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Awards Night with a 1970's theme held at the Perth City Farm for the 2015 Oxfam Trailwalker Perth event.
Oxfam Trailwalker is an endurance event in which teams of four walk a 100km cross-country trail within 48 hours and raise money to support disadvantaged communities in more than 28 countries where Oxfam Australia works. The event encourages ordinary people to strive towards a healthier lifestyle and also provides an opportunity to enjoy an outdoor recreational activity within protected green spaces with minimal detrimental impacts. It is a unique event, fostering both teamwork and personal endeavour.
A new $250,000, 18-month pilot program is being launched by the Ministry of Children and Family Development and the YWCA Metro Vancouver to help youth who are transitioning out of government care to gain the life and work skills they need to become independent.
Learn more: www.newsroom.gov.bc.ca/2014/02/strive-will-help-former-an...
for a living.
A boatman exhausted from trying to get the boat into the water from the shore.
Taken at Sirajganj on a visit to my site where i have to design a museum! A few more visits to this place and i think I'll have thoughts of settling down over there. The people are that nice and the surrounding the river front that beautiful. =]
Strivers' Row was a speculative townhouse development in Harlem that later became home to several influential African Americans. This block was designed by Stanford White of McKim, Mead and White, and famous residents included musicians Fletcher Henderson and W. C. Handy. Where Handy first heard the blues: www.flickr.com/photos/josepha/5424914959/.
Striver's Row, St. Nicholas Historic District, Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane (now Eighth Avenue) near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder (Times Building, 1889; Madison Square Garden, 1890; Equitable Building, 1872; base of the Statue of Liberty, 1886).
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." (see agreement of December, 1890, Liber 463, par. 2338 in Hall of Records, between King and Board of Health).
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University (1917-1913) and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways (two per street, and one each at the avenue ends of the block) were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets (consoles). Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
You don't have to win, but you do have to try.
— Brett Jordan
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Typefaces: Bon Bon, Columbia Titling
Merchandise available: www.redbubble.com/shop/ap/35628324
Have you ever experienced the feeling of fulfilling a dream, which you have been pursuing for a long time? I am talking about striving for a dream.
It’s about believing in yourself regardless of what people may say.
It’s about being aware of your own limits and pushing them to the maximum.
It’s about courage and faith, as there is no guarantee at the outset that you will eventually get what you will fight for.
It’s about taking risks without being risky.
It’s about proactivity and discipline.
It is the most powerful feeling that has ever run through my body.
I can proudly say that I am among very very few students from two different Spanish universities that have been selected to do an internship in Jakarta starting Wednesday next week. A Spanish bank called Bankinter and its people will be supporting me during my stint in Jakarta as they have been doing so far in a 4-months-long course on innovation and leadership that I recently took. Thanks to my hard work in it and the unconditional support from my family, friends and Bankinter, I got what I strove for.
A few weeks ago I received a phone call from Bankinter:
“Would you work in Jakarta?”.
“Yes” I said. “Of course”.
Once I hung the phone I couldn’t help but crying like a baby. Suddenly my dream was no longer a dream.
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Special guest delle date italiane dei Simple Plan la band electronicore americana Ghost Town; a Milano all’Alcatraz il 2 marzo 2016.
Ghost Town is an audio and visual movement ahead of its time; catering to the young generation of today while keeping true to the underground scene they come from.
Huge drums (MannYtheDrummeR), funky guitar riffs (Alix Monster), and unique vocals (Kevin Ghost), are the main elements that give Ghost Town their sound, along with the artwork of Alistar Dippner, aka imamachinst, who uses Ghost Town's drop dead sounds as inspiration to bring each song to life with his shocking visuals.
The energy in their songs is evident in the recordings but is even more amplified in their live show. Armed with forward thinking and an army of 'Ghosts' they are striving to make history.
Strive for excellence, not perfection.
— H. Jackson Brown Jr.
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Typeface: Archer
The Africa Progress Panel presented this year’s Africa Progress Report - Grain, Fish, Money - at a side event at the African Green Revolution Forum in Addis Ababa, Ethiopia.
Kofi Annan and Strive Masiyiwa from the Africa Progress Panel opened and closed the session. Discussants included Eleni Gabre-Madhin, Chief Executive Officer, Eleni LLC; Sipho Moyo, Africa Director, ONE; and Michael O’Brien-Onyeka, Executive Director, Greenpeace Africa. The discussion was moderated by APP Executive Director, Caroline Kende Robb.
