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May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
Iowa Interstate's Rock Island heritage ES44AC. It started out very similar to my KCS ES44AC, but one advantage of building the same thing over and over is that you usually refine the design with each successive build and that's what happened here. I wound up rebuilding parts of my KCS because I came up with more elegant solutions in places on the Rock Island. I really like the ES series and this is probably one of the best paint schemes yet. All the painful GE vents are there, but I've done them enough that this time it's a pretty solid build all around. The trucks are slightly different from the KCS because IAIS ordered theirs with radial trucks.
Miner's guide P8 - Digging Deeper
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May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
This photo is a night drive-by of an Oil Refinery. The squiggly yellow light is from open flames, smoke, steam & plant lighting.
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
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
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.
In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.
The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping. In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.
With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.
Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.
The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.
An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.
Every two years, the Festival de Loire recalls the role played by the river in the commune's history.
On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.
Hotel Groslot is a beautiful Neo-Renaissance mansion on the Place de l'Etape next to the cathedral in Orleans. The mansion which once hosted King Charles IX, Henri IV and Catherine de Medicis is open for visitors to admire part of the interior. It is also known as the Grande Maison de l'Etape and the Maison de Gouverneur.
Explore the Hôtel de Groslot
The Hotel Groslot was built for the Groslot family in the mid sixteenth century. Jaques Groslot died before the house was completed and left the house to his wife and two sons. One of the sons Jérôme Groslot became the bailif of Orleans in 1545 and in October of 1560 King Francois II came to live in the Hotel Groslot with all his court as a protest against Jéroôme Groslot who was a supporter of the Protestant Reform.
Whilst at the hôtel he died and the crown passed to his ten year old son Charles IX and the regency passed to his mother Catherine de Medicis. Charles and his mother finally left the Hôtel Groslot in February 1561 after the court have been staying there for 5 months!
In 1758 the hôtel is sold to the municipality and in 1790 it becomes the town hall. In 1981 the town hall moved to no.1 Place de l'Etape and today some rooms are open to visitors and are also used for the wedding ceremony of residents of Orleans.
Inside the building you can visit the sumptously furnished salon d'honneur, the council chambers and the salon des marriages where Francois II died.
The salon d'honneur is beautifully furnished with ornate ceilings, pannelled walls and stained glass windows. The fireplace is decorated with the story of Joan of Arc whose history is closely linked with the city of Orleans. For more information see the story of Joan of Arc.
The stained glass windows include portraits of famous people including Joan of Arc and CharlesVII. Opposite the fireplace is a large painting of Joan of Arc. This is a copy of a painting by Pierre-August Pichon which was offered to the city by Napoleon the 3rd and is now exhibited in the Louvre at Paris.
Outside in the courtyard is a large statue of Joan of Arc realised by the Princess Marie of Orleans dates from the 19th century and if you look closely you can see bullet holes from battle for the liberation of Orleans in August 1944. There is a garden behind the building that is accessible from the Rue d'Escures.
The Hotel de Groslot is open every day except when a marriage is taking place and is free to visit.
The Hotel Groslot makes a mention in literature by Honoré de Balzac in the Comedie humaine, 'Sur Catherine de Medicis'.
Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.
Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.
The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.
Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.
Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).
To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).
At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).
In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.
The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.
With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.
Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.
The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.
An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.
Every two years, the Festival de Loire recalls the role played by the river in the commune's history.
On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.
Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.
In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.
Early Middle Ages
In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.
High Middle Ages
The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.
On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.
1453 to 1699
Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).
The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.
From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.
The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.
1700–1900
When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.
The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.
1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.
1900 to present
During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.
The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.
Heraldry
According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."
The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".
Motto
"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.
Orléans is the birthplace of:
Sophie Adriansen (born 1982), French writer
Patrick Barul (born 1977), football player
Joelly Belleka (born 1995), basketball player
Raoul Blanchard (1877–1965), geographer
Maxence Boitez (Ridsa) (born 1990), singer
Patrick Bornhauser (born 1957), racing driver
Raymond Brugère (1885-1966), diplomat.
