View allAll Photos Tagged Refinance
An interesting small booklet that is a special issue of the company's house magazine, the Tate & Lyle Times. It was produced "for all interested in sugar ... customers, shareholders, employees and visitors to our refineries". Undated it includes data including 1956.
Tate & Lyle were the dominant UK sugar refiner and producer formed by merger in 1921 and acquisitions. In post-WW2 years the company agressively fought what was seen as a proposal to nationalise the industry, along with the British Sugar Corporation that held an effective monopoly over the beet manufacturing of sugar, and as part of this invented the "Mr. Cube" advertising symbol who is seen on the cover of the magazine. The company had distinctive packaging for the various products and product ranges they produced. The booklet loos at the history of sugar, the company and it's then contemporaty activities. Needless to say the sugar trades links to slavery gets scant coverage.
The booklet has three fine fold-out plans of the company's three major production sites. The Liverpool Love Lane refinery and the Thames refinery in London had come to the company from the Tate side of the business with the Plaistow Wharf refinery being the dowry of the Lyle side of the merger. Sadly no artist nor designer is credited for these rather fine cross-section plans.
The Liverpool Love Lane site was purchased by Henry Tate in 1872 when he acquired the rights to the Bouivin Loiseau process of sugar refining that was a technological advance on earlier methods of refining. Merseyside, home to the major port of Liverpool, was an early home to the sugar industry with various refineries including those with links to one of the earliest homes of the industry, Greenock on the River Clyde in Scotland.
Getty Refining & Marketing Company located near Delaware City, Delaware. This is an LTI Ladder Tower with fire pump. This unit was designed to flow a high capacity of foam through the aerial piping.
taken May of 1979
Miner's guide P8 - Digging Deeper
All photos should be credited to Fairphone.
Creative Commons license: creativecommons.org/licenses/by-nc-sa/4.0/
This license lets others remix, tweak, and build upon our work non-commercially, as long as you credit us and license our new creations under the identical terms.
TAMBUA
Australian
Owners: Colonial Sugar Refining Co Ltd
Port of Registry: AUS Sydney
IDNo:5351636
Year:1938
Name:TAMBUA
Keel:
Type:Cargo ship
Launch Date:27.5.38
Flag:AUS
Date of completion:7.38
Tons:3566
Link:1619
DWT:
Yard No:376
Length overall:
Ship Design:
LPP:110.8
Country of build:GBR
Beam:15.3
Builder:Caledon SB & E Co
Material of build:
Location of yard:Dundee
Number of
screws/Mchy/
Speed(kn):1T-11
Naval or paramilitary marking :
A:*
End:1973
Subsequent History:
[part molasses tanker] - 68 MARIA ROSA
Disposal Data:
BU Kaohsiung 7.1.73, work began 22.1.73 [Chin Ho Fa Steel & Iron Co]
Details: Mirimar Ship Index
Photo Credits: The late Don Ross collection
Churchill Falls, Labrador 1 March 2010
Refining arctic fighting skills
Private Ryan Scott, a member of 1st Battalion, Royal New Brunswick Regiment, Fredericton, lights a candle that will illuminate a box made of snow blocks. The soldiers built about 40 snow blocks on both sides of an abandoned runway near Churchill Falls and lit them at night to simulate a night landing for an aircraft.
Soldiers from 1st Battalion, Royal New Brunswick Regiment, Edmonston, Fredericton, Grand Falls and St. John New Brunswick, conduct a sovereignty exercise during EXERCISE STALWART GOOSE in Churchill Falls Labrador along with the guidance and assistance of members from the Canadian Rangers (CR’s) from 5 Canadian Ranger Patrol Group (CRPG), Churchill Falls Patrol.
The Eastern Arctic region of Canada continues to be the focus of strategic importance to the Government of Canada (GoC) and the Canadian Forces (CF) as we fine-tune our capabilities in conducting Sovereignty Exercises (SOVEXs) and Sovereignty Operations (SOVOPs). From this analysis, Churchill Falls, Labrador was chosen for EX SG 10 as it offers the remoteness and limited infrastructure making the conduct of any CF northern operation extremely challenging.
1 Royal New Brunswick Regiment (1RNBR) as the Land force Atlantic Area (LFAA) Arctic Response Company Group (ARCG) toke advantage of this remoteness and incorporate the achievements and lessons learned from EX STALWART GOOSE 09 in conducting this exercise. It is expected that this unit will accomplish the requirements to further develop and refine our arctic war fighting skills whilst fulfilling the task of conducting a SOVEX.