Photo credit: Antonio Fiorent / Africa Progress Panel 2014
UGCC Amber Noida Expressway Project:
UGCC - Amber, the first phase of UGCC, is one of the lowest density projects in the entire region with large lush green open spaces. UGCC Amber Project has 7 sky scrapping towers with 3 bedroom luxury apartments. UGCC Amber Project offers its residents picturesque and tranquil surroundings along with top-of-the-line amenities. UGCC Amber Project is located at Noida Expressway, Noida.
UGCC Amber Project Highlights:
• Strewn around each cluster of UGCC - Amber, the gardens are resplendent with exotic species of trees, palm bisques, waterfalls, pristine meadows and water bodies. Designed to enthrall and delight, soothe and heal, the Gardens are an invitation to walk, to contemplate, to become one with nature, forgetting everything else, to see it all in perspective.
• Live a grand lifestyle in India’s premier residential destination, UGCC - Amber, with magnificent golf course as its centerpiece.
• UGCC - Amber will have gated security with CCTV surveillance at strategic locations. All service personnel will be screened at the main entry & exit points and there will be direct communication from the central security office to every apartment.
• Neighbourhood with exclusive schools, world class medical facility with hospital and clinics makes you feel at peace.
UGCC Amber Project Location:
Unitech Golf & Country Club "Amber" is strategically located at Noida Expressway, Noida.
Unitech Golf Club Facilities:
• Pro Shops
• Restaurant
• Lounge/Bar
• Meeting rooms
• Multi-functional room
• Locker room & Showers
Unitech Club House Facilities:
• Snooker room
• Aromatherapy
• Swimming pool
• Kid’s play area
• Kid’s splash pool
• 24*7 power back-up
• Fully equipped gym
• Steam, Sauna & Jacuzzi
• Multipurpose hall for Meditation, Yoga & Gatherings
UGCC Amber Noida Expressway Project Rate Plan:
Type: 3 BHK (Luxury Apartment)
Size: 2230, 2625 sq.ft
Price: 7345/sq.ft
About Unitech Group:
Established in 1972, Unitech is today a leading real estate developer in India. Known for the quality of its products, it is the first developer to have been certified ISO 9001:2000 in North India and offers the most diversified product mix comprising residential, commercial/IT parks, retail, hotels, amusement parks and SEZs. The well-recognised brand was yet again conferred with the title of "Superbrand" by Superbrands India in 2009. The Company is also the recipient of the CW Architect and Builders Award, 2008 for being one of India's Top Ten Builders.
About Bricks and Mortar:
Bricks and Mortar is a young & dynamic real estate advisory company started by Banking & Real Estate Professionals. The journey began in 2008 and within a short span it has carved a niche for itself and is rated as one of the most professional Real Estate Advisory Companies in India.
Bricks & Mortar has emerged as one of the leading quality real estate advisory companies in a very short time span. We envision a sparkling Indian Real Estate Industry in the 21st century whereby our real estate sector would not only be at par but better than best in this world. We are forever striving at strengthening the trust our investors have in us by providing them unique, well thought of solutions which we arrive at through a detailed market analysis. A strong differentiating factor which separates us from the rest of the crowd is our professional team and their customer centric approach.
For Best Deals and Booking:
Bricks & Mortar|Global Realty|
Tollfree: 1800 103 4142
Enquiry: +91-95602 97002
Visit Us: www.bricksandmortar.co.in
Write Us: info@bricksandmortar.co.in
"Three-quarter length portrait of Mrs. Lucy E. Parsons, arrested for rioting during an unemployment protest at Hull House in Chicago, Illinois. Mrs. Parsons is also the widow of Albert Parsons, one of the men hanged for complicity in the Haymarket affair."
"… But your course in the future, if you value real freedom, is to leave politics to the politician, and prayer to those who can show wherein it has done them more good than it has ever done for you, and join hands with those who are striving for economic freedom.
At a speech in Kansas City she pulled absolutely no punches, declaring that the death of the policeman as a result of the explosion was the fault of the police alone, for they had no right to march on the Haymarket meeting and order its dispersal in the first place.
Had I been there, had I seen those murderous police approach, had I heard that insolent command to disperse, had I heard Fielden say, ‘Captain, this is a peaceable meeting,’ had I seen the liberties of my countrymen trodden under foot, I would have flung the bomb myself. I would have violated no law, but would have upheld the constitution.
I do not stand here to gloat over the murder of those policemen. I despise murder. But when a ball from the revolver of a policeman kills it is as much murder as when death results from a bomb.
She related how the prosecution had lined the walls of the courtroom with red and black flags as a way to whip up an anti-anarchist and anti-socialist hysteria within the jury. To this she retorted:
But the red flag, the horrible red flag, what does that mean? Not that the streets should run with gore, but that the same red blood courses through the veins of the whole human race. It meant the brotherhood of man. When the red flag floats over the world the idle shall be called to work. There will be an end of prostitution for women, of slavery for man, of hunger for children."
