Moving Thursday afternoon and/or Friday morning... groan.

 

Here are some boxes in our hallway this morning. Jen said we have about 38 - three of which I've packed.

Professional Packers Movers In Faridabad 9311166155

 

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To prepare for the construction of a freeway-style interchange at 5400 South and Bangerter Highway, UDOT will relocate a segment of the Jordan Aqueduct that extends north and south through this area.

Abstract Series 119 - Monique Ortiz at The Plough & Stars - December 2010

 

www.ploughandstars.com/

 

Monique Ortiz

www.reverbnation.com/moniqueortiz

www.myspace.com/moniqueortizmusic

www.myspace.com/akacod

 

On Facebook

www.facebook.com/pages/Monique-Ortiz/33920274859?ref=s

 

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Biography

Vocalist/songwriter/bassist Monique Ortiz is known as the front woman of the Boston trio A.K.A.C.O.D. (a collaboration with Morphine saxophonist Dana Colley and Binary System drummer Larry Dersch).

 

After relocating to the Boston area in 1996 from her hometown of Lancaster, Pennsylvania, Monique began playing numerous solo performances (just vocals and fretless bass) at art galleries, basement and loft parties, coffee houses and other small venues. In 1997 she formed Bourbon Princess, performing as a duo with drummer Dave Millar from 1996-1998. Her unconventional approach to the fretless bass, along with her gritty, low vocals and bleak lyrical content draw comparisons to Nick Cave, Nico, Jim Morrison, and Portishead to name a few. Having grown up listening to everything from Bauhaus and The Birthday Party, to Janice Joplin and Nina Simone, Monique sometimes refers to her sound as "...a sort of Gothic Blues", and you can expect nothing short of dark, heavy, and soulful when you witness her live performance.

 

Over the past ten years Monique has written, arranged, and produced three full-length Bourbon Princess records, 1 solo Lp, Reclining Female, and has performed with a band (whose lineup includes original Morphine drummer Jerome Deupree, saxophonist and leader of Grammy-nominated jazz big band Either/Orchestra Russ Gershon and guitarist/pianist Jim Moran). She has recorded and performed as a backing vocalist for Orchestra Morphine, Twinemen, and The Collisions.

 

Monique performed in the prestigious Jeff Buckley Tribute show in Chicago, doing her own versions of "I Woke Up In A Strange Place", and "Moodswing Whiskey". Her songs have appeared in MTV's "Real World", and on various compilations, such as Respond 2 (along with Ani Defranco, and Aimee Man), and Project Bread's "Get In Here And Eat".

 

Monique has received much critical acclaim and has been featured in the magazines MIX, MAGNET, and GUITAR PLAYER among others. Her debut solo cd "Reclining Female" was described as "Thirty-four minutes of plaintive, contrary, concentrated genius" by The Boston Noise.

 

Monique just wrapped-up work on a new live cd "When The Pigeon Flies", a compilation featuring Mission Of Burma guitarist frontman Roger Miller and Morphine saxophonist Dana Colley. Currently Monique is preparing to relocate to Austin, TX.

 

WHAT FANS AND CRITICS ARE SAYING....

 

"The perfect soundtrack to a late night of low lights and smoky ruminations."

-Jonathan Perry, Boston Globe

 

"...like a mix between the punk sensibilities of Television and the arty dreariness of Nick Cave, this is dreamy, nightmarish, sinister and oddly compelling."

-Ed Symkus, Townonline.com

 

"....unapologetic carnal urges, bleeding emotional wounds, and keeping your chin up. Minimalistic bohemian voodoo, baby."

-Lexi Khan , Boston Noise

 

“Her voice is some strange amalgam of Nico, Patti Smith and P.J.Harvey. Her post-punk delivery, fluctuating between detachment and inspiration, supports the gritty conversational street poetry evoking Sonic Youth’s Kim Gordon at times.”

-Matt Harlan, Daily Texan

 

“Ortiz’s lyrics made me wish there were ten times as many people there to listen. They sounded like what Karate would sound like if the singer was a girl and Tom waits had fathered her.”

-Daniel Schaetz, University Star, San Marcos

 

"Her voice is intoxicating, mesmerizing and sexy all at the same time…quite a feat indeed."

-C.E.Pelc, FM Sound.net

 

“…It was definitely one of the best (shows) I have heard this year. Hearing the solo versions of ‘Jerkoff’ and ‘Porchswing’ was great and the new material from the forthcoming solo album was amazing.”

-David Stricoff, Cambridge, MA

 

“…one of the most beautiful voices to escape from Central PA.”

Shane (of the band King of The Cigar Box, York, PA)

 

"...torchy, sensual, and rawly emotive."

-A Darker Shade Of Pagan

 

"...it is the commanding stage presence of Monique that just holds you in your seat. I have never heard anything like this!"

-Meagan Tubb, Austin, TX

 

BOOKING/PRESS: All correspondence can be sent to vudu@moniqueortiz.com

 

SNAIL MAIL:

Monique Ortiz

P.O. Box 400544

Cambridge, MA 02140

This morning, 29 October 2017, the temperature is 2C (windchill -4C), very windy 37 km/h N with wind gusts of 54 km/h. I got up early, planning to go with friends on a birding trip east of the city but, listening to the wind howling and picturing how cold it will feel, standing looking for birds, I'm not sure that I will go after all. The birds will most likely be hiding, too, sheltering from the strong winds.

 

My daughter and I had a such a great day on 5 September 2017. She had a free day, so we decided to drive north-east of the city and visit the Pioneer Acres Museum. The day started off with seeing three perched Swainson's Hawks, which were a bonus. We had passed the colourful old truck and tractor displayed on tall posts, to indicate Pioneer Acres, on various occasions and this time, we actually turned off the highway and went to the museum. What an amazing collection of old farming equipment, some standing outdoors and many others in large sheds. Have to say that I am always attracted to old, rusty things, and there was no shortage of these, either.

 

"Pioneer Acres is operated by a team of volunteer members who, in many cases, have extended their golden years of retirement, performing the duties necessary to meet the club's objectives. These include work to collect, restore, maintain and demonstrate the artifacts which were used by the pioneers of early Alberta.

 

The end result is that present and future generations have the opportunity to glimpse into our pioneering past through the artifacts on display and demonstrated. Younger members of the club also learn the care, maintenance and operation of these living artifacts." From link below.

 

www.pioneeracres.ab.ca/member.aspx

 

While we were walking round the grounds, visiting each massive shed in turn, my daughter spotted a Plains Garter Snake, and waved me over to see it. She also saw several birds running round behind one of the sheds, and when I went to check, I found there were four Gray Partridge running off in the distance. A distant Jackrabbit completed our wildlife sightings, first noticed when it was standing tall and upright on its back legs in 'freeze mode'. My mind wandered to Alice in Wonderland : )

 

Though we did not do a tour of the inside of the "Long" House, we found it an impressive building, complete with a few Sunflowers, Hollyhock and other flowers in the garden, and a tall, metal windmill.

 

"The "Long" House was built in 1914 by John Thomas on a farm just northwest of Irricana, Alberta. It has been lived in by three generations of the Long Family since 1914. The house was donated to Pioneer Acres, moved to our location, and restored to 1929 status." From the Pioneer Acres website.

 

There is also an old schoolhouse on the Museum site. "The Crown School, built in 1905, was located west of Three Hills on Highway 583. It closed in 1953 and was bought by the district of Allingham for use as a community league. In 1996, the building was relocated to Pioneer Aces of Alberta Museum." From the Alberta Teachers' Association website.

 

After spending a long time walking round the grounds, we decided to drive through Irricana itself in order to get back to the highway. I had seen photos on the Internet of three murals there - sunflowers, crayons, and a view of the old grain elevators that had once stood nearby - and I wanted to go and see them. All near each other, as this town only has a few streets. I had never been to Irricana before and I was impressed with what a delightful place it is, full of brightly coloured murals, and well kept. One of the outer roads had many flower beds along the edge, watered with well water, looking most attractive.

 

I had asked my daughter if she was interested in calling in at the Silver Springs Botanical Gardens in NW Calgary, if there was time after our drive east. I had planned the drive ahead of time, partly because I had also seen a photo somewhere on the Internet of a rather nice old barn that I really wanted to see. We were not disappointed, though it was a shame to see that the cupola had fallen from the roof since that photo was taken. I had never driven through the town of Airdrie before, but did the "drive" on Google Earth the night before and it looked straightforward enough.

 

Returning to the city via Cochrane, my daughter told me how to get to Silver Springs. I had never driven there before, but I had been there with a friend last year, I think on 1 October, and thoroughly enjoyed these meticulously kept gardens. We were just too hot and tired to see every inch of the garden, but finished off with photographing sunflowers and enjoying the American Goldfinches that were feeding on them, before we continued on our way.

 

A great day, despite the heat and smoke from the B.C. and Alberta wildfires (distant low visibility, too). Thanks so much, Rachel - hope you enjoyed it as much as I did. We drove 256 km (used about half a tank of gas, or less). I was absolutely tired out from the heat and driving unfamiliar roads.

© Earl C. Leatherberry all rights reserved

 

Guerin Gas Station is considered on of the oldest gas station buildings in Minnesota. The steel building was likely constructed around 1919. The building, relocated from its original location at the northwest corner of Rice Street and North Owasso Boulevard, was restored

In the months following the 1955 flood a number of houses were relocated to a new subdivision at Telarah, enabling people to be free from the recurring fear of floods.

This relocation effort was made possible by the work and generosity The Lions Club of Maitland and with the assistance of other Lions Club nearby.

 

Image courtesy of John Fraser

 

This image can be used for study and personal research purposes. Please observe copyright and acknowledge source of all photos. If you wish to reproduce this image for any other purpose you must obtain permission by contacting Maitland City Library

If you have any further information about the image, please contact us or leave a comment in the box below.

The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.

Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.

Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.

Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.

The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.

The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.

October 2021

Various utility companies began relocating underground utilities along 48th Street near Elwood Street.

 

Mount Hope, The Bronx, New York City, New York, United States

 

Summary

 

The Tremont Baptist Church, a noteworthy example of a neo-medieval auditorium church, is located in the west central Bronx neighborhood of Mount Hope, which is part of the larger Tremont section of the borough. Construction began in 1904, at a time when the population of the Bronx was growing rapidly and the Baptist denomination's influence in New York City was increasing.

 

Construction of the church was phased: the foundation and basement were finished in 1906, while the upper part of the church was built in 1911 -12. During the intervening years, services were held in the basement. The church was an unusual commission for its architect, William H. Birkmire, who usually designed commercial buildings, many of which are found in the Ladies Mile and Tribeca Historic Districts. For the church, Birkmire chose a picturesque version of the neo-Gothic style, based on the French- and Norman-influenced Early English Gothic style.

 

The Tremont, Baptist Church was organized in 1884, during the early suburbanization of this section of the Bronx. The church's current East Tremont Avenue site is its third location in the neighborhood. Early on, the church defined itself as a major social institution in the Tremont neighborhood, establishing many activities mainly for young people.

 

These programs were strengthened and expanded during the 1970s and 1980s; today, the church remains a cornerstone in the neighborhood. The church building sits prominently upon a sloping site that follows the curve of East Tremont Avenue. It is polygonal in plan with an offset tower at its southeast comer. The main facades and the tower are faced in rough-cut gray marble ashlar. The church has five buttressed bays, consisting of intersecting, angled gables that follow the curve of East Tremont Avenue.

 

The bays contain pointed-arch window openings, situated in smooth marble surrounds, featuring stained glass, tracery, and cusping. The church's imposing gray marble exterior, steeply sloping roof, crenellated tower, and remarkable intactness enhance its visual prominence in the neighborhood.

 

DESCRIPTION AND ANALYSIS

 

History of the Neighborhood

 

The Tremont Baptist Church is located in the west central Bronx neighborhood of Mount Hope that is part of the larger Tremont section The land, which once belonged to the Morris family, was fanned well into the nineteenth century. In 1841, the New York and Harlem Railroad opened a station at what is now East Tremont Avenue near Park Avenue; a small village subsequently developed around the station.

 

Many German and Irish immigrant families settled in the area in the mid to late nineteenth century. Churches serving these populations - Catholic, Presbyterian, Methodist, Congregationalist, as well as Baptist, followed these congregants. Improvements in transportation made by the early 1890s - a trolley line on Tremont Avenue, a new subway station at nearby West Farms, and the extension of the Third Avenue elevated line - spurred residential development, consisting primarily of detached houses.

 

Around the turn of the century, Jews from the Lower East Side and Italians from East Harlem and Little Italy joined Tremont's existing German and Irish population.

 

When the New York Baptist Mission Society acquired the church site on East Tremont Avenue in October 1902, the neighborhood immediately surrounding the site consisted mainly of freestanding houses on large lots, although scattered groups of row houses had been built mostly north of the area toward Burnside Avenue, about three blocks away. Industrial buildings were found to the east, surrounding the New York and Harlem Railroad tracks on Park Avenue, while the neighborhood's commercial core, which included most of the area's churches, was located on Washington Avenue, one block east of Park Avenue.

 

The population of New York City grew tremendously in the first decades of the twentieth century; by 1925, more than one million people inhabited the Bronx; most were crowded into the southern part of the borough including Tremont. During this period, six-stay apartment buildings were replacing existing two- and three-story, detached residences.

 

They were quickly filled by immigrant families, attracted to Tremont by its reasonable rents, easy access to jobs in Manhattan via the Third Avenue El and the IRT Subway, and the green respite of nearby Crotona Park. Apartment house construction and population growth continued into the 1930s.

 

Following the Second World War, the farms and countryside surrounding New York City were transformed into suburban residential areas made accessible by newly-constructed highways and

 

parkways.

