle the teenage years. :D lmao.
A sketcheo ? A doodleo ? Note sure what it is but I suspect I'll do more to pass the time before going to sleep...
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From Evernote:
theyroaredvintage.tumblr.com/post/6554799565
Screenshot
Untitled Clipped Note
Screenshot
Screenshot
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theyroaredvintage.tumblr.com
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Wardrobe to Sew
SEW
dresses:
electric blue sheath
white sheath mini with collar
lavender eyelet sweetheart
navy shift dress*
camel shift dress
black shift dress
apron(s)
kaftan
burnt orange Maxi dress w necklace
shorts:
skirts:
aline hunter green tweed skirt
shirts:
40s blouse
mint green tshirt blouse
outerwear:
hooded cape just below knee, chain linked clasp*
mondrian raincoat PVC
long shawl collar floor length coat - brown P&P, bell sleeves?
bathing suit:
EMBELLISH
outerwear:
nero's winter jacket with rabbit fur*
bedding: black throw pillows
Screenshot
Mad+Men+Mad+Style+Helen+Bishop+Season+1+Episode+3C.jpg
Mad+Men+Mad+Style+Betty+Draper+Season+3+P1+5.jpg
Mad+Men+Mad+Style+Betty+Draper+Season+3+Episode+3+P3.jpg
Mad+Men+Mad+Style+Betty+Draper+Season+3+Episode+3+P2.jpg
Windows & Tester Notes
•A window tells me I don't have permission to save notepad to desktop but it saves anyway.
•I like pin to taskbar.
•When I unplug and go outside my home network disappears. I was able to connect to the net. The network stayed when I came back in and unplugged.
•I don't notice a mail. Windows mail or outlook express.
•I'll install 2003 soon.
•I'm glad I can drag files to a folder and they Move like xp used to. I want a move feature.
•Could not load easy media transfer on xp pro machine
•Adobe flash player 9 debugger comes up in mozilla even though I have installed flash PLAYER 10
•I had problems installing an ati 650 made for windows 7 beta software. Uninstall was just as bad.
•I like the video preview box!
•I can't get the ati TV 650 wonder to load from the software disc or from the ati site using a windows 7 friendly download.
•It looks like you didn’t get the message about playing gifs.
•1/28/2009 5:11:15 AM
•Moving @ 50 gb from networked xp pro external hd to windows 7 LT
•69 processes, cpu usage %68, physical memory %51 5 apps open including mozilla with 3 tabs open to my webpage plus two fox web pages which are heavy with video and pics. Firefox at 224,00kpss
•Memory is at 1.93 gb
•1/29/2009 4:43:51 AM I have tried three or four times to open the control panel and get a runtime error. I want to uninstall a program. The control panel view opened but was blank. I had to use the drop down to select.
•Odd behavior tonight. I loaded some movie files from my Sony. Adobe premiere pro didn’t see them so I loaded adobe elements 2.0. It didn’t see them. I tried to rename the ext to .mpg they wouldn’t rename. I tried to use a bulk rename utility but it didn’t see the files… Twighlite zone. I see the files and the media player plays them. I want to cut them but do not understand.
•I started having problems with the forward button on the photo nedia viwer roday.
•1/30/2009 4:10:50 PM
•I like the thumbnail images on the desktop
•2/3/2009 6:57:56 PM
•OK it has to be a windows 7 thing with mo 2003 because I received both of these at the same time watching THE DESKTOP AND THE LAPTOP (LAPTOP HAS WINDOWS 7) . THE DESKTOP, xp pro, WAS FINE. THE LAPTOP RECEIVED GARBAGE. But I am wondering why Bella can send me the same thing and it was OK on Laptop when yours wasn't. So it is not you.
•2/4/2009 6:47:30 AM
•Pop up says ie8 not supported.
•I still haven’t found how to sort by name the icons in the quick launch area.
•I need base system deveice drivers’
•When moving files on a network from xp pro to windows 7 the move starts but often ends in can’t move thumbnail error.
•I like the way 7 easily synched with my moto q however I have trouble turning motoq into a modem.
•I have difficulty opening multiple folders at the same time
•IE comes up but then just disappears, firefox works.
•I can't get to advanced edit in mo 2003 windows 7. erroror h.
•windows 7 bogged dowen deleting duplicate files with dupe locator.
•2/8/2009 1:58:16 AM
•trying to update a techsmith camtasia I get switch to box. Finding the browser didin't help.
•When I try to use camtasia to record a power point presentation I can’t check the record from what speaker hears box.
•Ie won’t stay op[en. It opens then closes.
•Ie7 would not install. Windows said not nsupported
•Won’t work with google chrome.