(1886) Lucy Parsons, “I am An Anarchist” -> www.blackpast.org/?q=1886-lucy-parsons-i-am-anarchist
dwardmac.pitzer.edu/Anarchist_Archives/bright/lparsons/lp...
secure.wikimedia.org/wikipedia/en/wiki/Lucy_Parsons
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Dieser Trieb einer Blut-Johannisbeere mit seiner rosaroten Blüte scheint direkt dem Himmel zuzustreben.
This shoot of a red-flowering currant with its pink blossom seems directly to head for the sky.
Designer: Zhang Biwu (张碧梧)
1956, March
Strive for the comprehensive early completion and overfulfillment of the Five Year Plan
Wei quanmian de tizao wancheng he chao'e wancheng wu nian jihua er fendou (为全面地提早完成和超額完成五年計划而奋斗)
Call nr.: PC-1956-019 (Private collection)
More? See: chineseposters.net
FORT CARSON, Colo. – Spc. Alejandra Herrera, mechanic, 7th Squadron, 10th Cavalry Regiment, 1st Brigade Combat Team, 4th Infantry Division, runs on a treadmill during the VO2 Max competition, which determined who is the fittest Soldier on Fort Carson, March 6, 2013. Krys Bankard, health promotion technician, Army Wellness Center, monitors the test as Tony Heinz, project lead, AWC controls the speed of the treadmill. The competition was held at the Iron Horse Sports and Fitness Center, March 4 to 6.
(U.S. Army photo by Cpl. William Smith, 4th Inf. Div. PAO)
Striver's Row, St. Nicholas Historic District, Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane (now Eighth Avenue) near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder (Times Building, 1889; Madison Square Garden, 1890; Equitable Building, 1872; base of the Statue of Liberty, 1886).
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." (see agreement of December, 1890, Liber 463, par. 2338 in Hall of Records, between King and Board of Health).
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University (1917-1913) and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways (two per street, and one each at the avenue ends of the block) were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets (consoles). Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
5200 x 5200 pixel image designed to work as wallpaper on most iOS devices.
Typefaces: Bon Bon, Columbia Titling
Not quite perfect symmetry, but we'll give big points to these two trumpeter swans for trying!
Credit: Lori Iverson / USFWS
rhythmic prayers in the area
help shape the grasses
fresh breezes of Spirit's wind
hint at our soul's immortaility
* * *
“Allow me to be one with that which is behind all creation. Allow me to be humble to receive that which is grandest and most Divine. Allow my soul to feel the breath of life blowing through creation and to know its beauty. Keep me ever mindful of Your love – its strength to which I owe my strivings; its depth to which I owe my depth; and Your angels to whom I am beholden for life’s many graces.”
—Karen Goldman “Angel Voices”
Striver's Row, St. Nicholas Historic District, Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane (now Eighth Avenue) near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder (Times Building, 1889; Madison Square Garden, 1890; Equitable Building, 1872; base of the Statue of Liberty, 1886).
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." (see agreement of December, 1890, Liber 463, par. 2338 in Hall of Records, between King and Board of Health).
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University (1917-1913) and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways (two per street, and one each at the avenue ends of the block) were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets (consoles). Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
i was laying on the lawn (which is covered in grape hycanith) with my telephoto and this was the nearest flower i could focus on... random, yet destined to be picked from hundreds ;-)
I see the lines of a being striving to rise while shouldering a burden. This being seems to be looking back (to the left) over his right shoulder, shouldering the curved branch with his left shoulder and struggling to rise, while holding a curved cane in his right hand. What do you see?
Santa Teresa County Park, Santa Clara County, California
Strivers' Row was a speculative townhouse development in Harlem that became home to several influential African Americans. Despite being in New York, the development was initially segregated, but famous later residents included musicians Fletcher Henderson and W. C. Handy. Where Handy first heard the blues: www.flickr.com/photos/josepha/5424914959/.
Awards Night with a 1970's theme held at the Perth City Farm for the 2015 Oxfam Trailwalker Perth event.
Oxfam Trailwalker is an endurance event in which teams of four walk a 100km cross-country trail within 48 hours and raise money to support disadvantaged communities in more than 28 countries where Oxfam Australia works. The event encourages ordinary people to strive towards a healthier lifestyle and also provides an opportunity to enjoy an outdoor recreational activity within protected green spaces with minimal detrimental impacts. It is a unique event, fostering both teamwork and personal endeavour.
