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62nd Honor Awards ceremony held on August 3, 2010 in the Thomas Jefferson Auditorium at the U. S. Department of Agriculture in Washington, DC. Agriculture Secretary Tom Vilsack and Assistant Secretary for Administration Pearlie Reed present the award to Pollution Control Team - American Smelting and Refining Company (ASARCO LLC) Bankruptcy Litigation Team Offi ce of the General Counsel, Washington, D.C., group leader Ronals S. McClain for successful recovery of over $171 million in the ASARCO LLC bankruptcy to be used for environmental cleanup and natural resources restoration at 12 contaminated sites of Forest Service land.
White Rose
National Refining had conceived the name "White Rose"
in 1890. It initially used the name for its stove gasoline
and in 1905 began using it for automotive gasoline as well.
For advertising Canadian used the "Boy and Slate"
signs that Charles L. Archibold had conceived in 1920.
By 1962 they had over 3,000 White Rose gasoline stations across Canada and were the largest Canadian owned oil company in Canada.
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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.
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; 10.2 x 13 cm.
File: ag1982_0234_4496_011_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/632
View the Robert Yarnall Richie Photograph Collection digitalcollections.smu.edu/all/cul/ryr/
TAMBUA
Australian
Owners: Colonial Sugar Refining Co Ltd
Port of Registry: AUS Sydney
IDNo:5351636
Year:1938
Name:TAMBUA
Keel:
Type:Cargo ship
Launch Date:27.5.38
Flag:AUS
Date of completion:7.38
Tons:3566
Link:1619
DWT:
Yard No:376
Length overall:
Ship Design:
LPP:110.8
Country of build:GBR
Beam:15.3
Builder:Caledon SB & E Co
Material of build:
Location of yard:Dundee
Number of
screws/Mchy/
Speed(kn):1T-11
Naval or paramilitary marking :
A:*
End:1973
Subsequent History:
[part molasses tanker] - 68 MARIA ROSA
Disposal Data:
BU Kaohsiung 7.1.73, work began 22.1.73 [Chin Ho Fa Steel & Iron Co]
Details: Mirimar Ship Index
Photo Credits: Unknown Source, if you know where this image came from please let me know. They were passed on with no extra details.
Let the refining and improving of your own life keep you so busy that you have little time to criticize others. - H. Jackson Brown Jr.
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The Pyrmont Refinery of Colonial Sugar commenced operations in Sydney in 1877.
South Pacific Enterprise 1956.
The history of the Colonial Sugar Refining Company (CSR Co.)
This Centenary commemorative book was issued to shareholders listed on the share Register 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.
Title: Humble Oil & Refining Co., Aerial
Creator: Richie, Robert Yarnall
Date: November 25, 1951
Part Of: Robert Yarnall Richie Photograph Collection
Place: Texas
Physical Description: 1 negative: film, black and white; 10.6 x 13 cm.
File: ag1982_0234_3422_01_humbleoilrefineco_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/660
View the Robert Yarnall Richie Photograph Collection digitalcollections.smu.edu/all/cul/ryr/
A hydrocracker at Hunt Refining Co. in Tuscaloosa, Alabama USA. I later added the rocket from another picture and added the film grain for effect. I thought about removing the cranes, but it would have taken too much time. It took me a good 2 hours to get this right.
Best viewed in Original resolution for details.
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Rep. Huffman announces plans to introduce a bill to refinance the groundfish fleet buyback loan on the Eureka waterfront March 26, 2013.
With him are (left to right) Eureka City Councilman Mike Newman, Fishermen’s Marketing Association.
While naval doctrine has never evolved in a vacuum, the simmering conflict between the first and second Accord Wars provided an idea opportunity for both the Empire and Accord to refine and test their doctrines in relatively low-risk engagements. The extended time period also allowed for numerous ship classes to be requested, designed, procured, and deployed on both sides, often specifically to counter a new strategy, tactic, or element of naval hardware.