 

Tremont's existing residents, overwhelmingly of European extraction and increasingly prosperous, began a slow but steady exodus from the neighborhood. They were replaced by African-Americans and Puerto Ricans of lesser means. At the same time, New York City's manufacturing base began to decline, removing a major source of jobs for area residents.

 

Redlining by banks in the 1960s, New York City's fiscal crisis in the 1970s, and disinvestment by landlords led to the deterioration of many apartment buildings.

 

The neighborhood's worst blow occurred in 1959, however, when Commissioner Robert Moses routed the Cross Bronx Expressway through Tremont, which required the demolition of hundreds of apartments and separated much of Tremont from Crotona Park. Fortunately, the neighborhood immediately surrounding the Tremont Baptist Church, four blocks north of the Cross Bronx, was spared this devastation, enabling the parish to continue its ministry to area residents.

 

Renovation of existing apartment buildings and the construction of new housing began in the 1980s, spurred by New York City's ten- year, $5.1 billion program to create affordable housing. This, along with community activism by motivated residents and local clergy, led to Tremont's resurgence, which has continued through the 1990s.

 

The History of New York City Baptists and the Tremont Baptist Church

 

The earliest-known Baptist activity in the province of New Netherland took place in what is now Rushing, Queens, in 1657 when a preacher from Rhode Island, William Wickendon, baptized several residents in a local stream. Wickendon was banished from the province shortly thereafter. Nicholas Ayres organized the earliest Baptist congregation in Manhattan in 1724. Meetings were held at Ayres's home until a meeting house was built a few years later.

 

In 1732, a trustee of the church claimed the meeting house as his property, and the congregation was dissolved. The first permanent Baptist congregation was the First Baptist Church of New York, which was established in 1762 and built a meeting house on Gold Street a few years later. Other congregations eventually followed, including the Abyssinian Baptist Church (1808), which was made up of free black worshipers who were former members of the Gold Street church.

 

The first organization of Baptist churches in greater New York was formed in 1791 by three congregations from the city, three from New Jersey, and one from Long Island.

 

Eventually, this body became the Southern New York and the Long Island Baptist Association New York City developed into a center for national Baptist organizations during the nineteenth and early twentieth centuries.

 

Several were founded here, including the Baptist Female Missionary Society (1806), the Baptist Sunday School Society (1816), the American Baptist Horns Mission Society (1832), the Baptist Widows and Orphans Fund (1839), the Northern Baptist Convention (1907), and the Ministers and Missionaries Benefit Board (1911). The New York Baptist Mission Society, incorporated in 1893, conducted mission work throughout the city; the Society also helped to form new Baptist congregations and to expand others by purchasing land for new churches, such as for the Tremont Baptist Church, and then deeding the land to the congregations.

 

The Tremont Baptist Church, located in the Mount Hope section of the Bronx, was organized on April 9, 1884 by twenty-three local residents. The first pastor was the Reverend Frank Fletcher. The church descended from the Mount Hope Mission that was founded in 1864. Its original location was the Mount Hope Chapel at 176th Street and Monroe Avenue, about three blocks from the present church. In 1885, the church relocated to Washington Avenue between 175th and 176th Streets, about four blocks from the present church.

 

It remained at the Washington Avenue site until the church building opened in 1906. The church's membership grew rapidly during the last decade of the nineteenth century as the surrounding residential neighborhood developed, and by the turn of the century had outgrown the Washington Avenue building.

 

Under the leadership of Pastor Alvah E. Knapp, the congregation embarked on a campaign to construct a new, larger church. With the assistance of the New York Baptist Mission Society, the church acquired the present site of the church on East Tremont Avenue at 176th Street in 1903. Construction of the church began soon thereafter; however, available funds permitted the only immediate completion of the basement; services were held here until the superstructure was completed in 1912 under Pastor Knapp's successor, the Reverend Kenneth C. MacArthur.

 

The church's stained glass windows were installed over time and were dedicated to various members and pastors

 

The church reached it peak membership of 261 in 1927-28, during the pastorate of the Reverend Lester Simon, who led the church for 31 years, from 1919 to 1950. Many church activities were organized under his leadership: the Helpers' Society, Girl Reserves, Girl Scouts, Boy Scouts, Fidelis Society, World Wide

 

Guild, Fellowship Circle, Sunday Night Club, Extension League, Mission Study Class, Young Peoples' Dramatics, Prayer League, King's Daughters, Men's Bible Class, Greystone Club, Christian Endeavor, and the Young Worshipers' League.

 

The church lost membership after World War Two, as the population shifted out of the neighborhood, but it continued building improvements, such as the redecoration of the sanctuary, into the 1960s. The church was reorganized in the early 1970s, under the direction of the pastor, the Reverend Dr. John Robinson, Jr. As a result of his efforts to strengthen the church's programs and to further extend its ministry into the community, church membership steadily grew.

 

The church focused on young people by establishing a youth organization which offered a choir, after-school programs, and tutoring. The church's social programs have been complimented by a concern with maintaining its physical structure. Dr. Robinson and the congregation raised funds for the restoration of the church's stained glass windows.

 

Further improvements have been made under the Reverend Sylvanus Jarrett, who succeeded Dr. Robinson in 1976. These include alterations in the sanctuary to accommodate program changes, improvements in security, and repairs to the pipe organ, and the formation of new programs.

 

The church was incorporated and its by-laws amended in 1989 to admit twelve elected trustees. That year, the church purchased the adjacent lot from the City of New York for parking. Site improvements, including a pedestrian bridge and walkway from the back of the church to the parking lot, were made in the 1990s. The church's stone facades were repointed in 1998. As a result of the congregation's continuing efforts, the Tremont Baptist Church remains an important social and physical presence in the neighborhood.

 

Design and Construction of the Church

 

In October 1902, the New York City Baptist Mission Society acquired a plot of land along the curve of East Tremont Avenue at East 176th Street from Henry A. Koelsch, upon which the new Tremont Baptist Church would be built.

 

At the time, the site was occupied by a large frame house and a smaller outbuilding, which were subsequently demolished. The church's construction plans were made public in August 1903, when it was announced that Manhattan architect, William H. Birkmire, had been engaged to design the building. Plans were filed on February 23,1904, and building commenced on June 10,1904.

 

Construction of the church was phased: the foundation and basement were finished first in 1906, while the upper part of the

 

building was not completed until 1911-1912. Between the completion of the basement in 1906 and the resumption of construction in 1911, the congregation gradually raised the additional funds needed to finish the building. Bids for the completion of the church were requested in August 1910, but building did not commence again until October 1911, with Birkmire remaining the architect of record.

 

For the church, which was completed on August 31, 1912, Birkmire chose a picturesque version of the neo-Gothic style, based on the French- and Norman-influenced Early English Gothic style, and an auditorium plan for the church. The neo-Gothic style was widely employed in the design of a large variety of building types in the United States, including churches, college campuses, and office buildings beginning in the 1890s and lasting well into the twentieth century.

 

The earliest phase of the Gothic Revival style in the United States began in the 1830s and lasted through the 1850s. It was popular for domestic and ecclesiastical architecture, such as the George Hastings House (1846, Richard Upjohn), at 36 Pierrepont Street in the Brooklyn Heights Historic District, St. Patrick's Cathedral (1853-88, James Renwick, Jr., a designated NYC Landmark) in Manhattan, and the Peter S. Hoe House, Sunnyslope (c.1860, a designated NYC Landmark) at 812 Faile Street, the Bronx.

 

The next phase of this style, the polychromatic or High Victorian Gothic, was popular for civic architecture from the mid 1860s through the 1880s. Examples include the Jefferson Market Courthouse (1874-77, Vaux & Withers) at 425 Sixth Avenue in the Greenwich Village Historic District and St. Paul's Memorial Church (Episcopal) and Rectory (1866-70, Edward T. Potter, a designated NYC Landmark) at 217-225 St. Pauls Avenue, Staten Island. Following the High Victorian Gothic period, the neo-Gothic style was widely employed in ecclesiastical, collegiate, and commercial architecture.

 

Examples of neo-Gothic buildings in New York City include, in addition to the Tremont Baptist Church, the Union Theological Seminary (1906-07, Allen and Collins, a designated NYC Landmark, in part) on Morningside Heights, the City College Campus (1897-1930, George B. Post and George B. Post and Sons, a designated NYC Landmark, in part) on Convent Avenue in Manhattan, and the Trinity and United States Realty Company Buildings (1904-07, Francis H. Kimball, designated NYC Landmarks) at 111 and 115 Broadway in Manhattan.

 

The auditorium church plan became enormously popular with evangelical Protestant congregations, such as Methodists, Congregationalists, Presbyterians, and Baptists in the 1880s and 1890s.

 

However, by the time

 

the Tremont Baptist Church was completed in 1912, its popularity was subsiding. In the 1850s, evangelical Protestant architecture in the United States was based mainly on British and other European precedents, featuring a nave, side aisles, and transept.

 

By the 1870s, evangelical Protestants had abandoned their dependence upon such influences and produced an unprecedented, open worship space enclosed within a medievalized shell: the neo-medieval auditorium church. The rugged exteriors of these churches featured quarry-faced stone or brick facades containing Gothic and/or Romanesque elements, steeply-pitched roofs and gables, which lend these buildings "a feeling of massiveness, of great weight and solidity."

 

The neo-medieval exteriors enclosed large central-plan auditoriums, which provided a large seating space, unhindered by ceiling or roof supports. The auditorium plan interior "comprised a radical shift away from the rectangular nave with a chancel located at one end that characterized almost all Christian architecture in the United States at mid-century."

 

The Tremont Baptist Church, with its open interior plan and rustic, Early English Gothic-influenced exterior adapted to a sloping site, is a late, but noteworthy, example of a neo-medieval auditorium church. While it is not clear whether Birkmire or the Tremont congregation initiated the use of the auditorium plan and medieval exterior for the church, however, their combination complements both the program of the church and context of the sloping, curved site.

 

The first church in the United States to feature the auditorium plan appears to be the Plymouth Church (1849-50, Joseph C. Wells), which is located on Orange Street in the Brooklyn Heights Historic District. It has a nearly square auditorium with straight rows of pews facing a stage. A decade later, the Luther Place Memorial Church (1870, architect unknown) in Washington D.C. was constructed with a similar plan. Other auditorium churches, apparently influenced by these two prototypes, soon followed, reaching a peak by the 1880s that continued through the 1890s before subsiding during the first decade of the twentieth century.

 

Other early auditorium-plan churches in New York City include the Fifth Avenue Presbyterian Church (1883, Carl Pfeiffer, 705 Fifth Avenue, Manhattan), the New York Presbyterian Church, now the Metropolitan Baptist Church (1884, John R. Thomas and Richard R. Davies, a designated NYC Landmark, 151 West 128th Street, Manhattan), and the Emmanuel Baptist Church (1888, Francis H. Kimball, a designated NYC Landmark, 279 Lafayette Avenue, Brooklyn).

 

Hundreds more auditorium churches were built in the United States in the 1890s and 1900s,

 

including several in New York City. Besides the Tremont Baptist Church, the Green Avenue Baptist Church, now the Antioch Baptist Church (1887-92, Lansing C. Holden and Paul F. Higgs, a designated NYC Landmark, 828 Greene Avenue, Brooklyn), the Greenwood Baptist Church (1900, architect unknown, 461 6th Street, Brooklyn), and the Abyssinian Baptist Church (1922-23, Charles W. Bolton & Son, a designated NYC Landmark, 132 West 138* Street, Manhattan) are among the auditorium churches built in New York City.

 

The churches, which typically contain seating arranged in semicircular rows facing a central platform, represent a manipulation of interior space to accommodate as many congregants as possible and affording fewer visual obstructions. In these structures, preaching rather than ceremony, takes center stage.

 

The neo-medieval auditorium church remained popular for only a relatively brief period. Peaking in the 1890s, its use waned after the turn of the century, with only a handful of examples completed after 1910. By then, church architecture was becoming increasingly influenced by the high church ideals of Ralph Adams Cram and Bertram Grosvenor Goodhue, as well as the Arts and Crafts movement.

 

The neo-medieval exterior was eventually abandoned by most denominations. The auditorium plan, however, re-emerges in Protestant architecture from time to time, and even had a period of popularity in the design of post-Vatican II Roman Catholic churches.

 

William H. Birkmire

 

Born in Philadelphia, William Harvey Birkmire (1860-1924) graduated from the Philadelphia Academy of Music in 1883 and studied architecture with the influential American architect, Samuel Sloan In Philadelphia, Birkmire was associated with the Penncoyd Steel Works and Rolling Mills and in New York with the Jackson Architectural Iron Works where he was head of the construction department in 1885.

 

After 1892, he was employed by the J.B. & J.M. Cornell Iron Works. His work with these companies and his interest in advanced building techniques led Birkmire to become known as an authority on modem steel construction. He often focused on the engineering aspects of design, developing steel details for the Astor Hotel in New York and the Mexican National Opera House in Mexico City.

 

By 1895, Birkmire was established as an architect in New York City with offices on Franklin Street, and later on Broadway. Birkmire applied his knowledge of structural techniques to the design of large comirercial buildings, examples of which are found in the Ladies Mile, the Tribeca West, the Tribeca East, and the

 

Tribeca North Historic Districts. The Tremont Baptist Church appears to have been an unusual ecclesiastical commission for Birkmire. Except for this church and an apartment house located in the Upper East Side Historic District, all of his known designs within New York City are commercial buildings. In the 1890s, Birkmire compiled his extensive knowledge of modern building methods into several publications.