Upper Hawksbill Trail, Shenandoah National Park
The browning ground will never be able to bury the burgeoning green, who strived to reach high, and radiated complexion of everlasting vitality.
The Wong People Studio, The Ancient Chinese Dragon Dance Group performed the Dragon dance at the 2012 Asian Pacific American Heritage Observance “Striving for Excellence in Leadership, Diversity and Inclusion” at the U.S. Department of Agriculture in Washington, D.C. on Thursday, May 24, 2012. The Dragon dance is an ancient ritual based on Taoist Principles used to drive away evil spirits or bad energy (chi). The costume worn while performing this ritual is specifically designed for the purpose of driving away evil. The music for the Dragon Ritual is also an integral element of this energy directing ritual. A Dragon Ritual is successful when the Dragon, musicians and spectators synchronize their flow of internal energy (chi) to drive away the bad energy. USDA photo by Bob Nichols.
I attended BA Stores Tractor Pulling Event at Broomhill Farm today Sunday 16th September 2018, what a great day, I captured as many of the Tractors taking part in the event , posting on my Flickr to archive the day .
The Scottish Tractor Pullers Club (STPC) was formed in 1985 and consists today of around 40 members who all strive to put on the very best tractor pulling events in Scotland. The STPC are the only club in the United Kingdom to own and operate a fully licensed ETPC sledge, complete with all relevant safety features. The STPC, together with the Cumbrian Tractor Pulling Club (CTPC), Midlands Tractor Pullers Club (MTPC) and the North West Tractor Pullers Club (NWTPC) are affiliated to the British Tractor Pullers Association (BTPA) who, along with a number of other European tractor pulling clubs, make up the European Tractor Pullers Committee (ETPC).
The ETPC defines all safety and performance rules for all member countries, such as tractor classes and sledge rules. This enables tractors from all over Europe to pull together against each other in different countries. Although the STPC hold their own points championships, many Scottish Tractors compete in the BTPA championships alongside teams from the CTPC, the MTPC and the NWTPC. BTPA championship winners then have the option of travelling to the ETPC's European Championships, a two day event held in a different ETPC member country each year, for the chance to become a European Champion! The STPC are available to hire either as a stand alone event or as part of a larger agricultural show, ideal if you are looking for that extra attraction for your event.
Truck and Tractor pulling, also known as power pulling, is a motorsport competition, popular in the United States, Canada, Europe (especially in the Netherlands, Belgium, Denmark and Germany), Australia and Brazil, and New Zealand which requires modified tractors to pull a heavy sled along a 35 foot wide, 330 foot long track, with the winner being the tractor that pulls the sled the farthest. The sport is known as the world's most powerful motorsport, due to the multi-engined modified tractor pullers.
All tractors in their respective classes pull a set weight in the sled. When a tractor gets to the end of the 100 metre track, this is known as a "full pull". When more than one tractor completes the course, more weight is added to the sled, and those competitors that moved past 300 feet will compete in a pull-off; the winner is the one who can pull the sled the farthest.
The sled is known as a weight transfer sled. This means that as it is pulled down the track, the weight is transferred (linked with gears to the sled’s wheels) from over the rear axles and towards the front of the sled. In front of the rear wheels, there is a "pan". This is essentially a metal plate and as the weight moves over this the resistance builds. The farther the tractor pulls the sled, the more difficult it gets.
The most powerful tractors, such as those in the 4.5 modified class in Europe, can produce over 10,000 horsepower.
Platinum Sun always strives to provide ladies and men with stylish and charming swimwear and professional sports apparel. Rashguards not only look and feel good, they function well too and made out of the higest quality fabrics. Use them when you paddle board, swim, surf, playing on the beach or in a pool, on the boat for sun protection and to guard your skin from abrasions and from the elements around you.
The “2018 HLPF Side Event on Shaping Smarter and More Sustainable Cities: Striving for Sustainable Development Goals" held on 12 July 2018 in New York provided a platform to debate the impact of frontier technologies such as artificial intelligence (AI), blockchain, and Internet of Things (IoT) on cities, to present current national and international initiatives such as the United for Smart Sustainable Cities and to discuss the challenges and opportunities faced in shaping smart and sustainable cities at the local level.
© ITU
Everyone always shows the cleanest of desktops, but mine is a little more busy and open than that. The Black Friday PNY 240GB SSD (€33) in the Stockplop wood plop external USB 3 housing.
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Each device is equipped with an internal cutting edge ASM USB 3.0 controller with UASP support, offering high end performance. Stockplop strives to ensure that you get the speed that SSDs provide. Data transfer rates can reach beyond 400MB/s
My first ever edited image in Luminar.