Given the smaller size of the Accord Republican Navy, it was unsurprising that they adopted strategies relying heavily on fast carrier strike packages that could conduct attacks on relatively poorly defended Imperial assets, despite the Accord carriers often being little more than converted freighters. After a time, more and more Imperial picket corvettes and frigates were produced and utilized, massively increasing Accord losses and protecting Imperial interests at a relatively affordable price. At the same time, the constant reconnaissance struggle continued to escalate as well; the standard sensor drone swarms augmented by heavy strike fighters and even modified corvettes, deployed to both protect the sensor drones and also to intercept hostile scouts. The Assault Reconnaissance Corvette was conceived as an attempt by the Accord to solve both of these problems, though the eventual proliferation of Accord heavy fleets saw the Empire adopt its own variants.
The ARN-27 was not the first Assault Reconnaissance Corvette deployed by the Accord, but it was the first designed specifically for the purpose, learning lessons from previous conversions that had not filled the role as well as had been hoped. At the core of its mission brief was to locate the hostile fleet, destroy hostile anti-recon forces, and then destroy hostile picket forces. While the first two tasks could be performed relatively well by most corvettes or frigates, the latter task had proven far more difficult. Generally, any ship large enough to engage a hostile picket frigate was also going to be vulnerable to the capital grade weapons from the fleet that the picket frigate was protecting. Combat experience showed that even a corvette needed to be relatively fast and agile to be immune to capital grade weapons, leaving naval designers with precious few options.
Among the five bids placed on the contract, only Eclipse Industries and Siugniedrev Industrial Works designs made it past initial testing. While the SIW design was in effect a very large stealth bomber, and would go on to see further development in another program, the EI design utilized four mass plasma drivers in a mostly fixed configuration. Even most frigates did not mount weapons of such size, and the extensive cooling arrays and power generation required for the weapons made the ARN-27 more expensive than most other options. However, due to the relatively few hulls required and the economic boom in the Accord at the time, the higher cost was deemed a worthwhile investment.
Initial development, like with any military project, was not without teething issues. During high stress atmospheric maneuvers, the weight of the plasma drivers caused warping in the cooling arrays they were mounted on, leading to further strengthening. The lower sensor arrays were removed to add four light missile tubes for better defense against light craft and missiles when it was determined that the four twin laser turrets were not sufficient. The largest change was to the top of the hull however, where both an external access airlock and an enlarged deployable sensor dish was added. Given the crew capacity of six and the provision of both a cargo hold and full living quarters aboard the vessel for extended recon operations, the inability to dock outside of a hangar bay was deemed unacceptable by operational commanders. Other features, such as the enlarged rear comms array were present from the start, specifically designed to provide a datalink back to the fleet in the face of heavy hostile jamming.
Though undeniably effective against Imperial forces when it was first deployed, the same economic boom that allowed such an expensive and specialized corvette to be developed was also the ultimate reason it was sidelined. The increased military budget of the Accord saw proper battleline ships built and deployed, first battlecruisers to escort the carriers then proper battleships, making the role of punching through pickets far less important than it had been previously. Still, as one of the largest ships to have the commander and pilot be the same person and a combat profile much more akin to a giant heavy fighter than a traditional corvette, it remains a popular posting for certain officers among the Accord.
Manufacturer: Eclipse Industries
Crew: 6 - 1 Pilot/Commander, 1 Weapons Officer, 1 Communications/Sensors Officer, 2 Engineering Officers, 1 Marine.
Length: 89 meters
Maximum Speed: 1185 m/s
FTL Capability: 14335 AU/h
Engines: 4x FierthXP-3000 Ion Drives
Armament: 4x License Built SIW FlameSpike Mass Plasma Drivers, 4x twin GS Gneiss Laser Cannons in turrets, 4x various Accord missile systems depending on mission profile.
Made for my Graviton setting.
Designers Note: I worked on this one off and on for over a year and it is the largest design I have done yet. It was supposed to be something I could afford to build out of physical bricks, but I clearly got carried away.
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; 13 x 10.6 cm.