 

An early work, "Skeleton Construction in Buildings" (1893), provided information about the rapid improvements in iron and steel construction. This was followed by "The Planning and Construction of High Office Buildings." First published in 1896 as a series of articles in Architecture and Building and later published in book form, this work incorporated his practical experience since the earlier publication. Birkmire wrote other articles including "Architectural Iron and Steel" (1891), "The Planning and Construction of American Theaters" (1896), and "Compound Riveted Girders" (1893).

 

He practiced architecture through 1923. The commission for the Tremont Baptist Church broadens the understanding of William Birkmire's career.

 

Description

 

The Tremont Baptist Church occupies a fan-shaped lot that slopes from west to east along East Tremont Avenue, following the curve of that street near its intersection with East 176th Street.

 

A stone retaining wall of random, rough-faced blocks, follows the contours of the building's foundation and angles toward the northwest corner of the lot; the wall divides the site into two levels.

 

The church occupies the lower level to the east, while the upper level contains a small lawn and the church's parking lot. The church is surrounded by an historic, wrought-iron fence.

 

The church is one-story above a raised basement and a smooth, marble water table. The building is polygonal in plan with an offset tower at its southeast corner and a one-stay pavilion containing a secondary entryway at the southwest corner. Its dimensions are approximately eighty feet north to south and sixty feet east to west. The church is fifty feet tall with a 75-foot tower.

 

The north and south facades and the tower are faced in rough-faced gray marble ashlar, while the west elevation is covered with non-historic cement stucco. The building's south elevation is obscured by the adjacent apartment house. The church has a steeply sloping roof, which is covered with historic slate tiles and copper flashing. The north slope of the roof has a triangular, louvered vent. There is a copper finial at the roofs peak.

 

The church has five buttressed bays, consisting of intersecting, angled gables that follow the curve of East

 

Tremont Avenue.

 

The central bay features a group of three lancet windows, a blind arch, and the main entry way, consisting of historic batten doors with non-historic metal gates set within a pointed arch. The entryway is approached by way of an angled, marble stairway with rough-faced marble sidewalls. A pointed-arched niche sits above the doorway. A flat-roofed, one-story vestibule with an arched window and angled wall is adjacent to the north side of the main entryway.

 

The remaining bays contain pointed-arched window openings, situated in smooth marble surrounds, that are filled with stained glass, tracery, cusping, and protective plexiglass. The gables are coped with molded terra-cotta blocks. A variety of historic windows and doors with non-historic wrought-iron grilles pierce the bays at basement level.

 

The buttressed tower, square in plan and also constructed of rough-faced marble, has four vertical stages. All four stages are visible only on the east and north sides of the tower. The west side, which abuts the church, offers a view of the uppermost stage only. The adjacent apartment house obscures the tower's south facade. The first stage has a basement level entryway with a wrought-iron gate on the east side and a grilled window facing north.

 

The second stage features grouped lancet windows on the east side and a single window on the north side, all with smooth surrounds

 

springing from the imposts. The second level is topped by a smooth band at the level of the setbacks of the buttresses. The third level contains pointed-arched window openings on the east and north sides with stained glass, tracery, cusps, and a smooth marble surround. The window facing north, however, is smaller in size.

 

The third stage is topped by elaborate stone moldings that surround decorative panels containing circular and geometrical carvings. The fourth stage contains pointed-arched openings with copper louvers and smooth surrounds. The tower is topped by an crenellated parapet.

 

A square chimney, constructed of the same rough-faced marble of the church, sits near the northwest comer of the facade.

 

A one-story pavilion, containing a secondary entryway flanked by non-historic windows, is located at the southwest comer of the building, facing the side yard. The pavilion is covered with non-historic cement stucco, and is accessible by way of a non-historic wrought-iron bridge leading from the parking lot.

 

- From the 2000 NYCLPC Landmark Designation Report

April 2022

Major work occurred on 48th Street between 14th Street and Medtronic Way to relocate utilities and make room to widen the northbound State Route 143 bridge over the Tempe Drain.

 

Relocated from Philae Island to Agilika Island.

Hunts Point, Bronx

 

The American Bank Note Company Printing Plant, designed by the architectural firm Kirby, Petit & Green, was an important symbol of progress for the prominent securities printing firm. The leading producer of money, securities, and other types of printed and engraved products, the American Bank Note Company constructed the plant during a period when it restructured its management and expanded its production facilities. Occupying a prominent location near major transportation routes in the Hunts Point area of the Bronx, the American Bank Note Company Printing Plant has been a neighborhood focal point since its completion in 1911.

 

Architecturally, the American Bank Note Company Printing Plant recalls a time when the emerging discipline of industrial engineering was beginning to be incorporated into the exterior expression of new industrial facilities. The form of the American Bank Note Company plant, for example, which consists of a low pressroom wing adjacent to a taller “office,” was designed to accommodate a newly-engineered production line, in addition to an engraving department, similar to other printing plants of the era. Signature elements of industrial architecture, such as the saw-tooth roof and large expanses of industrial sash, allowed ample light into the interior spaces of the plant, aiding both the fine work done in the pressrooms and the meticulous hand work of the engravers. The arsenal-like exterior of the plant, which is surrounded by a brick wall, embodied a sense of strength while also providing security for the specialized printing operation.

 

The crenellated rectangular tower rising above the Lafayette Avenue wing and the articulation of the walls as massive brick piers forming multi-story arcades reinforced this fortress-like character. Such an expressive approach to industrial architecture would later be abandoned for a more severe, functional aesthetic. Upon completion, the American Bank Note Company Printing Plant was considered one of the most complete facilities of its kind, remaining in operation for nearly 75 years. Today, the expressive and monumental structure continues to serve as an important visual landmark for the Hunts Point neighborhood.

 

The Early Twentieth Century Development of Hunts Point

 

Hunts Point, along with Clason’s Point, Screvin’s Neck, and Throg’s Neck, is one of several large salt meadowland peninsulas in the Bronx which jut into the East River. Until the Civil War, Hunts Point was characterized as a rural area where prominent businessmen maintained country estates. As with many New York City neighborhoods, the creation and availability of transit routes to the Hunts Point area in the early twentieth century helped initiate development of the once-remote area. The opening of the extension of the West Side IRT subway into the Bronx in 1904 helped bring about a period of feverish land speculation southeast of Westchester Avenue near the transit line. The opening of the Intervale Avenue subway station in 1910, in particular, has been an acknowledged impetus for development near Hunts Point. The Hunts Point station of the New Haven Railroad, Harlem River branch, which had opened in the 1850s, began serving the area as a station of the New York, Westchester and Boston Railway line after 1912.

 

In addition to increased transportation options, local boosters could point to the many advantages the South Bronx offered to industry, including the excellent rail service and freight terminals of several major lines that provided the means for transporting raw materials, supplies, and finished products conveniently. There were ample sites for building in the vicinity of the waterfront or adjacent to rail lines, and the power to operate facilities was relatively inexpensive because of the easy access to coal deliveries. The growing local labor force could be supplemented by workers traveling to the Bronx via the rail and transit lines. In 1909, there were 700 factories in the Bronx; by 1912, the number of industrial operations in the borough had more than doubled. By the close of the first decade of the twentieth century, the local real estate press enthused that “a great city [was] building along Southern Boulevard.”

 

At the start of the twentieth century, most of the Hunts Point area was controlled by a small number of real estate developers, including George F. Johnson and James F. Meehan, who were developing elevator apartment houses, flats, and semi-detached houses near the subway stop.3 In 1908, the American Bank Note Company purchased from George F. Johnson a large tract of land on which the “Old Faile mansion” stood. Although change was already underway in Hunts Point at the time the American Bank Note Company purchased its property, the real estate industry considered that sale to be another great impetus for future development in the area.

 

Not only would the siting of the plant in Hunts Point help encourage other firms to consider the area for their industrial operations, but it was expected that the large number of skilled and highly-paid employees of the company, “a most desirable body of citizens,” would need housing and other services.4 The Hunts Point area was envisioned as one of mixed use, with residences located near to and north of the rail corridor and industrial establishments to the south on the point.5 In fact, the impending purchase of the American Bank Note Company site may have prompted Johnson and Meehan to construct rows of two-family brick houses on both sides of Manida Street, immediately to the east of the American Bank Note Company site. These buildings would soon become part of a residential area that developed northeast of the printing plant, between Garrison and Lafayette Avenues.6 Construction of housing, including semi-detached houses and multiple dwellings of various sizes, in Hunts Point and in the nearby area, accelerated after 1912.

 

The American Bank Note Company

 

The American Bank Note Company has long dominated the specialized field of security engraving. The company was formed in 1858 as the result of the merger of seven major note engraving companies based in several cities throughout the United States.9 The printing of bank notes is a unique type of printing, started during the early nineteenth century by several companies which produced paper currency for the large number of newly-established state banks.

 

Because of the need to protect documents against counterfeiting and to prevent any losses during the course of printing and issue, the production of securities and currency differed from other types of printing. In order to produce documents that could not be easily replicated, the American Bank Note Company manufactured its own machinery and inks, developed specialized printing methods and unusual types of paper, and used vignettes and other complex designs produced by highly skilled engravers. As the preeminent security engraving firm during the nineteenth century, the American Bank Note Company produced bank notes, postage and revenue stamps, bonds, stock certificates, checks, drafts, and letters of credit for many governments and institutions. In 1891, the American Bank Note Company began producing the American Express Company’s new “Travelers Cheques.”

 

On its founding in 1858, the American Bank Note Company established its New York City headquarters in the Merchants’ Exchange Building at 55 Wall Street.10 The company would remain in the financial district of New York City for several decades, moving its office and plant to 142 Broadway (at the corner of Liberty Street) in 1867, and again to another new facility at 78-86 Trinity Place in 1882. A period of rapid growth during the early years of the twentieth century, however, coupled with the increased value of Lower Manhattan real estate, created the need for other New York facilities.11 Under the leadership of president Warren L. Green, an engraver who rose through the management ranks of the organization, the American Bank Note Company began to update several aspects of its operation.

 

The removal (in 1908) of the company’s administrative and sales functions to a new building by Kirby, Petit & Green at 70 Broad Street, in the heart of the financial district, was the first step towards easing the space shortage.13 Shortly thereafter (1909-1911), plans were drawn for a new plant at Hunts Point in the Bronx, also designed by Kirby, Petit & Green. This separation of administration and production was accompanied by a restructuring and streamlining of management and a more efficient reorganization of the printing operation. The changes were related to the emerging discipline of industrial engineering, which influenced the industrial production and management of many establishments around the turn of the century.

 

When the Bronx facility was completed in 1911, the new state-of-the-art plant boasted five-hundred motors powering everything from the facility’s 200 presses to the arc and incandescent lamps located throughout the building. The company apparently maintained a private restaurant and a hospital on site, in addition to machine and carpenter shops in constant operation, a laboratory for developing special inks, and a laundry. At the time the facility was completed, the output of the plant was being shipped to almost “every quarter of the globe” including China, South America, Cuba, and Europe.

 

The American Bank Note Company was justifiably proud, and considered itself the organization in the bank note industry with the finest office building, the best-equipped plant, the most advanced employee welfare and research programs, and the most skilled designers, engineers, and printers.

 

“The Most Complete Engraving and Printing Plant in America”1

 

After considering various locations in the New York City metropolitan area, and after discussing its considerable freight delivery needs with the New York, New Haven and Hartford Railroad – some 10,000 tons annually of mostly paper – the American Bank Note Company selected a large site in Hunts Point for the expansion of its newly decentralized operation.

 

Located at one of the highest points in the area, just east of the Hunts Point rail station, the plant would be adjacent to small partial blocks which remained vacant for many years near the rail line, and the park-like grounds of the Monastery of Corpus Christi (established in 1889), which occupied the block to the south. These conditions, together with the irregular shape of the block, afforded a self-contained site on which security could be maintained.

 

The first plan for the printing plant, presented in May 1909, called for a group of four connected buildings placed along the perimeter of the irregularly-shaped block and a pair of towers rising above an elongated structure fronting Lafayette Avenue . The multi-story buildings were intended to house various departments of the operation, while a separate storage building was sited in the yard. The design included a single entrance to the complex through which both employees and materials would pass. This early scheme for the new plant, though characteristic of nineteenth-century industrial design, was not particularly adapted to the needs of the American Bank Note Company operation.

 

By late 1909, a new layout for the facility had been adopted, one more influenced by the emerging discipline of industrial engineering and more suited to the particular needs of the printing operation. One large T-shaped structure was proposed to occupy nearly the entire block. The shift in design is representative of a change from the practice of arranging production machines into buildings of a standard size, to one of designing spaces to accommodate engineered production lines.18 At the time the American Bank Note Company Printing Plant was being planned, schemes for “ideal” printing plants were being published in printing trade journals. Plans, such as a two-part facility consisting of a large one-story pressroom extending behind a two-story office structure with a tower, printed in one such journal in 1909, apparently influenced the design of the American Bank Note Company facility (see Figure 2).

 

Later designs for the Bronx plant of the American Bank Note Company were similar in form to industry ideals for printing facilities, featuring a pressroom extending from an “office” wing. The ultimate design for the American Bank Note Company Printing Plant featured a long, narrow, multi-storied “office” wing located along Lafayette Avenue, which was adapted for use as the engraving and lithography departments. The press rooms were housed behind, in the large north “printing press” wing. The two acres of rumbling machinery were located on the upper level of this part of the facility, and were surrounded by a partial mezzanine and offices. The securely guarded plate storage vault, which contained more than 130,000 plates ready to print at a moment’s notice, occupied the lower level, as did several other functions. Joseph R. Ford, the company’s counterfeiter, labored for many years within the offices of the tower above Lafayette Avenue, trying to replicate the firm’s products as part of the internal security program.