Jean-Baptiste Marc Bourgery (1797–1849), anatomist
Félix Cazot (1790–1857), classical pianist and composer
Philippe Chanlot (born 1967), football player
Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there
Gilles Delouche (1948–2020), linguist
Étienne Dolet (1509–1546), scholar and printer
Joël-François Durand (born 1954), composer
Jean-Louis Ferrary (1948–2020), historian
Georges Fleury (1878–1968), cyclist
Albert Gombault (1844–1904), neurologist
Guillaume Gomez (born 1969), racing driver
Jacques Guillemeau (1550–1613), physician
Albert Guyot (1881–1947), racing driver
Étienne Hubert (1567–1614), Arabist
Gaston d'Illiers (1876–1932), sculptor
Isaac Jogues (1607–1646), Jesuit missionary
Stanislas Julien (1797–1873), orientalist
Gustave Lanson (1857–1934), historian
Pierre Levesville (1570–1632), Renaissance architect
Anatole Loquin (1834–1903), writer and musicologist
Yven Moyo (born 1992), football player
Yves-Marie Pasquet (born 1947), composer
Charles Péguy (1873–1914), poet and essayist
Antoine Petit (1722–1794), physician
Lamine Sambe (born 1989), basketball player
Yacine Sene (born 1982), basketball player
Florian Thauvin (born 1993), football player
Christophe Tinseau (born 1969), racing driver
Jean Zay (1904–1944), jurist and politician
Historical landmarks
The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve
The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).
The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).
The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).
The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]
Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.
The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.
The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).
Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.
Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.
The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.
The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.
The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.
The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water
The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).
Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.
The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.
The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.
The Hôtel Toutin, 16th century
The Hôtel Pommeret d'Orléans, 16th century
The Hôtel Ducerceau, 16th century
The maison de la coquille, 16th century
The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.
The House of Jean Dalibert, 16th century
The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"
The mansions, rue d'Escure (17th and 18th centuries)
The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.
The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.
The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.
The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water
The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.
The courthouse (18th to 20th centuries)
The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.
Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.
Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.
Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).
Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).
The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.
Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.
Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).
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.
File name: 10_03_000196a
Binder label: Meat
Title: Professor A. Hogge of N. K. Fairbank & Co.'s refining college [front]
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : chromolithograph ; 11 x 8 cm.
Genre: Advertising cards
Subject: Swine; Corn; Oils & fats; Animals in human situations
Notes: Title from item. Retailer: The Natick Protective Union, corner of Main and Pond Sts, Natick, Mass.
Statement of responsibility: N. K. Fairbank & Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
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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.
Website www.quintcobb.com
Info www.quintcobb.wordpress.com
Mortgage Relief Services
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Whoever owns the loan (whether it is a lender or a group of lenders), the servicing firm is contractually obligated to find the solution to payment problems that will minimize loss to the owner. If the lowest-cost solution is a mortgage relief agreement, that's great -- everyone involved prefers a mortgage relief agreement instead of a foreclosure. But if a foreclosure would generate lower costs for the owner, the decision will be to foreclose. The cost of foreclosure to the borrower does not enter the decision.
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That is why homeowners faced with this prospect, whether they are delinquent or not, should request professional Mortgage Relief Assistance.
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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
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.
Australasian Sugar Refining Company complex 1891, 1899 at conversion to apartments in the 1980s.
Designers: Hyndman and Bates.
.
`The site of the factory was included in Section 2B [of the original Port Melbourne survey], which was surveyed into four allotments early in the history of Sandridge. By November 1860 three of these had been purchased by A. Ross, joining William Jones, S.G. Henty and P. Lalor as owners of the section (2)..
.
In February 1890, the Melbourne Tram and Omnibus Company Limited, had stables, offices, land and an omnibus repository on the section.(3) [Most of the present buildings on the site date from 1891, when the Australasian Sugar Refining Company established a refinery.(4)] On the MMBW detail plan dated 1894, the section is labelled 'sugar works' and the configuration of buildings approximately conforms with the present layout. [The refinery was closed in 1894 following its purchase by the Colonial Sugar Refining Company as part of a move to strengthen its monopoly.].
.
[In 1899, Robert Harper and Company Pty Ltd converted the buildings to a starch factory, and various brick additions were constructed to designs by Hyndman and Bates, architects.(5)] When the sewerage was connected in 1899, a plan was drawn by the architects and this closely resembles the 1894 MMBW detail plan configuration. (6) .
.
The buildings .. form the major part of the original factory complex on the site, one of the largest nineteenth century industrial sites in Victoria. The complex as a whole is significant for its large size and range of building types. The dramatic massing and height of the 9 Beach Street buildings gives them additional importance as local landmarks as viewed both from the surrounding streets and the sea..