File: ag1982_0234_4496_038_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/639
View the Robert Yarnall Richie Photograph Collection digitalcollections.smu.edu/all/cul/ryr/
New post: "Skip A Mortgage Payment For Holiday Expenses? If You Refinance - The Mortgage Reports (blog)" t.co/wSidvrlFW0 (via Twitter twitter.com/downpaymentaz/status/806483201493520384)
Bowden's Sugar Works in Sydney, (Invoice dated 1848), competed with the Australasian Sugar Company which Edward Knox managed.
South Pacific Enterprise 1956.
The history of the Colonial Sugar Refining Company (CSR Co.)
This Centenary commemorative book was issued to shareholders listed on the share Register 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.
Inside his small workshop in Pontoglio, northern Italy, a true master is at work refining the art he loves most and perfecting the craft for which he has become world-famous. Luigi Viprati first began making pipes in 1972 when, during a break from military service, he obtained a piece of briar and carved his first pipe just for fun. By 1984 Luigi dedicated himself to producing high-quality artisan pipes which he branded La Pipa di Viprati; pipes that became “a unique and special object, a great companion of our life.” Now semi-retired, Luigi produces only a fraction of the 1500 handmade pipes he once made per year, concentrating on designs and shapes that appeal to his artistic senses.
This gargantuan piece is from Luigi’s high-end Collection series. The egg-shaped bowl measures a massive 3.5 inches tall with walls nearly a half-inch thick, making for an exceptionally cool smoking experience. Despite its size, the weight is well-distributed and balanced making for a surprisingly comfortable clencher. Being a Collection grade, the grain is uniformly straight around the entire circumference of the bowl and shank. Finding a piece of briar of this size with such tight and symmetrical grain is no easy task, making pipes of this caliber rare indeed. Luigi uses only Italian briar which he feels is the best and sources it from Sicily, Calabria and Tuscany where he personally accompanies briar harvesters in order to obtain the very finest. Briar for Collection-grade pipes is air-cured a minimum of 7 to 10 years or longer, making for a very clean, sweet smoking pipe.
From the quality of briar he uses and its faultless execution, Viprati pipes are consistently excellent smokers and remain some of the world’s finest.
Infantry Soldiers from 2BCT refine their mastery of critical soldier skills from Sept. 9 through 22 during the EIB training phase and demonstrate their proficiency from Sept. 23 through 27 during the testing phase. Infantry Soldiers who successfully complete the testing phase will be awarded the Expert Infantry Badge which indicates their mastery of the skills that allow them to locate, close with, and destroy the enemy.
The beautiful brass figure of Lord Shiva performing his cosmic dance is given a refine and detail treatment. Nataraja (The King of Dance) is the dancing posture of the Shiva, who performs his divine dance as a part of his divine duties of creation and destruction. The Lord Shiva is shown here dancing in a circle of flames, lifting his left leg and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram. The upper right hand holds a small drum shaped like an hourglass that is called a damaru in Sanskrit. It is called Dhamarukha in Hindi. A specific hand gesture (mudra) is used to hold the drum. It symbolizes sound originating Creation. The upper left hand contains Agni or fire, which signifies destruction. The opposing concepts in the upper hands show the counterpoise of creation and destruction. The second right hand shows the Abhaya mudra (meaning fearlessness in Sanskrit), bestowing protection from both evil and ignorance to those who follow the righteousness of dharma. The second left hand points towards the raised foot, which signifies uplift and salvation. The hand also symbolises the trunk of the elephant-headed Ganesha, son of Shiva, known as the remover of obstacles and a symbol of strength. The dwarf on which Nataraja dances, is the demon Apasmara, which symbolises Shiva's victory over ignorance. As the Lord of Dance, Nataraja, Shiva performs the tandava, the dance in which the universe is created, maintained, and resolved. Shiva's long, matted tresses, usually piled up in a knot, loosen during the dance and crash into the heavenly bodies, knocking them off course or destroying them utterly. The surrounding flames represent the manifest Universe. The snake swirling around his waist is kundalini, the Shakti or divine force thought to reside within everything.
www.gangesindia.com/featured-products/nataraja-shiva-perf...