•Shaneksmith1957@gmail.com
•2/9/2009 7:00:59 AM
•Sound recorder threw up multiple windows telling me it didn’t have enough temp memory to record. I have @ 200gb free on drive.
•2/17/2009 1:11:46 PM
•An infrared driver update came my way via windows beata notification. However the page disappeared and I can’t get it back. It lead me to a blank web page. I managed to save a pdf of the page with hot links but the links go nowhere. There was no explanatioin as to what the driver fixes.
•Shaneksmith1957@gmail.com
•I managed to downlload the cir driver from the hotlink.
•I am looking for 3 base system drivers
•Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
•2/28/2009 1:25:37 AM
•I like the desktop random change selection
•3/8/2009 3:48:36 AM
•7 has a problem with video programs. i tried importing an avi video from a networked pc using camtasia and she crapped out on me...AGAIN!!
•shaneksmith1957@gmail.com
•3/16/2009 9:09:52 AM
•windows 7 won't let total recorder record sounds heard from speaker only. This is useful when trying to record screen shots with internal sound from a website.
•shaneksmith1957@gmail.com
•Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
•3/17/2009 9:17:25 AM
It’s a sugar coated version of XP that conflicts with my video editing programs. Microsoft has made it harder to move files with no “move” feature. They have taken away the windows picture viewer and gif images don’t work without extra software.
The switch to box wouldn't let me switch mto moizilla on a download for an upgrade to snagit.
shaneksmith1957@gmail.c
4/5/2009 12:19:52 AM
7 crashed while saving a word project and going to open a photo.
shaneksmith1957@gmail.com
4/9/2009 6:17:34 PM
Windows 7 does not like my logitech webcam.
4/18/2009 1:47:39 AM
4/19/2009 9:46:20 PM
7 can feel me closing it down. it crashed as i copy program files so I can downgrade to vista.
shaneksmith1957@gmail.com
Installing windows 7 signature edition on 32 bit and 64 bit. I had to wipe the 32 bit because 7 wouldn’t recognize windows 7 RC. Install of fresh 7 took About 40 minutes. From Vista 64 bit 7 copied and saved programs and data of @ 400gb on my lt and @ 80 programs in @ five hours! That was nice!
10/10/2009 9:39:53 PM
Wipe 7 32 bit because of ati problem. Starting re install
To ready desktop:
10/10/2009 10:08:59 PM
A wipe did not fix the ati glitch on a reinstall.
Windows 7 changed back to windows 7 basic color scheme and the tuner came back on. I had just plugged the tuner into Laptop 2 64bit vista and ati 650 worked. Then all of a sudden the tuner started working again on my 7 lt. Weird coincidence.
10/14/2009 4:21:42 AM
Uninistalling Roxio and using a windows basic or Aero theme in Display settings then re-installing the 650 program over the existing install made the 650 work for me again. I dare not mess with Windows TV tuner!
For those with simple need that don’t need a TV tuner I sugest Windows 7 Ultimate. For those willing to troubleshoot your ATI tuner I also suggest Windows 7 Ultimate!
10/14/2009 11:23:51 PM
A windows 7 update today caused the ati not to work again. It plays but is slow.
10/17/2009 5:16:59 AM
I had to reverrify my activation key on the 32 bit.
I can only network 2 machines that are both on 7.
10/17/2009 10:12:32 PM
A clean uninstall of the 650 then re-install AFTER re-installing roxio fixed it so far.It’s working with roxio now. Roxio’s TV tuner and the ati tuner are working. If you put in ati first before Roxio then Roxio won’t let you install ati.
Hp 7350 photo printer won’t work with hp laptop 64bit and 7 desktop 32bit. No compatible drivers I have found so far have helped.
I can’t figure out how to sort icons in Quick launch with 7.
Death Note Cosplay in Vb2 Cristal Palace
Models: Arturo Pozo as L and Gisella Gerrero as Raito from death note
Photography: Anna Calderon
Meh - one day when I really wish I wasn't doing a 365.
Great evening at the cinema - saw "Paul".... the Alien movie by Simon Pegg & Nick Frost. Many laugh out loud, tears in the eyes moments in the film.... although I suspect only geeks will think this.
This was the second film we saw this week ... On Monday we saw "The King's Speech" - An awesome & moving film.
Two cinema visits in one week...... Normally we only see two a year!
Feb ABC - Y is for Yellow
56/365:2011 - Feb 25th
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Packing up to move is proving to be a great trip down memory lane.... finding all those old bits of my life that had faded into some obscure haze. I used to spend over an hour a day with this fellow! ..... A quick little play with my macro lens later and it is now once again back in it's box.... hopefully we will meet again soon!