Canadian Forces Image Number LH2009-005-002
By Warrant Officer Jerry Kean with JTFA Public Affairs
_____________________________Traduction
Churchill Falls (Labrador), 1er mars 2010
Améliorer la capacité de combat dans l’Arctique
Le Soldat Ryan Scott, membre du 1er Bataillon, The Royal New Brunswick Regiment, Fredericton, allume une chandelle qui éclairera une boîte faite de blocs de neige. Les soldats construisent environ 40 blocs de neige de chaque côté d’une piste abandonnée, près de Churchill Falls, et, la nuit tombée, les allument pour la simulation de l’atterrissage de nuit d’un avion.
Des membres du 1 RNBR, d’Edmundston, de Grand Sault, de Fredericton et de Saint-Jean au Nouveau-Brunswick, effectuent un exercice de souveraineté dans le cadre de l’exercice Stalwart Goose à Churchill Falls, au Labrador, sous la direction et avec l’aide de Rangers qui font partie du 5e Groupe de patrouilles des Rangers canadiens (5 GPRC) de Churchill Falls.
La région de l’Arctique de l’Est du Canada revêt toujours une importance stratégique pour le gouvernement du Canada (GC) et les Forces canadiennes (FC), en raison de la mise au point de nos capacités de réalisation d’exercices de souveraineté (SOVEX) et d’opérations d’affirmation de la souveraineté (SOVOP). On a donc choisi la région de Churchill Falls, au Labrador, pour l’Ex SG 10, car elle est éloignée et elle offre une infrastructure restreinte, ce qui rend très difficile la réalisation d’une opération nordique par les FC.
Le 1 RNBR, en qualité de groupe-compagnie d’intervention dans l’Arctique du Secteur de l’Atlantique de la Force terrestre (SAFT), a tiré parti de l’éloignement et a intégré les réalisations et les leçons retenues de l’Ex Stalwart Goose 09 à l’exécution de cet exercice. On prévoit que cette unité permettra de respecter les exigences liées à l’amélioration et au peaufinage de nos capacités de combat dans l’Arctique tout en menant à bien un SOVEX.
Image des Forces canadiennes numéro LH2009-005-002
Par l’Adjuvant Jerry Kean, Affaires publiques de la FOIA
The worst social problem in the most heavily Progressive-dominated political districts is a lack of housing caused by selfishness and greed, two characteristics hypocritical Progressives like to criticize Conservatives for.
California has a housing problem. Anyone who lives in California copes... at Root cause of California's housing problems is homeowner greed and hypocrisy
Visit the OC Housing News, and read the OC Housing News blog. Learn why you should use a home guide. Meet the Akason Realty Consulting home guides and housing market analysts, and read our real estate agent testimonials. Discover why you should register with the OC Housing News and how to use the OC Housing News. Utilize the advanced property search, or the MLS map search.
See our special real estate offers: property search guide, housing market reports, home ownership cost guide, guide to rent or own decision, home financing guide, foreclosure 101, short sale guide, how to sell your home without a realtor, The Great Housing Bubble free PDF, 1.5% rebate on new home construction, no cost home sale program, and maximum impact real estate marketing.
Also read Renter News, SD Housing News, Housing Bubble News & Information, Housing Market Forecast US, Housing Market News & Information, Real Estate Ruin, USA Housing News, California Real Estate News, Housing Market News, USA Foreclosure News, Mortgage and Foreclosure News, Mortgage Refinance News, Real Estate Loan News, Debt Default News, Ponzi Debt, Loan Modification and Default News, Mortgage News Clips, and Fay Mortgage News.
Petroleum refining facility located in Linden, New Jersey, owned by Conoco Phillips. This is the northernmost refinery on the East Coast of the United States.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
#coupon_contentborder:dashed 1px #0dae18;background-color:#fff;width:160px;height:245px;
Save 30%
30% Off Univeristy JELL-O Molds
Save 10% (Subscribe & Save Only)
Kettle Brand
...
allbeautydeals.com/best-skinceuticals-retinol-1-maximum-s...
STANDARD OIL CO. REFINING PLANT NEAR EAST CHICAGO - INDIANA HARBOR, IND.