Infantry Soldiers from 2BCT refine their mastery of critical soldier skills from Sept. 9 through 22 during the EIB training phase and demonstrate their proficiency from Sept. 23 through 27 during the testing phase. Infantry Soldiers who successfully complete the testing phase will be awarded the Expert Infantry Badge which indicates their mastery of the skills that allow them to locate, close with, and destroy the enemy. PFC Tyler Fleming from 2-87 throws a grenade at a target.
U.S. Army photo by Spc. Charlotte Carulli
Inside his small workshop in Pontoglio, northern Italy, a true master is at work refining the art he loves most and perfecting the craft for which he has become world-famous. Luigi Viprati first began making pipes in 1972 when, during a break from military service, he obtained a piece of briar and carved his first pipe just for fun. By 1984 Luigi dedicated himself to producing high-quality artisan pipes which he branded La Pipa di Viprati; pipes that became “a unique and special object, a great companion of our life.” Now semi-retired, Luigi produces only a fraction of the 1500 handmade pipes he once made per year, concentrating on designs and shapes that appeal to his artistic senses.
This gargantuan piece is from Luigi’s high-end Collection series. The egg-shaped bowl measures a massive 3.5 inches tall with walls nearly a half-inch thick, making for an exceptionally cool smoking experience. Despite its size, the weight is well-distributed and balanced making for a surprisingly comfortable clencher. Being a Collection grade, the grain is uniformly straight around the entire circumference of the bowl and shank. Finding a piece of briar of this size with such tight and symmetrical grain is no easy task, making pipes of this caliber rare indeed. Luigi uses only Italian briar which he feels is the best and sources it from Sicily, Calabria and Tuscany where he personally accompanies briar harvesters in order to obtain the very finest. Briar for Collection-grade pipes is air-cured a minimum of 7 to 10 years or longer, making for a very clean, sweet smoking pipe.
From the quality of briar he uses and its faultless execution, Viprati pipes are consistently excellent smokers and remain some of the world’s finest.
Ohio-Colorado Smelting and Refining Company Smokestack
*** (added 1976 - Structure - #76000548)
Also known as Smeltertown Smokestack
NE of Salida at jct. of SR 150 and 152, Salida
Historic Significance: Event, Architecture/Engineering
Architect, builder, or engineer: Ohio-Colorado Smelting & Refining Co
Architectural Style: No Style Listed
Area of Significance: Industry, Engineering
Period of Significance: 1900-1924
Owner: Local Gov't
Historic Function: Industry/Processing/Extraction
Historic Sub-function: Extractive Facility
Current Function: Recreation And Culture
Current Sub-function: Museum
The presentation was followed by a general discussion on key issues noted by the secretariat, with a view to refining policies and strategies for accelerating the integration process.
Today I focused on refining the panelling I glued up yesterday, machining a prototype drogue, and improving the form-tool for the RCS thrusters.
The angle on the drogue prototype is wrong, I need to do some more research to work out what angle it should be. I think I bored it out at 35°.
For the RCS thruster tools I ground a stub length drill with the appropriate angle which is dedicated to boring out the tiny thrusters. They're extremely fiddly to machine, as they tend to snap off the stock before I've reached the final dimension. I will obviously fine tune the process, as I need to be able to make hundreds...