 

Printers, like other manufacturers, placed a high value on economical and efficient facilities that provided ample light and ventilation. The incredible need for sufficient light in both the press rooms and the engraving department of the American Bank Note Company required that daylight supplement electric lighting in these areas. Signature elements of industrial architecture, such as the saw-tooth roof and large expanses of industrial sash, would allow ample light into the interior spaces of the plant, aiding both the fine work done in the pressrooms as well as the meticulous hand work of the engravers, and were thus incorporated into the design of the American Bank Note Company Printing Plant.

 

Although the aesthetic basis of American industrial building design was rarely strictly utilitarian, neither was it ever firmly rooted in the traditions of recognized architectural styles. In the United States, the American round-arched style, an interpretation of the Rundbogenstil style developed in Germany during the 1830s and 1840s that relied largely on brick and locally available stone, was widely used as the basis for both commercial and industrial building design. The style was largely characterized by the use of round or segmentally arched openings, pilasters and horizontal bands forming grids, elaborate brick corbelling, and molded surrounds. By the late nineteenth century, the articulation of monumental arcades had become the tradition of warehouses and other building types in New York City. The facades of the American Bank Note Company plant clearly follow in this tradition, featuring a combination of large, self-supporting brick piers forming multi-story arcades, and recessed brick spandrels.

 

Adaptations of Gothic details also became popular in both British and American industrial buildings in the early twentieth century, as architects emphasized entrances with Gothic tracery and ornament, and made visual connections between buttresses and exterior piers, considering this to be an honest expression of a building’s underlying structure. The arsenal-like exterior expression of the American Bank Note Company plant, with its central tower with crenellated parapet, and fortress-like, Gothic-inspired pointed-arch window openings, follows this tradition, while also providing the building with a “pervading sense of strength and security essential to the type of work being performed within.” The massive brick piers, according to the architects, further emphasized the company’s “strength and foreshadow the heavy construction within,” while the tower simultaneously reinforces the structure’s fortress-like character and reflects the ideal plant designs of the era. A brick wall encloses much of the block.

 

After several years of planning and construction, upon completion in 1911, the American Bank Note Company Printing Plant was considered one of the most complete facilities of its kind in the country and an important symbol of progress for the securities printing firm. The machines in the press room were powered by the most advanced means of electric drive – individual motors attached to each machine. Moreover, the new plan allowed for the expansion of the company’s commercial printing services, while also reducing production costs. In addition to the engraved currency and steel plate divisions’ production of certificates of stock, bonds, and postage stamps, the typographic division printed catalogues, booklets, folders, maps, railroad tickets, and business literature for railroads, steamship lines, and other clients.

 

In the ensuing years, the American Bank Note Company Printing Plant site would be further developed with auxiliary structures. A garage, designed by Kirby, Petit & Green, was built in a complementary design in 1910 at the corner of Garrison Avenue and Barretto Street. In 1928, the garage was nearly doubled in size and the additional space was used for ink production. A one-story addition designed by architect H.W. Butts in 1912 extended from the Lafayette Avenue wing of the plant along Barretto Street (later known as the Barretto Street wing), and would house a laundry and pulp mill. This structure, raised to a height of three stories in 1928 by architect Oscar P. Cadmus, would later provide additional space for printing presses and the machine shop, and was also designed in a manner sympathetic to the existing buildings on the site. Nearby, other facilities of the American Bank Note Company (not included as part of this designation) included a building used for employee welfare and research across Barretto Street on Lafayette Avenue (1913, W.H. Butts, architect), a distribution center (1925), and a paper storage warehouse (1949).

 

Subsequent History

 

Although described in the 1939 WPA New York City Guide as “…an area of bleak residences, industrial plants, and tidal flats…,” Hunts Point’s reputation as a thriving economic zone continued to grow during the first half of the twentieth century. The opening of the New York City Produce market in 1967, the Hunts Point Meat Market in 1974, and the designation of Hunts Point as an In-Place Industrial Park in 1980, furthered the area’s viability as a location for industrial and commercial activity later in the century. Despite increased economic growth, however, the 1960s and 1970s represented a period of increasing violence and abandonment for the greater South Bronx area, and for the Hunts Point neighborhood, in particular. By the 1980s, the name Hunts Point had become largely synonymous in New York City with the urban decline ravaging so many of the nation’s inner cities at the time. This low period in the history of Hunts Point, characterized by frequent arson and mass abandonment, was further emphasized by the flight of nearly 60,000 of the area’s residents – approximately two-thirds of the existing population.

 

In 1984, the American Bank Note Company relocated its printing facilities to a more modern and secure site in Rockland County, New York. Among the numerous motivations for the move were the financial incentives being offered by the upstate town, which included a three percent discount off of the plants’ immense electric bills, made possible by a new state law which was not available for companies already established in other areas. Approximately 500 people were employed by the American Bank Note Company Printing Plant, which had occupied its Hunts Point site for more than seven decades, at the time it relocated.

 

After 1986, several neighborhood rehabilitation projects were initiated that helped to slowly transform the South Bronx back into a livable community. Zoned for industry, physically separated from the rest of the Bronx by the elevated Bruckner Expressway, and the home of waste transfer stations, warehouses, scrap metal shops, and a 1.9 million square foot food distribution center, it is not surprising that the Hunts Point neighborhood was slower to experience the resurgence. By the late 1990s, however, storefront vacancies on the area’s main street, Hunts Point Avenue, had fallen, from 60 percent in 1997 to 25 percent in 2000. The year 2000 also brought the arrival of many of the area’s first amenities in decades, if not in its history, including its first post office, the first banking service in 25 years, a primary care clinic, youth recreation center, and a new park located along the Bronx River. In 2004, the Fulton Fish Market, a former staple of the Lower Manhattan waterfront since 1853, was relocated to Hunts Point.

 

Since closing its printing operations in 1986, the American Bank Note Company Printing Plant building has served as home to a variety of tenants. Soon after the property was vacated by the American Bank Note Company, the building was used to provide space for garment manufacturing, and became known as the Bronx Apparel Center. Presently, much of the Lafayette Avenue wing of the building serves as the Bronx branch of the John V. Lindsay Wildcat Academy, an alternative high school for students who have dropped out of or have been dismissed from regular schools. The current owners of the building plan to undertake a commercial adaptive reuse project.

 

Description

 

Plan & Circulation

The American Bank Note Company Printing Plant occupies an irregularly-shaped, sloping block bounded by Lafayette and Garrison Avenues to the north and south, and Tiffany and Barretto Streets to the east and west. The site is surrounded by brick walls along Tiffany Street, Garrison Avenue, and Barretto Street, with the main vehicular gate located along Tiffany Street, and the primary pedestrian entry at the corner of Tiffany Street and Garrison Avenue.33 The principal T-shaped structure features a long, narrow wing along Lafayette Avenue (ranging from four to six stories exposed above grade) and a lower, broader, perpendicular printing-press wing extending to the north (three stories above grade). A third, later wing is located along Barretto Street, and follows the curvature of the road. Primary entry into the complex of buildings is via the west facade of the printing-press wing. Additional entries into the buildings can be found along Lafayette Avenue and Barretto Street. A one-story red brick garage is located on the northeast corner of the landmark site. All three wings of the steel-framed building feature red brick exterior walls and originally featured large expanses of industrial steel-sash in window openings. Nearly all facades of the American Bank Note Company Printing Plant, including the associated garage structure and the remaining original sections of the enclosing brick wall, are laid in a five-course American bond. A small, non-historic, one-story gable-roofed metal building is located immediately north of the printing press wing.

 

Lafayette Avenue Wing

 

The Lafayette Avenue wing of the American Bank Note Company Printing Plant, while only three bays deep, runs nearly 465 feet in length along Lafayette Avenue. The Lafayette Avenue (south) facade of this wing features three-story arcades formed by substantial brick pilasters that are spanned by recessed brick spandrels, thus separating the facade into 22 equal-sized bays. An additional narrow bay flanks each end of the Lafayette Avenue facade. Each of the pilasters, which separate the bays, is capped by a stepped-brick motif that is repeated on the remaining facades of this wing. Each of the recessed, round-headed arches that span the distance between the pilasters is detailed by a single header course of brick. Beneath each arch, most of the original arched steel-sash windows with operable sections remain with simple, rectangular sills (typical for the site), although unsympathetic glazing repairs and the intrusion of through-the-wall air conditioning units and louvered vents are visible.

 

The first and second stories of the arcades feature square-headed fenestration surrounded by brick lintels (also typical for the site) and the same simple, rectangular sills of the arched third story fenestration. The windows of the first story are substantially taller than those of the second story. Many of the original steel-sash windows with operable sections also remain along the first and second stories of the arcades, although they, too, have seen unsympathetic alterations and inclusions. Non-historic mesh security grilles have also been added to the first story window exteriors of the arcade located o the right of the central tower. At the second story, to the left of the central tower, two narrow, rectangular windows with iron security grilles appear to be original to the building, and probably serviced an interior area where less daylight and more security was requisite.

  

Directly above the arcades, the top-most story of the Lafayette Avenue facade is composed of a two­bay-deep 1925 addition to the wing, constructed of materials that closely match the original. Similar to the first and second stories of the arcades, this upper story features square-headed fenestration surrounded by the typical brick lintels and rectangular sills. Some of the original steel-sash windows with operable sections remain, while several have been replaced with modern windows or have received unsympathetic alterations and inclusions. Three bays to the left of the central tower feature narrow, rectangular windows with iron security grilles and appear to be original to the addition.

 

Beneath the three-story arcades, a series of square-headed “basement” level windows is visible, although only five such windows exist to the right of the central tower due to the slope of the site. The steel-sash fenestration with operable sections of this story is flush with the brick facade and features the typical lintels and sills for the site. Modern flashing and other alterations are visible at this level, particularly to the right of the central tower where the glazing of at least one window has been entirely replaced by louvered vents, exhaust flues, and a mesh security grille. Several square headed, “sub-basement” level windows are present to the left of the central tower.

 

Each set of the paired fenestration of this level is equivalent in width to the windows of the stories above and features the typical lintels and sills. Like the fenestration in other parts of the building, the windows here are industrial steel-sash, but do not feature operable sections. The majority of the windows are covered by mesh security grilles and also have suffered from unsympathetic repairs and replacements of glazed elements.

 

To the left of the central tower, a “sub-sub-basement” level of windows is visible below grade along a depressed areaway. The windows of this level are identical in size and placement to the windows of the “sub­basement” level, and also feature the typical lintels and sills of the site. Nearly all of the original steel-sash windows of this level have been bricked-in or otherwise altered. A non-original iron fence is present along the areaway, both to the left and to the right of the central tower.

 

The narrow bays that flank each end of the Lafayette Avenue facade are articulated in a similar fashion to the rest of the facade. The majority of the windows are square-headed and align with the other windows of the facade. The windows that align with the arcades complement the design of the arcades, featuring windows that are recessed slightly from the brick facade, with the top-most windows characterized by round-headed arches. Doorways are present at ground level, accessible above two-concrete steps. Above each doorway is a large, rectangular, industrial steel-sash transom. Due to the slope of Lafayette Avenue, the narrow bay to the right of the central tower is only four stories in height, while the bay to the left is six stories tall. The transom of the left bay is presently obscured by a mesh security grille. Non-historic signage is also present above each doorway.

 

The nine-story, rectangular tower that rises through the center of the Lafayette Avenue wing is carefully articulated as a more solid volume and is divided into two equal-sized recessed, pointed-arch bays containing narrow windows. The recessed openings containing the windows widen gradually in steps as they rise to pointed-arch terminations. The pointed arches are detailed by a single header course of brick with three consecutive recessed brick arches beneath. The pointed-arch window openings are present on all four of the tower’s facades, as are the narrow, slit windows of the tower’s top-most story.

 

Below the pointed-arch windows on all four sides, the spandrels are corbelled to meet the flanking piers and suggest balconies. The windows that align with the rounded-arch windows of the arcades to the left and the right of the central tower repeat the rounded-arch motif and are also articulated with a single header course of brick. At the ground level of the tower there are two openings, not original to the building, one a raised garage door, the other a standard doorway. To the left of the raised garage door, at both the “sub-basement” and “sub-sub-basement” levels, steel-sash windows have been replaced with glass block. All of the remaining windows of the tower retain their original steel-sash windows with operable sections and feature the typical lintels for the site. The rectangular sills beneath the windows within the bays extend beyond the window openings, spanning the width of the recessed areas. Below the third-story window openings, a balcony supported by concrete brackets spans the tower. A flagpole once rose above the tower’s crenellated parapet but is no longer extant.

 

The east and west facades of the Lafayette Avenue wing of the American Bank Note Company Printing Plant are articulated in a very similar manner to the Lafayette Avenue facade. Both the east and west facades feature substantial brick pilasters spanned by recessed brick spandrels that separate them into two equal-sized bays. A shorter, third bay to the north projects slightly from the west facade, but is recessed slightly at the east facade. The bays closest to Lafayette Avenue on both the east and west facades feature narrow, recessed rectangular windows, while the remaining openings feature the typical large expanses of industrial steel-sash windows. The typical lintels and sills are also present on both the east and west facades.

 

The windows of the two bays closest to Lafayette Avenue, including the rounded-arch windows of the top-story of the arcades, align with similar windows along the south facade. The top-most story of the shorter, northern bays of the east and west facades also feature rounded-arch windows. On the west facade, the large, square-headed windows of the “sub-sub-basement” level have been filled in with brick. Cellular phone antennas are present on this facade, particularly along the shorter, northern bay. Attempts to camouflage the antennas as brick elements have been made. Two vehicular openings have been cut into the shorter, northern bay of the otherwise identical east facade.