.
COMPARATIVE ANALYSIS.
The former Australasian Sugar Refining Company and Robert Harper starch factory complex can be compared with a number of other large nineteenth century industrial complexes in Melbourne. These include the former Yorkshire Brewery, Wellington Street, Collingwood (from 1876), the former Victoria Brewery, Victoria Parade, East Melbourne (established 1854), the former Kimpton's Flour Mill, Elizabeth Street, Kensington, the Thomas Brunt flour mill and Brockhoff and T.B. Guest biscuit factories complex, Laurens and Munster Streets, North Melbourne (from 1888-9) and the Joshua Bros (now CSR) sugar refinery, Whitehall Street, Yarraville (established 1873). All of these are representative of the development in Victoria of the manufacture of foodstuffs and related raw materials. Of these, the CSR refinery is the most directly comparable in terms of original function and the scale and massing of the buildings. Established significantly earlier than the Port Melbourne refinery, the site is larger and more intact..
.
In the local context, the only other surviving industrial site of comparable scale is the Swallow and Ariell Biscuit Factory complex (q.v.). This complex is of state significance, and is considerably earlier, with parts dating from the 1850s. The predominantly two- and three-storey buildings, however, are of a different type to the former refinery and starch factory buildings..
Allom Lovell and Associates 1995 cite Jacobs Lewis Vines. Port Melbourne Conservation Study:.
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Commonwealth Oil Refining Company, Inc. (CORCO) was an oil refinery established in the towns of Peñuelas and Guayanilla in Puerto Rico in the middle of the 20th century. The project started as part of Operation Bootstrap with the first unit being constructed in 1954. The company started operations in 1955 and was finally incorporated on May 19, 1963. Corco represented an investment of $25 million and had the capacity to refine 23,500 barrels (3,740 m3) of oil daily. Hugo David Storer Tavarez was one of the men in charge of the CORCO being established in Puerto Rico.
The refinery is located in an 800-acre (3.2 km2) site, and consists of numerous storage tanks and waste treatment units typical of petroleum refineries. CORCO has been inactive since 1982, and now functions as a terminal for the marine transportation and land-based storage of crude oil and petroleum products.
After the refinery ceased operations, an entity called Desarrollo Integral del Sur (South Integral Development) began developing a long-term plan for the reuse of the terrains and properties.
Australasian Sugar Refining Company complex 1891, 1899 at conversion to apartments in the 1980s.
Designers: Hyndman and Bates.
.
`The site of the factory was included in Section 2B [of the original Port Melbourne survey], which was surveyed into four allotments early in the history of Sandridge. By November 1860 three of these had been purchased by A. Ross, joining William Jones, S.G. Henty and P. Lalor as owners of the section (2)..
.
In February 1890, the Melbourne Tram and Omnibus Company Limited, had stables, offices, land and an omnibus repository on the section.(3) [Most of the present buildings on the site date from 1891, when the Australasian Sugar Refining Company established a refinery.(4)] On the MMBW detail plan dated 1894, the section is labelled 'sugar works' and the configuration of buildings approximately conforms with the present layout. [The refinery was closed in 1894 following its purchase by the Colonial Sugar Refining Company as part of a move to strengthen its monopoly.].
.
[In 1899, Robert Harper and Company Pty Ltd converted the buildings to a starch factory, and various brick additions were constructed to designs by Hyndman and Bates, architects.(5)] When the sewerage was connected in 1899, a plan was drawn by the architects and this closely resembles the 1894 MMBW detail plan configuration. (6) .
.
The buildings .. form the major part of the original factory complex on the site, one of the largest nineteenth century industrial sites in Victoria. The complex as a whole is significant for its large size and range of building types. The dramatic massing and height of the 9 Beach Street buildings gives them additional importance as local landmarks as viewed both from the surrounding streets and the sea..
.
COMPARATIVE ANALYSIS.