www.youtube.com/watch?v=PKbpQfWik4k Angela Bennett Ashburn Virginia free report on home mortgage financing solution features
via Tumblr bit.ly/17FX8Jg
via Tumblr bit.ly/11Vytl2 via Tumblr bit.ly/13arzv2 via Tumblr bit.ly/17FLnTl via Tumblr bit.ly/14yaXM4 Life after Bankruptcy While going through bankruptcy is not something that anyone plans on, it is an opportunity to change some of the ways that you have done things in the past and make better decisions going forward. After you file either Chapter 7 or Chapter 13 and are seeking a loan or credit, you may need to show your bankruptcy documents or records to put Lenders or Creditors at ease. Creditors or Lenders will want to see a bankruptcy petition to see what was included in your bankruptcy. They will probably also want to see your bankruptcy discharge to make sure that you finished your bankruptcy case and that you don’t owe on the debts anymore. Often when you need to be qualified to rent an apartment, a home, or finance a car or even to finance your next home you will be asked about your bankruptcy when you filed or when you received your discharge of your debts. Or you may need other documents for your special needs. With our Online Delivery service you will receive the Bankruptcy Documents you need FAST, EASY for a very nominal fee to process. Bankruptcy Documents Library Online Delivery service allows you to obtain the case and docket information from the federal appellate, district and bankruptcy courts pertaining to your personal bankruptcy records or documents. We use a national index for U.S. District, Bankruptcy, and Appellate courts to get you the information you need. If you need a copy of your personal Bankruptcy discharge so you can qualify for a car loan or maybe even a home loan our service will provide you exactly what you need, fast. Nothing to join, registration or long forms to fill out, just quality fast service. The purpose of bit.ly/1blwt8D website is to provide bankruptcy information as well as data about cases in U.S. federal courts with online delivery service to get you the information and details you need about your personal bankruptcy. Things you could not do before your bankruptcy may be possible now or after a little time has passed like buying a car after bankruptcy which may trigger you to ask the question “How do I get a car loan after bankruptcy?” Getting a mortgage after bankruptcy may be a choice if you have your bankruptcy documents on hand. Mortgages are a fact of life for most people because it is very difficult to finance yourself unless you are in the top 1% of our population. The same holds true for a car loan after bankruptcy as you will need to provide information about that event. A car loan after bankruptcy is available in a lot of situations because your bankruptcy has passed and you will need to be responsible again financially, for this new loan. Same with buying a house after bankruptcy because the lender and realtor will most likely want to know all the details of your bankruptcy, to complete the sale. After bankruptcy home loans are an important financial tool to help improve your quality of life. After bankruptcy home loans may also increase your satisfaction in your personal space or environment, at home. What about credit cards after bankruptcy because when used correctly, they can actually help you build higher credit scores, faster. Credit cards after bankruptcy are an invaluable tool to rebuild credit too. As your credit score rises your interest rate usually drops, which may make monthly payments less expensive if you carry a balance which is not recommended of course. Using a credit card after bankruptcy is smart if you do it right and pay off the balance every month and do not go back to bad habits that caused the bankruptcy in the first place. So if you are looking at going through bankruptcy, just remember that you will survive and there is life after bankruptcy. In fact, life after bankruptcy should be even better than life before bankruptcy if you focus on making changes in the right areas and staying away from the choices that got you there in the first place. Yes, there is life after bankruptcy! via Blogger bit.ly/14yarh3 via Flickr bit.ly/16CXrFP via Blogger bit.ly/13algYu via Flickr bit.ly/13PrKui via Blogger bit.ly/14EHIdi via Flickr bit.ly/1cVkXT2 via Blogger bit.ly/14j7kFB
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PT&P fabricated these special designed Split-T pipe shoes using a Figure 50 "two-bolt pipe clamp" for a refining project in Saudi Arabia. The pipe shoes are 4" height x 15.5" wide x 18" long and were fabricated from A36 carbon steel with a hot-dipped galvanized finish. They are designed for a pipe size of 14" with an operating temperature from -29°C to 316°C. The pipe shoes are capable of supporting an operating load of 34,000 lb.
Today I focused on refining the panelling I glued up yesterday, machining a prototype drogue, and improving the form-tool for the RCS thrusters.
The angle on the drogue prototype is wrong, I need to do some more research to work out what angle it should be. I think I bored it out at 35°.
For the RCS thruster tools I ground a stub length drill with the appropriate angle which is dedicated to boring out the tiny thrusters. They're extremely fiddly to machine, as they tend to snap off the stock before I've reached the final dimension. I will obviously fine tune the process, as I need to be able to make hundreds...
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
Using a Dremel tool to refine each of the petals of the sunflower before sanding them smooth and then sealing them. I guess my whole body must be vibrating along with the vibrations from the Dremel tool!
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