 

The north facade of the Lafayette Avenue wing is similarly articulated as multiple bays separated by substantial brick pilasters. To the west of the printing press wing, nine four-story arcades are visible, each capped with a rounded-arch window opening. Recessed above the roofline, an additional two stories are visible. The fenestration of these top-most stories align with similarly placed windows along the south facade of the Lafayette Avenue wing. Many of the original steel-sash windows with operable sections still remain along the north facade, although many, particularly at the bottom-most story, have unsympathetic alterations and inclusions, including at least one roll-down security gate. Adjacent to the north facade, a sheet-metal clad chimney stands next to a small, adjoining, one-story brick structure. The chimney, though original to the site, has apparently been shortened since the time of construction. Fire escapes are visible on the north facade.

With the exception of the crenellated tower, the Lafayette Avenue wing of the American Bank Note Company Printing Plant features a flat roof beyond a shallow parapet. The parapet features terra-cotta coping on all sides. There have long been three bulkheads on the roof of this wing: one near the west end, one just west of the central tower, and one near the center of the wing. Non-historic lighting, cellular phone antennas, security cameras, and signage, are present throughout.

 

Printing Press Wing

The larger, printing press wing, located north of and perpendicular to the Lafayette Avenue wing, is articulated similarly to the Lafayette Avenue wing, divided into three-story arcades framed by shallow pilasters. The pilasters of the printing press wing terminate with square caps, rather than the stepped caps present on the Lafayette Avenue wing. The east and west facades are divided into 16 bays each.

 

The seven bays adjacent to the Lafayette Avenue wing are somewhat taller and wider than the nine bays located to the rear (north). The difference in height is made up by slightly taller third-story windows present in the seven bays adjacent to the Lafayette Avenue wing and accommodate a partial mezzanine level inside. The north facade of the printing press wing is divided into 11 bays, while the wing is fully attached to the Lafayette Avenue wing to the south. The top-most story of the three visible facades of the printing press wing feature rounded-arch windows similar to those of the Lafayette Avenue wing. To the east, only this upper story is visible from street level, as the rest of the facade is obscured by the Barretto Street wing. The north facade is partially obscured from street level by the brick wall that surrounds the landmark site.

 

A loading platform extends along much of the west side of the printing press wing. At the main entrance to the building, which is located at the approximate mid-point of the west facade, a canopy protects four arched openings. The main entrance currently features two pairs of non-historic aluminum-framed doors, and is slightly recessed in its arched opening below a blocked transom. A non-historic iron railing presently lines the loading platform.

 

The saw-tooth roofline and numerous vents are visible above the edge of the roof parapet of the printing press wing. Several fire escapes serving the roof and upper stories are present on both the north and west facades of this wing. Many of the original industrial steel-sash windows have been replaced or altered, including the addition of through-the-wall air conditioning units. Towards the center of the north facade, a non-original third-story garage door is present. A shallow parapet surrounds the printing press wing on all four sides and is capped by terra-cotta coping, similar to the Lafayette Avenue wing.

 

- From the 2008 NYCLPC Landmark Designation Report

Had three relocations calls yesterday, but was only able to respond to one..

It was at the same house as my last call.. This time a ground snake and a larger s.Gopher snake

Red-eared Slider or Red-eared Terrapin (Trachemys scripta elegans)

 

The red-eared slider (Trachemys scripta elegans), also known as the red-eared terrapin, is a semiaquatic turtle belonging to the family Emydidae. It is a subspecies of the pond slider. It is the most popular pet turtle in the United States and is also popular as a pet in the rest of the world. It has, therefore, become the most commonly-traded turtle in the world. It is native to the southern United States and northern Mexico, but has become established in other places because of pet releases, and has become an invasive species in many areas, where it outcompetes native species. The red-eared slider is included in the list of the world's 100 most invasive species published by the IUCN.

  

Name

 

Red-eared sliders get their name from the small red stripe around their ears. The "slider" part of their name comes from their ability to slide off rocks and logs and into the water quickly. This species was previously known as Troost's turtle in honor of an American herpetologist; Trachemys scripta troostii is now the scientific name for another subspecies, the Cumberland slider.

  

Taxonomy

 

The red-eared slider belongs to the order Testudines, which contains about 250 turtle species. It is a subspecies of Trachemys scripta. They were previously classified under the name Chrysemys scripta elegans.

 

The species Trachemys scripta contains three subspecies: T. s. elegans (red-eared slider), T. s. scripta (yellow-bellied slider), and T. s. troostii (Cumberland slider).

  

Description

 

The carapace of this species can reach more than 40 cm (16 in) in length, but the average length ranges from 15 to 20 cm (6 to 8 in).[6] The females of the species are usually larger than the males. They typically live between 20 and 30 years, although some individuals have lived for more than 40 years. Their life expectancy is shorter when they are kept in captivity. The quality of their living environment has a strong influence on their lifespans and well being.

 

These turtles are poikilotherms, meaning they are unable to regulate their body temperatures independently; they are completely dependent on the temperature of their environment.[2] For this reason, they need to sunbathe frequently to warm themselves and maintain their body temperatures.

 

The shell is divided into two sections: the upper or dorsal carapace, and the lower, ventral carapace or plastron. The upper carapace consists of the vertebral scutes, which form the central, elevated portion; pleural scutes that are located around the vertebral scutes; and then the marginal scutes around the edge of the carapace. The rear marginal scutes are notched. The scutes are bony keratinous elements. The carapace is oval and flattened (especially in the male) and has a weak keel that is more pronounced in the young. The color of the carapace changes depending on the age of the turtle. The carapace usually has a dark green background with light and dark, highly variable markings. In young or recently hatched turtles, it is leaf green and gets slightly darker as a turtle gets older, until it is a very dark green, and then turns a shade between brown and olive green. The plastron is always a light yellow with dark, paired, irregular markings in the centre of most scutes. The plastron is highly variable in pattern. The head, legs, and tail are green with fine, irregular, yellow lines. The whole shell is covered in these stripes and markings that aid in camouflaging an individual.

 

Turtles also have a complete skeletal system, with partially webbed feet that help them to swim and that can be withdrawn inside the carapace along with the head and tail. The red stripe on each side of the head distinguishes the red-eared slider from all other North American species and gives this species its name, as the stripe is located behind the eyes where their (external) ears would be. These stripes may lose their color over time. Some individuals can also have a small mark of the same color on the top of their heads. The red-eared slider does not have a visible outer ear or an external auditory canal; instead, it relies on a middle ear entirely covered by a cartilaginous tympanic disc.

 

The main internal organs of these reptiles are the lungs, heart, stomach, liver, intestines, and the urinary bladder. A cloaca serves both excretory and reproductive functions.

  

Sexual dimorphism

 

Some dimorphism exists between males and females.

 

Red-eared slider young look practically identical regardless of their sex, making it difficult to determine their sex. It is much easier to distinguish the sex of adults, as the shells of mature males are smaller than those of females. Male red-eared sliders reach sexual maturity when their carapaces measure 10 cm (3.9 in) and females reach maturity when their carapaces measure 15 cm. The male is normally smaller than the female, although this parameter is sometimes difficult to apply as individuals being compared could be of different ages.

 

Males have longer claws on their front feet than the females; this helps them to hold on to a female during mating and is used during courtship displays. The male's tail is thicker and longer. Typically, the cloacal opening of the female is at or under the rear edge of the carapace, while the male's opening occurs beyond the edge of the carapace. The male's plastron is slightly concave, while that of the female is completely flat. The male's concave plastron also helps to stabilize the male on the female's carapace during mating. Older males can sometimes have a dark greyish-olive green melanistic coloration, with very subdued markings. The red stripe on the sides of the head may be difficult to see or be absent. The female's appearance is substantially the same throughout her life. Both male and females reach sexual maturity at five to six years.

  

Distribution and habitat

 

The red-eared slider originated from the area around the Mississippi River and the Gulf of Mexico, in warm climates in the southeastern United States. Their native areas range from the southeast of Colorado to Virginia and Florida. In nature, they inhabit areas with a source of still, warm water, such as ponds, lakes, swamps, creeks, streams, or slow-flowing rivers. They live in areas of calm water where they are able to leave the water easily by climbing onto rocks or tree trunks so they can warm up in the sun. Individuals are often found sunbathing in a group or even on top of each other. They also require abundant aquatic plants, as these are the adults' main food, although they are omnivores. Turtles in the wild always remain close to water unless they are searching for a new habitat or when females leave the water to lay their eggs.

 

Owing to their popularity as pets, red-eared sliders have been released or escaped into the wild in many parts of the world. Feral populations are now found in Australia, Europe, South Africa, the Caribbean Islands, Israel, Bahrain, the Mariana Islands, Guam, and southeast and far-east Asia. In Australia, it is illegal for members of the public to import, keep, trade, or release red-eared sliders, as they are regarded as an invasive species. Their import has been banned by the European Union as well as specific EU member countries. Invasive red-eared sliders cause negative impacts in the ecosystems they occupy because they have certain advantages over the native populations, such as a lower age at maturity, higher fecundity rates, and larger body size, which gives them a competitive advantage at basking and nesting sites, as well as when exploiting food resources. They also transmit diseases and displace the other turtle species with which they compete for food and breeding space.

  

Behavior

 

Red-eared sliders are almost entirely aquatic, but as they are cold-blooded, they leave the water to sunbathe to regulate their temperature.

  

Hibernation

 

Reptiles do not hibernate, but actually brumate; while they become less active, they do occasionally rise to the surface for food or air. Brumation can occur to varying degrees. In the wild, red-eared sliders brumate over the winter at the bottoms of ponds or shallow lakes. They generally become inactive in October, when temperatures fall below 10 °C (50 °F). During this time, the turtles enter a state of sopor, during which they do not eat or defecate, they remain nearly motionless, and the frequency of their breathing falls. Individuals usually brumate underwater, but they have also been found under banks and rocks, and in hollow stumps. In warmer winter climates, they can become active and come to the surface for basking. When the temperature begins to drop again, however, they quickly return to a brumation state. Sliders generally come up for food in early March to as late as the end of April.

 

During brumation, T. s. elegans can survive anaerobically for weeks, producing ATP from glycolysis. The turtle's metabolic rate drops dramatically, with heart rate and cardiac output dropping by 80% to minimise energy requirements. The lactic acid produced is buffered by minerals in the shell, preventing acidosis. Red-eared sliders kept captive indoors should not brumate.

  

Reproduction

 

Courtship and mating activities for red-eared sliders usually occur between March and July, and take place under water. During courtship, the male swims around the female and flutters or vibrates the back side of his long claws on and around her face and head, possibly to direct pheromones towards her. The female swims toward the male and, if she is receptive, sinks to the bottom for mating. If the female is not receptive, she may become aggressive towards the male. Courtship can last 45 minutes, but mating takes only 10 minutes.

 

On occasion, a male may appear to be courting another male, and when kept in captivity may also show this behaviour towards other household pets. Between male turtles, it could be a sign of dominance and they may fight. Young turtles may carry out the courtship dance before they reach sexual maturity at five years of age, but they are unable to mate.

 

After mating, the female spends extra time basking to keep her eggs warm. She may also have a change of diet, eating only certain foods, or not eating as much as she normally would. A female can lay between two and 30 eggs depending on body size and other factors. One female can lay up to five clutches in the same year, and clutches are usually spaced 12 to 36 days apart. The time between mating and egg-laying can be days or weeks. The actual egg fertilization takes place during the egg-laying. This process also permits the laying of fertile eggs the following season, as the sperm can remain viable and available in the female's body in the absence of mating. During the last weeks of gestation, the female spends less time in the water and smells and scratches at the ground, indicating she is searching for a suitable place to lay her eggs. The female excavates a hole, using her hind legs, and lays her eggs in it.

 

Incubation takes 59 to 112 days. Late-season hatchlings may spend the winter in the nest and emerge when the weather warms in the spring. Just prior to hatching, the egg contains 50% turtle and 50% egg sac. A new hatchling breaks open its egg with its egg tooth, which falls out about an hour after hatching. This egg tooth never grows back. Hatchlings may stay inside their eggshells after hatching for the first day or two. If they are forced to leave the eggshell before they are ready, they will return if possible. When a hatchling decides to leave the shell, it still has a small sac protruding from its plastron. The yolk sac is vital and provides nourishment while visible, and several days later it will have been absorbed into the turtle's belly. The sac must be absorbed, and does not fall off. The split must heal on its own before the turtle is able to swim. The time between the egg hatching and water entry is 21 days.

 

Damage to or inordinate motion of the protruding egg yolk, enough to allow air into the turtle's body, results in death. This is the main reason for marking the top of turtle eggs if their relocation is required for any reason. An egg turned upside down will eventually terminate the embryo's growth by the sac smothering the embryo. If it manages to reach term, the turtle will try to flip over with the yolk sac, which would allow air into the body cavity and cause death. The other fatal danger is water getting into the body cavity before the sac is absorbed completely and while the opening has not completely healed yet.

 

The sex of red-eared sliders is determined by the incubation temperature during critical phases of the embryos' development. Only males are produced when eggs are incubated at temperatures of 22–27 °C (72–81 °F), whereas females develop at warmer temperatures. Colder temperatures result in the death of the embryos.

  

Red-eared sliders as pets

 

The red-eared slider is the most common type of water turtle kept as pets. As with other turtles, tortoises, and box turtles, individuals that survive their first year or two can be expected to live generally around 30 years.