Date: Circa 1930
Source Type: Postcard
Publisher, Printer, Photographer: Pacific & Atlantic Photo, Inc., E. C. Kropp Company (#6013, #12)
Postmark: None
Collection: Steven R. Shook
Copyright 2006. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
SINCLAIR
Super Flame
OILS
ECONOMICAL
CLEAN FUEL
Wm. F. Van Senus, Agent
SINCLAIR REFINING
COMPANY
Phone 150
Valparaiso, Indiana
Source Type: Matchcover
Publisher, Printer, Photographer: Diamond Match Company
Collection: Steven R. Shook
Copyright 2012. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
pluralistic.net/2026/06/05/defining-humanity/#narrowing-t...
A 1960s classroom. A teacher in a blue dress stands at a blackboard in the background; in the foreground, a child works at a desk. The child's head has been replaced with the head of a killer robot. The blackboard is covered in printed circuits.
All photos should be credited to Fairphone
Under Creative Commons license "Attribution-NonCommercial-ShareAlike CC BY-NC-SA."
This license lets others remix, tweak, and build upon our work non-commercially, as long as you credit us and license our new creations under the identical terms.
creativecommons.org/licenses
This photo is a night drive-by of an Oil Refinery. The squiggly yellow light is from open flames, smoke, steam & plant lighting.
South Pacific Enterprise 1956.
The history of the Colonial Sugar Refining Company (CSR Co.)
This Centenary commemorative book was issued to company shareholders in 1955.
An Australian enterprise founded 1855 by Edward Knox, a Danish immigrant, from earlier origins as the Australasian Sugar Company ( 1842), which Knox managed. The company established sugar operations in Australia, Fiji, New Zealand and over the next 150 years diversified into building materials, chemicals etc.
Published by Angus & Robertson, Sydney. Cloth boards, 500 pages 16cm x 24cm.
OHIO-COLORADO SMELTING & REFINING CO. SMOKESTACK / SMELTERTOWN - 1401 J St.
National Register 1/11/1976, 5CF.143
Completed in 1917, the brick and tile smokestack reaches a height of 365 feet. Its concrete foundation extends 30 feet into the ground. The structure was built to replace two shorter smokestacks at the Ohio-Colorado Smelting and Refining Company's smelter facility located one mile west of Salida. Although the facility closed in 1920, the smokestack remains as a highly visible monument to the mining industry and its workers.
Just refining my posterising skills for some upcoming jobs. Asked him to sit for me to get the lighting right, but apparently it was a big ask.
Like it? Buy it!
When I was refining the design, I tried to think of some accessories for the robot. Here's a set of tools, with a toolbox that could be used to store the extra face tiles, which was designed before I came up with the crate idea.
Instructions will be released on rebrickable in the coming months.
W.A.L.T. will be available for preorder on bricklink starting February 16th. :)
Humble Oil and Refining Company was founded in 1911 in Humble, Texas. The company was acquired by Standard Oil of New Jersey in September 1959 and merged with its parent to become Exxon Company in 1973. In 1999, Exxon and Mobil merged to become the ExxonMobil Company.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
Lots of Refinance opportunities exist for people current on their home loan if you purchase or refi'd prior to June 2009. Listen for the details.
TDR home loan mortgage company is a trusted provider of home loan mortgages and home refinance Compare mortgage rates on a home refinance, VA loans, FHA loans, Jumbo loans, conventional loans, reverse loans, calstrs, first time home loans, USDA loans, CalHFA loans and calSTRS loans. We serve southern California including Upland, Rancho Cucamonga, Ontario, LaVerne, Claremont, Montclair, Pomona, Riverside, Corona, Glendora, Chino Hills, Chino, San Dimas
I am a life-long resident of the Inland Empire and a licensed California Real Estate Broker, California Certified Residential Property Manager, Certified Short Sale and Foreclosure Specialist. With over 15 years experience in the mortgage loan industry, I am dedicated and prepared to assist you with your mortgage loan or refinance.
Call 909-920-3500 today!
When I was refining the design, I tried to think of some accessories for the robot. Here's 3 (well, actually 2,5) jetpack designs. They're attached to W.A.L.T.'s back, instead of the battery compartment's lid. Do you have a favourite ?
Instructions will be released on rebrickable in the coming months, and I will show more accessories in the next few weeks.
W.A.L.T. will be available for preorder on bricklink starting February 16th. :)