The former Australasian Sugar Refining Company and Robert Harper starch factory complex can be compared with a number of other large nineteenth century industrial complexes in Melbourne. These include the former Yorkshire Brewery, Wellington Street, Collingwood (from 1876), the former Victoria Brewery, Victoria Parade, East Melbourne (established 1854), the former Kimpton's Flour Mill, Elizabeth Street, Kensington, the Thomas Brunt flour mill and Brockhoff and T.B. Guest biscuit factories complex, Laurens and Munster Streets, North Melbourne (from 1888-9) and the Joshua Bros (now CSR) sugar refinery, Whitehall Street, Yarraville (established 1873). All of these are representative of the development in Victoria of the manufacture of foodstuffs and related raw materials. Of these, the CSR refinery is the most directly comparable in terms of original function and the scale and massing of the buildings. Established significantly earlier than the Port Melbourne refinery, the site is larger and more intact..
.
In the local context, the only other surviving industrial site of comparable scale is the Swallow and Ariell Biscuit Factory complex (q.v.). This complex is of state significance, and is considerably earlier, with parts dating from the 1850s. The predominantly two- and three-storey buildings, however, are of a different type to the former refinery and starch factory buildings..
Allom Lovell and Associates 1995 cite Jacobs Lewis Vines. Port Melbourne Conservation Study:.
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.
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Black Jack, the outlaw surgeon from the manga by Osamu Tezuka, and my signature cosplay. I've been refining this since late 2005.
I made the vest (Though it's hard to see) and the tie, as well as modification of an existing wig, and of course, I did the face makeup design. This version I wore for Yaoi-Con in San Mateo, CA on October 31, 2009.
Black Jack - a.k.a. Kuroo Hazama
(updated text from a write-up I've done for a project - blackjack.networkr3.com - Site opens 2009.11.19)
The story begins with a young boy, Kuro Hazama, who was gravely injured when an unexploded bomb went off on the beach where he and his mother were visting. Both of them, hanging on tenaciously to life, were rushed to the nearest hospital, where it was said there was no hope of saving either of them.
However, one determined surgeon, Dr. Jotaro Honma, was determined not to give up, and proceeded to operate on Kuro and his mother. Through a series of operations, involving countless surgeries to reconstruct damaged limbs, tissue, and numerous skin grafts, Dr. Homna was able to save the life of Kuro, and, over many years, Kuro was able to regain the use of his once-battered body. Unfortunately, for his mother, she lost her limbs, as well as her voice. It was said that half of young Kuro's hair turned white from the shock of seeing his mother after her surgery. She never recovered, and eventually died from her injuries.
Kuro was cared for by Dr. Honma, who oversaw his rehabilitation. Having been inspired by the man who saved his life, Kuro chose to enter the field of medicine. His diligence paid off, for he developed talents that would become the envy of most in the field of professional medicine. However, the story goes that he lost his license to practice medicine, or he chose not to be bound by the restrictions of having a license.
As such, he became known as Black Jack, a talented outlaw surgeon, who is perceived by most to charge exorbitant sums of money from his patients, and officially reviled by legitimate doctors the world over. (However, most seek his services unofficially when the needs arises.) But, for some, he is seen as a savior for those who have nowhere else to turn.
dude runs through all the steps to refine the coca leaves, roughly as follows, but don't quote me on this:
1. take a weed wacker to 300kg of leaves
2. add copious amounts of gasoline, this absorbs the cocaine, drain and compost leaf mulch
3. to get rid of the gas, mix in sulphuric acid and water, put in big drum, wait a while
3. solution seperates, cocaine and acid mixture floats to the top, siphon off gas, reuse
4. add sodium bicarbonate to get rid of acid, need lots of this stuff, buy this from the guerillas
5. the cocaine crystalizes in the solution, filter and there you go
missed a couple steps, think the gas fumes were getting to me, but end product isnt yet ready for use, have to remove the remaining bicarbonate or it will destroy your nostrils. the guerillas dont want the individual farmers using the stuff they make, eh?
FYI, personally do not condone the use or manufacture of cocaine. it perpetuates exploitation on so many levels. the above is meant to show how dangerous and damaging the processing is.
Title: Atlantic Refining Co.
Creator: Richie, Robert Yarnall
Date: July 1957
Part Of: Robert Yarnall Richie Photograph Collection
Physical Description: 1 negative: film, black and white; 10.4 x 13.4 cm.
File: ag1982_0234_4496_099_atlanticrefiningco_sm_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information, see: digitalcollections.smu.edu/cdm/ref/collection/ryr/id/642
View the Robert Yarnall Richie Photograph Collection digitalcollections.smu.edu/all/cul/ryr/