  

Infection risks and United States federal regulations on commercial distribution

 

Reptiles are asymptomatic (meaning they suffer no adverse side effects) carriers of bacteria of the genus Salmonella. This has given rise to justifiable concerns given the many instances of infection of humans caused by the handling of turtles, which has led to restrictions in the sale of red-eared sliders in the US. A 1975 U.S. Food and Drug Administration (FDA) regulation bans the sale (for general commercial and public use) of both turtle eggs and turtles with a carapace length of less than 4 in (10 cm). This regulation comes under the Public Health Service Act, and is enforced by the FDA in cooperation with state and local health jurisdictions. The ban was enacted because of the public health impact of turtle-associated salmonellosis. Turtles and turtle eggs found to be offered for sale in violation of this provision are subject to destruction in accordance with FDA procedures. A fine of up to $1,001 and/or imprisonment for up to one year is the penalty for those who refuse to comply with a valid final demand for destruction of such turtles or their eggs. Many stores and flea markets still sell small turtles due to an exception in the FDA regulation which allows turtles under 4 in (10 cm) to be sold "for bona fide scientific, educational, or exhibition purposes, other than use as pets." As with many other animals and inanimate objects, the risk of Salmonella exposure can be reduced by following basic rules of cleanliness. Small children must be taught to wash their hands immediately after they finish playing with the turtle, feeding it, or changing its water.

  

US state law

 

Some states have other laws and regulations regarding possession of red-eared sliders because they can be an invasive species where they are not native and have been introduced through the pet trade. Now, it is illegal in Florida to sell any wild-type red-eared slider, as they interbreed with the local yellow-bellied slider population — Trachemys scripta scripta is another subspecies of pond sliders, and hybrids typically combine the markings of the two subspecies. However, unusual color varieties such as albino and pastel red-eared sliders, which are derived from captive breeding, are still allowed for sale.

  

In popular culture

 

Within the second volume of the Tales of the Teenage Mutant Ninja Turtles, the popular comic book heroes were revealed as specimens of the red-eared slider. The popularity of the Turtles led to a craze for keeping them as pets in Great Britain, and subsequent ecological havoc as turtles were accidentally or deliberately released into the wild.

  

[Credit: en.wikipedia.org]

Nearly 900,000 cubic yards of material has been moved during this project.

Professional Packers And Movers In Ghaziabad 9311950079

 

www.professionalpackersindia.com/packers-movers-ghaziabad...

 

Professional Packers and movers established in 200X and it's one amongst the simplest and leading relocation services suppliers in XYZ location. we provide complete packers and movers services and relocate your demand inside given timeframe at reasonable prices. once it involves long distance shifting and relocation we tend to effectively shift your product with none injury and even one scratch on your product.

 

 

Lt. Gen. Rick Lynch, commander of the U.S. Army Installation Management Command and Assistant Chief of Staff for Installation Management, recognized nine Army Civilians for exemplary leadership and performance April 20.

 

The U.S. Army Installation Management Command Stalwart Awards recognize individuals who distinguish themselves among their peers and supervisors as outstanding IMCOM Soldiers and Civilians.

 

"You all are the future of IMCOM," said Lynch. "You have been recognized by IMCOM leaders as the best of the best."

 

Lynch, Katherine Hammack, Assistant Secretary of the Army for Installations, Energy and the Environment, and IMCOM Command Sgt. Maj. Neil Ciotola awarded each Stalwart a medallion during a midday general session at the U.S. Army Installation Management Symposium in San Antonio.

 

Wanda Stover received the Stalwart Award for the IMCOM Europe Region. Stover, supervisor of the alcohol and drug abuse control program for U.S. Army Garrison Grafenwoehr, Germany, was cited for exceeding expectations and striving to improve the quality of life for Soldiers and their Families.

 

Other nominees from IMCOM-Europe were Ron Joseph, director of human resources, Baden-Wuerttemberg, Germany, and Jan Meert, director, Army Community Service, Family, Morale, Welfare and Recreation, Wiesbaden, Germany.

 

Dawn Jones, administrative officer for the Camp Humphreys Department of Public Works, received the Stalwart Award for the IMCOM Korea Region. The award cited Jones' high standards and commitment to Soldiers, Civilians and Families.

 

Also nominated from IMCOM-Korea was James North, supervisor and strategic planning specialist in the USAG Yongsan Plans, Analysis and Integration Office.

 

Martin Venturo, acting Deputy to the Garrison Commander and director of the Resource Management and Plans, Analysis and Integration offices for Fort Monmouth, N.J., took the Stalwart Award for the IMCOM Northeast Region. Venturo received recognition for his ability and leadership while taking on many additional responsibilities.

 

Also nominated from IMCOM-Northeast was Carrie Mead, chief of the Plans, Analysis and Integration Office for Detroit Arsenal, Mich. Douglas Farrington, fire inspector for Aberdeen Proving Ground, Md., received a posthumous nomination.

 

Dennis Drake, supervisory public affairs specialist for Schofield Barracks, Hawaii, won the Stalwart Award for the IMCOM Pacific Region. Leadership, resourcefullness, skills and attitude made significant contributions to the garrison's public affairs mission, according to the award citation.

 

Also nominated from IMCOM-Pacific were Brenda Braswell, supervisor and equal opportunity specialist for USAG Japan, and Michael Meeks, director of public works for Fort Wainwright, Alaska.

 

Leo Stolfi, supervisory emergency services manger for Fort Polk, La., was named Stalwart Award winner for the IMCOM Southeast Region. Stolfi was cited for dedication, perseverance, performance and serving as a role model for others.

 

Other IMCOM-Southeast nominees were Melinda Jo Berry, budget analyst for the Resource Management Office at Fort Gordon, Ga., and William Leyh, director of plans, training, mobilization and security for Fort Rucker, Ga. Ted Freeman, Army Substance Abuse Program manager for Fort Riley, Kansas, received the Stalwart Award for the IMCOM West Region. Through Freeman's persistence, Fort Riley was the first Army installation to develop a "Save a Soldiers Life" program by installing a computerized DUI simulator. Fort Riley is the only installation to develop a battalion-level breath-testing program.

 

Also nominated from IMCOM-West were Daniel Dougherty, motor transport officer at Fort Hood, Texas, and Gregory Harrell, supervisor and air traffic control specialist at Fort Huachuca, Ariz.

 

Shaunya Murrill, chief of the Outreach and Strategic Integration Division, Family and Morale, Welfare and Recreation Command, Alexandria, Va, won the FMWRC Stalwart Award. Murrill made it possible to extend standardized programs and services to Soldiers and Families of the Total Army, both in the communities where they live and to the geographically dispersed.

 

Pratya Siriwat, operations officer in the U.S. Army Environmental Command Mission Integration Cell won the USAEC Stalwart Award. Siriwat's leadership enabled the successful relocation of the USAEC Headquarters and more than 60 percent of the command's staff from Aberdeen to San Antonio.

 

Kathy Aydt, chief of strategic communications for IMCOM, received the Stalwart Award for headquarters and region staff. Aydt initiated, spearheaded, and implemented an enterprise-wide campaign that resulted in the creation of a new installation management logo. She works to ensure strategic communications staff members embed imcom values in every message transmitted to internal and external customers, key stakeholders, congress, and the army family.

 

Also nominated were Jerry Bennett, operations specialist in the Northeast Region Operations Division, Jonathan Hunter, chief of the Southeast Region Installation Support Team at Fort McPherson, Ga., Gordon Hurd, chief of the Budget Execution and Integration Branch for Europe Region, Primasita Seery, supervisory logistics management specialist for the Pacific Region, Jerry Vesey, general engineer for IMCOM West Region.

   

ABOUT the U.S. Army Installation Management Community:

IMCOM handles the day-to-day operations of U.S. Army installations around the globe - We are the Army's Home. Army installations are communities that provide many of the same types of services expected from any small city. Fire, police, public works, housing, and child-care are just some of the things IMCOM does in Army communities every day. We endeavor to provide a quality of life for Soldiers, Civilians and Families commensurate with their service. Our professional workforce strives to deliver on the commitments of the Army Family Covenant, honor the sacrifices of military Families, and enable the Army Force Generation cycle. Our Mission: Our mission is to provide Soldiers, Civilians and their Families with a quality of life commensurate with the quality of their service. Our Vision: Army installations are the Department of Defense standard for infrastructure quality and are the provider of consistent, quality services that are a force multiplier in supported organizations' mission accomplishment, and materially enhance Soldier, Civilian and Family well-being and readiness.

 

To learn more about IMCOM:

Homepage: www.army.mil/imcom

twitter.com/armyimcom

www.facebook.com/InstallationManagementCommunity

www.youtube.com/installationmgt

www.scribd.com/IMCOMPubs

ireport.cnn.com/people/HQIMCOMPA

www.flickr.com/photos/imcom/

The Overland Automobile Company was a United States-based automobile manufacturer.

 

HISTORY

The Overland Automobile "runabout" was founded by Claude Cox, a graduate of Rose Polytechnic Institute, while he was employed by Standard Wheel Company of Terre Haute, Indiana, United States, in 1903. In 1905, Standard Wheel allowed Cox to relocate the Overland Automobile Company to Indianapolis, Indiana, and he got a partner.

 

In 1908, Overland Motors was purchased by John North Willys. In 1912, it was renamed Willys-Overland.

 

One of the more unusual uses of an Overland was in 1911 when Milton Reeves used a 1910 model to create his eight-wheel Reeves Octo-Auto.

 

Overlands continued to be produced until 1926 when the marque was succeeded by the Willys Whippet.

 

The last vestige of the Overland automobile empire remains in the form of bricks spelling out "Overland" in the smoke stacks at the Toledo factory that once formed the core of Willys automotive empire. But the name would come back when DaimlerChrysler (Now Fiat Chrysler Automobiles) introduced the Overland name for a trim package on the 2002–present (except 2005 model year) Jeep Grand Cherokee. The badging is a recreation of the Overland nameplate from the early twentieth century.

______________________________

 

Umaid Bhawan Palace, located at Jodhpur in Rajasthan, India, is one of the world's largest private residences. A part of the palace is managed by Taj Hotels. Named after Maharaja Umaid Singh, grandfather of the present owner Gaj Singh of the palace, this edifice has 347 rooms and serves as the principal residence of the erstwhile Jodhpur royal family. A part of the palace also houses a museum.

 

Umaid Bhawan Palace was called Chittar Palace during its construction due to use of stones drawn from the Chittar hill where it is located. Ground for the foundations of the building was broken on 18 November 1929 by Maharaja Umaid Singh and the construction work was completed in 1943. The Palace was built to provide employment to thousands of people during the time of famine.

 

HISTORY

History of building the Umaid Bhawan Palace is linked to a curse by a saint who had said that a period of drought will follow the good rule of the Rathor Dynasty. Thus, after the end of about 50-year reign of Pratap Singh, Jodhpur faced a severe drought and famine conditions in the 1920s for a period of three consecutive years. The farmers of the area faced with famine conditions sought the help of the then king Umaid Singh, who was the 37th Rathore ruler of Marwar at Jhodpur, to provide them with some employment so that they could survive the famine conditions. The king, in order to help the farmers, decided to build a lavish palace. He commissioned Henry Vaughan Lanchester as the architect to prepare the plans for the palace; Lanchester was a contemporary of Sir Edwin Lutyens who planned the buildings of the New Delhi government complex. Lanchester patterned the Umaid Palace on the lines of the New Delhi building complex by adopting the theme of domes and columns. The palace was designed as an extraordinary blend of western technology, and many Indian architectural features.

 

The palace was built at a slow pace as its initial objective was to provide employment to the famine-stricken farmers of the locale. The foundation stone was laid in 1929. About 2,000 to 3,000 people were employed to build it. However, the actual occupation of the palace by the Maharaja came only after its completion in 1943, very close to the period of Indian Independence. There was criticism in some quarters for embarking on an expensive project but it had served the main purpose of helping the citizens of Jodhpur to face the famine situation. The estimated cost of building the palace was Rs 11 million. When it opened its gilded doors in 1943 it was considered as one of the largest royal residences in the world.

 

The site chosen for the palace was on a hill known as Chittar hill in the outer limits of Jodhpur, after which the palace is also known, where no water supply was available near by and hardly any vegetation grew as hill slopes were rocky. The building material required was not close by as sandstone quarries were at quite a distance. Since the Maharaja had the foresight to bring his project to fruition, he built a railway line to the quarry site to transport the building material. Donkeys were inducted to haul soil to the site. The sandstone transported by rail was dressed at site into large blocks with interlocking joints so that they could be laid without the use of mortar and thus create a wonderful edifice.

 

The palace was built with "dun-colourd" (golden – yellow) sandstone with two wings. Makrana marble has also been used, and Burmese teak wood has been used for the interior wood work. When completed the palace had 347 rooms, several courtyards, and a large banquet hall which could accommodate 300 people. The architectural style is considered as representing the then in vogue Beaux Arts style, also known as Indo-Deco style. However, for many years the palace did not function fully on account of many tragic events in the royal family. Umaid Singh who stayed in the place for only four years died in 1947. Hanumant Singh who succeeded him also died at an young age; he had just won in the 1952 General Elections and was returning home after this win when his plane crashed and he died. Gaj Singh II who succeeded his father then decided in 1971 to convert a part of the palace in to a hotel.

 

FEATURES

The Palace is divided into three functional parts – the residence of the royal family, a luxury Taj Palace Hotel, and a Museum focusing on the 20th century history of the Jodhpur Royal Family.

 

PALACE

The entire palace complex built with sandstone and marble is set in an area of 11 ha of land including 6.1 ha of well tended gardens. The palace, magnificent in its lavish proportions, consists of a throne chamber, an exclusive private meeting hall, a Durbar Hall to meet the public, a vaulted banquet hall, private dining halls, a ball room, a library, an indoor swimming pool and spa, a billiards room, four tennis courts, two unique marble squash courts, and long passages.

 

The interior central dome sits above the sky blue inner dome. The inner vaulted dome is a major attraction in the palace which rises to a height of 31 m in the interior part which is capped by an outer dome of 13 m height. The entry to the palace has decorations of the Coat of arms of the Rathore Royal family. The entry leads to the lobby which has polished black granite flooring. The lounge area has pink sandstone and marble floors. Maharaja Gaj Singh, known as "bapji", stays in a part of the palace. The architecture of the palace is described as an amalgam of lndo-Saracenic, Classical Revival and Western Art Deco styles. It is also said the Maharaja and his architect Lanchester had considered the features of Buddhist and Hindu edifices such as the Temple Mountain-Palaces of Burma and Cambodia, and in particular the Angkor Wat in preparing the layout and design of the palace. The interior of the palace is in art deco design. The interior decoration is credited to J.S. Norblin, a refuge from Poland, who created the frescoes in the throne room on the east wing. An architectural historian commented that "it is the finest example of Indo-deco. The forms are crisp and precise".

 

HOTEL

The hotel wing of the palace is run by the Taj Group of Hotels. It has 70 guest rooms including the luxurious "Regal and Vice Regal Suites" and the fabulous "Maharaja" and "Maharani suites" with art deco style decorations, the latter is fitted with a bath tub carved from a single block of pink marble said to be the only one of its type in India. The Maharani suite also has parquet flooring and has a terrace which provides scenic views of the garden. The bed room has an attached kitchen and the furnishing here is in pink and peach colour. The bed is also fitted with an art feature of a woman sitting on a lion. The Maharaja Suite has manly furnishings in leopard skin, and with black marble flooring and a curved mirrored dome. Both the rooms are decorated with murals. The banquet hall of the palace now forms the large restaurant.

 

MUSEUM

The museum has exhibits of stuffed leopards, a very large symbolic flag gifted to Maharaja Jaswant Singh by Queen Victoria in 1877, an impressive "quirky" collection of clocks in windmill and light house shapes, and photographs of the elegant art-deco interior of the palace. The classic cars of the Maharajas are also on display in the garden in front of the museum. Glass, porcelain wares, memorabilia, and information on the building of the palace are also part of the exhibits. The Darbar Hall, which is part of the museum, has elegant murals and also substantial number of miniature paintings, armour and an unusual collection of household paraphernalia that was in vogue in the 1930s, which were costly and then not found in India. October to March, during winter season, are the best months to visit the palace and the museum.

 

WIKIPEDIA

South Mountain Freeway Chuckwalla Relocation

In the 1950's, the Peoria & Eastern relocated about 1.5 miles of track to accomodate a new customer. The result was this cut going under Indiana highway 63. Here, the Vermilion Valley totes 10 empty hoppers east on the relocated segment.

Enjoying a Comic Relief Dress-down day at the office!

(for further pictures please go to the link at the end of page!)

Krems an der Donau (Stein)

Community Krems at the Danube

www.krems.gv.at

History

Stein, copper engraving, Georg Matthäus Vischer, 1672

© IMAREAL, Austrian Academy of Sciences

The twin city of Krems-Stein in 1995 celebrating the 1000 year jubilee, is one of the oldest cities in Austria. The terrace formation, the favorable climate and location at the crossroads of the Danube trade route with the north-south connections from the Waldviertel (Wood district) and the wine district (Weinviertel) favored for thousands of years the colonization of the area and contributed essentially to the development as a center in the Danube region.

For a far into the early days reaching settlement tradition speak finds from the Paleolithic (Hundssteig, Wachtberg, 30000-25000 BC), from the Neolithic period (ceramic cultures), but also the special role of the region in the Early Bronze Age Unetice Culture (1800-1500 BC) as well as traces of the urn field culture of the late Bronze Age and the Hallstatt culture (800-400 BC). In the La Tène period settled here probably celticized groups, in the Roman period the area belonged since the beginning of the second Century to the sphere of influence of the Germanic Marcomanni. According to the biography of Saint Severin ("Vita Severini") the center of the Germanic Rugians in the second half of the 5th Century probably lay in the area of Krems-Stein, for the next century the cemetery in Unter-Rohrendorf proves the presence of the Lombards.

First time mentioned by name Krems is in a charter of Emperor Otto III of 9th August 995 as orientalis urbs que dicitur Chremisa - as a fortified place in the East which is named the Chremisa. The settlement then lay on the eastern border of the small Mark Ostarrîchi in close proximity to Moravia, but soon it grew beyond the castle district and developed in the 11th Century to a market settlement around the High market (Hoher Markt). Since 1014 Krems was due to a Royal donation (Königsschenkung) parish. The sister city of Stein is only in the second half of the 11th century (1072) named. Its center was the to parish Krems belonging Michael Church. Stone primarily was a toll and loading berth for salt, wine and grain. From skipper settlement arose a market and in the 12th Century a town settlement (since 1144). The character as a city of Krems is yet a little earlier for the year 1136 proven.

The position at the Danube the two cities had assigned their complementary functions: Stein lay directly at the stream and became toll and landing place for ships, had but due to the rising hillsides little space for large commercial and market places and construction activity. Krems, however, was cut by tributaries and floodplains from the main stream, but offered plenty of space for colonization and markets as well as the protection of a mighty castle.

Around 1150 Krems was the most important commercial center in the country. In the tower of the town castle of Krems at the steep slope of the High market between 1130-190 the first Babenberg coin, the Kremser penny, was minted. On the world map of the Arab scholar Idrisi Krems is named before Vienna, which only in subsequent time should surpass Krems. The city's growth ​​probably already in the first half of the 12th Century the relocation of the parish of St. Stephen's Church on woman mountain (Frauenberg - now Piaristenkirche) to the foot of the mountain made necessary where the new Vitus church became parish. End of the 12th Century Krems was surrounded by a city wall, 1196 the first city judge is testified. The city has been expanded several times and extended in the late Middle Ages from the Steiner Tor in the west to the Krems river in the east. The Dominican monastery, founded in 1236 was initially outside the city.

Stein evolved from the high terrace in the direction of Nicholas church, which in 1283 was elevated into the status of a parish. In the late Middle Ages, the area between Landstraße and the Danube was built-up and the city in the area of the in 1223/1224 founded Minorits monastery (consecration of the church in 1264) and between Reisperbach and Linzertor extended.

Both cities since the beginning of the 12th Century were princely and complemented each other as land and Danube trading venues. Their close relationship has led to a unique construction as a twin city. Both cities had a civic community with its own military and financial sovereignty, but had a common municipal law (1305) and a common municipal judge and later mayor (since 1416). 1463 Emperor Frederick III the two cities conferred a common coat of arms, the imperial double-headed eagle in gold on a black background. In addition to Krems-Stein only Wiener Neustadt and Vienna had the privilege to lead the double eagle. The union of the cities existed until 1849, after 90 years of independence of Stein, in 1939 took place the recent merger.

The economic boom in the late Middle Ages was based on the viticulture and trade with wine, salt and iron. In Stein shipping formed a significant economic factor. 1463 Stein received by the Emperor Frederick III the privilege to build a fixed bridge, the second oldest after Vienna in the area of the Austrian course of the Danube river.

From the richness and self-conciousness of the citizenship testifies the in 1265 built "Gozzoburg" of the mighty city judge Gozzo of Krems, a castle-like town house with loggia. The appearance of both cities is characterised of the numerous houses from the 15th and 16th century, which are designed with bay windows, sgraffito and paintings and as well as arcade courtyards inside. A characteristic of both cities are the since the High Middle Ages profable "vintage courtyards" of monasteries and bishoprics, which were used to store wine and served for the administration of the monastic possessions, such as the Passau courtyards, the Kremsmünstererhof or the Göttweigerhof. The Göttweigerhofkapelle (chapel) is equipped with valuable frescoes from the early 14th Century. About 1500 Krems through the work of the Augsburg artist Jörg Breu became a center of the Danube School.

Since the second half of the 16th Century Krems was mostly Protestant. The resistance of the citizens against the recatholicization in 1593 led to the loss of all privileges. It was not until 1615 as Emperor Matthias cancelled the harsh verdict and restored the independence of the city. A big part in the Catholic restoration played the in 1616 settled Jesuits who ran the school and by their theater performances became famous. In addition to the Jesuit college emerged in the time of the Counter-Reformation the Capuchin Monastery Und (1614) and the early Baroque new building of the Kremser parish church, in which renowned Italian artists took part.

The 17th Century due to the shift of international trade routes and the decline of the importance of the Danube trade brought an economic downturn. Severe damages the city suffered in 1645 by the Swedes, who besieged Krems, conquered and extended it to the main fortress, and by the reconquest a year later. It was only after 1700 as a upswing set in again, which found its expression in the Baroque style of the city. Employers for the resident artists or handicrafts were the big monasteries of the country. One of the most important painters of this period was Martin Johann Schmidt, the Kremser Schmidt, until his death (1801) in Stein maintaining a painting workshop.

In the second half of the 18th Century changed the ecclesiastical structures of the city. The since 1616 the Jesuits transmitted Frauenberg church was taken over by the Piarists in 1776 after the abolition of the Order (1773). 1783 the Dominican Monastery, 1796 the Minorit's monastery and the Capuchin monastery was abolished and profaned.

The biggest change of the cityscape since the Middle Ages took place in the 19th Century by the removal of the ramparts and the city gates. Remained except for remnants of the wall only the Steinertor (gate), which became the symbol of the city. Of the in the course of industrialization established factories of importance were the leather factory in Rehberg, the factory for the manufacturing of mats and rugs made ​​of coconut fibres in Stein and the first quartz millstone factory of Austria. Great reputation also enjoyed the organ builders Zachistal, Capek and Hradetzky and the Kremser bell founders, including Matthias Prininger, Ferdinand Vötterlechner and Johann Gottlieb Jenichen. In the last third of the century followed the connection to the railway network, 1909, the Donauuferbahn (railway line along the Danube) was opened.

After the Second World War - on 2nd April 1945, there was heavy bombing - succeeded the city to preserve the architectural heritage largely in its original state and to connect it with modernity. The successful revitalization already received international recognition, Krems in 1975, 1979 and 2009 was Europa Nostra award winner. The city with the "Art Mile" in Stein (Kunsthalle, Museum of Caricature and Artothek), the Danube Festival and numerous cultural events developed to one of the most important cultural centers in Lower Austria .

The art treasures of the city as well as tradition and the history of wine-growing presents the "museumkrems" in the former Dominican church. Which the in 1994 founded and in 1995 opened "Danube University", Krems became 13th Austrian university town and is since 2002 the seat of a University of Applied Sciences (International Management Center). With the since 1998 annually realized Wachau Marathon Krems itself also could established as a "sports city".

In the 1970s, the city once again experienced a major expansion. In 1972 joined the community of Hollenburg Krems. The once separating Danube became the connecting element between the urban north and the "orchard" in the south. Meanwhile, the "Southtown" became integral part of the city, but could maintain its rural character.

Krems has partnerships with cities in Denmark, Germany, France, Czech Republic and the USA.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

ALP deliver your goods at your Home 'or' other destinations ! #logistic_services

The original east window of 1878 was relocated following the extension of 1896 to the west end where it remains today. This three-light window depicts the Transfiguration of Christ, portrayed in mid air flanked by Elijah and Moses with three Apostles reclining below. It is the work of Birmingham stained glass maker Swaine Bourne (formerly of Chance Bros) and dates from 1878.

 

Dorridge's church of St Philip is a bit of an oddity, something of a surprise if one is expecting a conventional parish church, hidden away in Manor Road marked by neither tower or spire. My first ever glimpse of it was the view from the nearby railway line, passing on a London-bound train and seeing the impressive east gable end standing proudly above the trees nearby. Usually the chancel is the smaller part of a church, a more intimate sanctuary entered from a more spacious nave, but here the arrangement is turned on its head, a humble brick nave followed by a grand stone-built chancel of greater height, part of an aborted late 19th century plan for a more ambitious building that was never realised beyond this point. Ironically thoughts have turned in recent years to further ambitions, and there is a proposal to replace the existing building entirely with a new church & community centre, though as far as I know the plan is aspirational with no firm timetable, and could yet prove too costly a venture to be realised.

 

The church only dates back as far as 1878 when the present brick nave was built, a mission church that could easily pass for a school-room or village hall were it not for the traceried window facing the road. Entry is by a small timber porch on the south side crowned by a tiny bellcote. Beyond is the awkward join of the newer chancel (which overshadows the earlier part) built in 1896-7 by J.A.Chatwin as the start of his bold new church which never progressed beyond this point. It is a more impressive sight from the south and east from where it is easier to visualise how the completed building might have looked, doubtless like many other late Victorian suburban churches had the new nave and tower been supplied. As it stands it might look distinctly peculiar, but is all the more unique as a result.

 

Inside the contrasting dimensions of nave and chancel are equally apparent like two different buildings spliced together, the former appearing like a long narrow antechamber to the latter space which opens out into a side chapel and vestries beyond. The nave is flooded with light from the plain, almost domestic-looking windows beneath a simple timber roof, itself lightened with ochre-coloured paint. The sanctuary by contrast is marked by much more subdued lighting, the main illumination coming from the large five-light east window which seems a little overpowering for the more down-to-earth nave.

 

The church is usually kept locked outside of services, and it remains to be see whether it will survive in its present form or if it is demolished and replaced by a new building.

 

For more see the church's entry on the Warwickshire Churches site below:-

warwickshirechurches.weebly.com/dorridge---st-philip.html

Zeiss Ikon, ZM 35/2, RPX 400 store-developed

The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.

Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.

Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.

Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.

The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.

The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.

Dawn Patrol. A319 towing up to the line. Overnight work package down at hangar complete.

Soon to be relocated. He's a true feral and after a long stay, still wants nothing to do with humans... except food. Lots of food! I'll miss his regal, if snarly presence.

During the soccer world cup 2006, Munich's new soccer stadium had to remove its name because Allianz is not one of the main sponsors.

 

Odd or not - they brought the giant letters to the inner city and placed it on "Haus der Kunst" ("house of art") where an exhibition of the architects Herzog&deMeuron takes places right now. They also planned the stadium.

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Covering two floors of this office building in Fleet Place, London, Mansfield Monk designed a fresh working environment that consolidated the two businesses who were relocating to the new offices. The design reflects the individuality, creativity and passion of both parts of the business.

 

www.mansfieldmonk.co.uk

Title / Titre :

Japanese-Canadian man and woman relocate by train to camps in the interior of British Columbia /

 

Canadien et Canadienne d’origine japonaise déplacés par train à des camps de la région intérieure de la Colombie-Britannique

 

Creator(s) / Créateur(s) : Unknown / Inconnu

 

Date(s) : 1942

 

Reference No. / Numéro de référence : ITEM 3193871, 3624404

 

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3193...

central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3624...

 

Location / Lieu : British Columbia, Canada / Colombie-Britannique, Canada

 

Credit / Mention de source :

Library and Archives Canada, C-57256 /

 

Bibliothèque et Archives Canada, C-57256

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I love to watch them soaring above every day while I'm walking - rarely do they "react" to my presence- after taking many photos at their first perch atop a house, they followed us and now they know where we live :)

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On May 18, 2012 just before 2:00 PM, the Los Angeles Fire Department safely relocated two individuals near Hansen Dam Recreation Center in the Lake View Terrace portion of the San Fernando Valley. LAPD was notified. No transport to the hospital was required. © Photo by David DeMulle

Planet Fitness 2437 E. Main St Plainfield, IN. Former Walmart that relocated to 2575 E. Main St in 1988.

Hamilton Heights, Harlem, Manhattan

 

The story of the founding of the College of the City of New York begins with the story of Townsend Harris who was born in the village of Sandy Hill In Washington County, New York, on October 4, 1804. He grew up in this small upstate agricultural community in a family that was honest, industrious and resourceful. These qualities characterized Townsend Harris throughout his lifetime. He received only a moderate amount of education at the local school where he teamed the "three Rs" which at that time were considered enough for any country boy.

 

Harris was a man of great intelligence who was vitally interested in everything in the world around him. Exposure to the culture of New York opened new vistas for him. He fett very keenly his tack of higher teaming and, eventually, through his own personal efforts, he educated himself in college subjects. He was particularly interested in languages and he learned to speak fluent French, Spanish, Italian, Dutch and Portuguese.

 

Harris was well received socially, and was quite active in civic affairs. He was a volunteer fireman, a member of the militia, a trustee of the Northern Dispensary, a member of the Board of Education and a commissioner of the Ninth Ward. He was elected President of the Board of Education for two terms, 1846-1848, and it was during this time that he proposed free education at college level for all young men who had graduated from the "common schools" of the City. This was a very novel idea and it was not received with universal enthusiasm. Harris was not to be deterred, however, and he enlisted the support of several influential men, among them James Cordon Bennett, editor of the Herald, and William Cullen Bryant, editor of the Evening Post. Both of these men strongly advocated the cause of the Free Academy in their editorials.

 

Bryant wrote, "The Academy will give us intelligent mechanics, whose influence among our people, extending throughout the Union, and reacting upon ourselves, cannot fail to elevate our national character." The way was not smooth by any means but It became easier as more and more publicity was given to the matter.

 

On February 23, 1847, the Townsend Harris Memorial and Draft of Bill were read into the Record in the State Senate and referred to the Committee on Literature. The bill was read out, referred to committee, reported upon and amended for several weeks. Finally, the bill was approved 63 to 30 in the Assembly and 20 to 0 in the Senate and on May 7, 1847, Governor John Young signed the bill, it became Chapter 206 of the Laws of 1847, subject to the approval of the people of New York City, In a referendum held Monday,June 7, 1847, the voters of New York went to the polls to render their verdict. When the votes were counted, 19,305 were in favor and only 3,409 were opposed.

 

Now that the Free Academy was an accomplished fact, things happened quickly. A site comprising sixteen tots on Lexington Avenue between 22nd and 23rd Streets was secured. This was an area somewhat uptown from the northern reaches of the populous city which then extended as far as 14th Street. By November 1847, the Board of Supervisors and the Common Council had agreed on the purchase of the site and the appropriation of funds to begin construction.

 

Construction of the Free Academy commenced in November 1847, and the building was completed by January 1, 1849. The design put forth by Renwick was somewhat similar in feeling to that of the Smithsonian Institution which was in progress at the same time. The beautiful and meticulous rendering which he made for the Free Academy is now in the Library of the College of the City of New York. This handsome Gothic Revival edifice was to stand for 79 years, it was demolished in 1928,

 

It was stilt to be forty more years before City College as we know it today took form. it was beginning to appear that the graduates of the Free Academy were under a handicap because of the name of their school. Not that the quality of education was less than that offered by academies and Colleges in other parts of the country, but the word "academy" was beginning to be old-fashioned in relation to higher education and the term "Free" had connotations of charity. Graduates of the New York Free Academy were finding that other institutions and prospective employers were sometimes doubtful as to whether the students had received a collegiate education or not.

 

This condition was remedied on March 30, 1866, when, under the laws of New York (Chapter 264), the Free Academy of the City of New York was made a body corporate with the title of ''The college of the City of New York." Having renamed the Free Academy a college, the Legislature went on to pass an act on April 17, 1866, which provided, among other things, that: "it shall be the duty of the Trustees hereinbefore named, to select a suitable site upon the lands of the Corporation of New York, north of Fortieth Street in said City, for the future use of the college of the city of New York."

 

The Board of Trustees chose the site of the old Distributing Reservoir at 42nd Street and Sixth Avenue -; now Bryant Park - and the Commissioners of the Sinking Fund thereupon set this land aside for the use of City College. Two years later, on February 29, 1868, a bill was introduced in the Assembly to provide means for the erection of a new building for city college. Surprisingly, this issue became quite heated and the bill was voted down, 53 to 41. This was to be the end of any further attempt to relocate the College to 42nd Street.

 

However, in 1870, the Board of Trustees was granted $35,000 for a two-story addition to the old building and to install a steam heating system throughout.

 

By 1889, the enrollment had. reached 1,466 students and the buildings were more crowded than ever. There still was no gymnasium although the faculty had been trying for many years to get one. The old building was considered to be so unsafe that the Turstees felt compelled to take out fire insurance to the value of $100,000. Gradually, the College faculty realized that their situation was hopeless and that no amount of alteration—assuming that this might be at at! possible— could render the old building adequate for the ever-increasing needs of the years to come). Both New York University and Columbia University were making plans to move uptown to well-chosen new locations and fine . new buildings. Taking note of this, the faculty, the trustees, and the alumni of city college agreed that they should pursue the same course as the only way to plan for the future.

 

It was fell that the alumni of City College would be the most affective proponents of a new uptown campus, since they ware widely distributed and could work on several levels. in December, 1891, Professor Aifred G. Compton came to the fore to organize a strong alumni committee which would work vigorously to obtain an adequate appropriation, Their beginning was a bill Introduced in the state Legislature early in 1892 which would at tow the college to purchase a site and erect new buildings to the total amount of $1,000,000. A delegation of alumni then called upon Mayor Gilroy to seek his support only to find that he was hostile to the whole plan. It developed that not only was the Mayor opposed, but the Governor, Roswell P. Flower, was unsympathetic and was determined to veto any legislation to appropriate money for city college, which he did.

 

The tide finally turned in November, 1894, when the elections produced a new reformist Republican Mayor, William L, Strong, and a new Republican Governor, the well-known Levi P, Morton, both in favor of aid for City College. Tammany Hall had been cleanly swept out of office and all at City College were jubilant. On November 8, 1894, only two days after the election, the Board of Trustees voted to cause the previously vetoed bill to be re-introduced into the Legislature.

 

This time success was assured. Early in 1895, the Assembly passed the bill by a vote of 85 to 1, and the Senate approved it unanimously. The newly approved bill which was to take effect immediately was munificent, authorizing the Trustees of City College to spend a total of $1,175,000. A suitable site was to be obtained within the City for not more than $600,000 and the remaining $575,000 was to be spent on construction.

 

Some forty different sites were investigated for the new campus. Eventually, as they were rejected for one reason or another, it became evident that the area Just north of the Convent of the Sacred Heart on St. Nicholas Heights was by far the most beautiful and impressive site, "it was a fateful choice and a wise one. The Trustees had selected a commanding elevation overlooking the Hudson and East Rivers, High Bridge, Washington Bridge, and a large part of the City. The rocky Heights of St, Nicholas stood .155 feet above tidewater and 90 feet above the avenue at their base. The unobstructed view from this eminence could scarcely be equalled in the City. Equally important, it was accessible by all existing modes of transportation.The delay in confirming the decision and the many problems connected with acquiring the site took over a year and by that time the property had gone up in price.

 

Early In 1897, the Legislature approved an additional $200,000 to be added to the $600,000 granted in 1895, and the St. Nicholas Heights site was purchased.

 

In July, 1897, the Trustees invited a number of prominent architects to participate in open competition for the contract to design the new buildings. By December of that year submissions had been received from eight architects and had been put on display at the College, On December 24, 1897, it was announced that the executive committee had voted to recommend the adoption of the plans submitted by George B. Post.

 

When George B. Post was chosen to be the architect for the new City college buildings, he prepared two different plans for the consideration of the trustees. Using the same elevation, he submitted one rendering in the neo-Ciassical style—actually quite similar in feeling to his Manufactures and Liberal Arts building at the 1893 World's Columbian Exposition—and an alternative rendering in English Gothic style. H Post is said to have preferred the neo-Classlcat version, however, the trustees chose the Gothic. Perhaps, consciously or unconsciously, they wanted to be reminded of the original Gothic Revival City college building at 23rd Street, with which they were already comfortable. There is also the inescapable connection between Gothic architecture and. revered institutions of higher learning such as Oxford and Cambridge.

 

Post had originally drawn a plan for a single Gothic style building five stories in height to house all of the activities of the College. This plan was unique both as related to the total needs of the College and to the geographic limitations of the site, The building was to have been fan-shaped with inferior gardens and terraces, conforming to the rounded sweep of St. Nicholas Terrace.

 

An increase in funding resulted in expanded plans for a large campus with several buildings and so, this original plan was never carried out. However, the concept remains as an example of the originally and inventiveness of George B. Post. For many years afterward,Post was to complain that he never received the $5,000 he was to have been paid for this plan.

 

The site at St. Nicholas Terrace was truly impressive and even by 1897 academicians were referring to it as "the Acropolis." This was an apt comparison in many ways for in addition to the lofty beauty of the spot, it was a massive stone outcropping of the type of gneiss known locally as Manhattan schist with only the thinnest covering of soil and moss. This was to mean that much blasting and excavation would be required to grade the campus and to remove the stone from the construction sites. The great expense connected with the excavation of the stone was offset by the decision to use it in the construction of the buildings. Thus, the chief material to be used was already at hand.

 

Post decided, again for practical purposes, to use terra cotta as the other building component, it was a material easily molded to decorative forms which was also durable, light in weight, and easily transported. Post was well acquainted with terra cotta as a building material having pioneered in Its use in the Long Island Historical Society building in 1875, and having used it subsequently in several other buildings. The terra cotta used in the buildings at City College was manufactured by the Perth Amboy Terra Cotta Company of Perth Amboy, New Jersey,who as successors to Alfred Hall & Son, opened a sales office at 170 Broadway in 1879.

 

The distinctive purpose of each of the five buildings was symbolized by the extensive use of characteristically Gothic gargoyles and grotesques. More than six hundred figures were set up upon the walls of the different buildings, each intended to carry out the idea of the wall in which it was placed. On the Mechanic Arts Building, the grotesques could be seen busily forging, planning,, chiseling. casting, boring; on the Chemistry Building, exaggerated chemists were working on all kinds of mysterious experiments; or. the Gymnasium merrymakers were enjoying every type of athletic exercise and game; while on the walls of the Main Building were a great variety of little men, symbolizing in every case the particutar art or science lodged behind their special wall. On the towers and cornices stood strange gargoyles grotesques — startling, elongated animals and monsters holding books or implements.

 

The combination of Manhattan schist and white terra cotta was quite dramatic. The idea of highly contrasting stones was not new, having been a common occurrence In the Ruskinian Gothic style buildings of the late 1860s. it is said that when the rock at the City College site was first quarried, it had a light cast due to the freshly exposed silica and that there were some dark spots caused by discoloration from iron and other minerals., A description written In 1908 stated that on any fair day, the buildings at City College glowed warm and golden in the reflected tight of the rising or setting sun. Many people admired this effect for when buildings are new, they must took new. Others had different opinions. Montgomery Schuyter wrote in 1910, "it would not be a bad notion for the City to permit the City College to burn soft coal for a season until the arch has been properly smoked,"

 

However, time has quite evenly darkened the stonework and today, it appears a rather sedate shade of deep grey, although still vividly highlighted by the white terra-cotta trim.

 

- From the 1981 NYCLPC Landmark Designation Report

 

Relocated from last photo

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