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A B & B Air Conditioning & Heating is a locally owned business in Austin, TX. We provide service like installation, repair, and maintenance in and around Austin.
With AB & B's durable systems and quality, you will always get top quality products with best service that you can think of. All our technicians are NATE certified and are always available when you need help with your heating systems.
A B & B Air Conditioning & Heating
815 Brazos St #600 Austin, TX 78701
Call: (512) 292-1334
We serve Austin, Bastrop, and Pflugerville
Front-side labeling on small, vintage bag of Terra-Lite; Zonolite Company's vermiculite soil conditioner product. One inch cube shown for scale.
Vintage supplies of Zonolite / Grace Terra-Lite vermiculite are considered contaminated with hazardous asbestos fibers and other potentially toxic asbestiform amphibole minerals. One easy way to reduce risk of airborne exposure would be to simply refrain from using older vermiculite product stock .
The US-EPA recommends to reduce the risk with occasional use of vermiculite products during gardening activities, that consumers:
- use vermiculite outdoors or in a well-ventilated area;
- avoid creating dust by keeping vermiculite damp during use;
- avoid bringing dust into the home on clothing.
A tintype taken in Clason Point, The Bronx, New York City by Tom Griffin.
Here is the image Photoshopped:
www.flickr.com/photos/30484128@N03/6769170945/in/pool-189...
It had long been our ambition to convert the basement of the Rotunda back to its condition in 1910. Ickworth Lives, a project funded by the Heritage Lottery Fund and your donations, is doing just that. Opened on 2nd March 2012, we invite you to discover the real lives of those who lived and worked in this party house in the 1930s.
The exterior of the Earl-Bishop’s Rotunda was virtually finished when he died in 1803, but the interior was still an empty shell, and the curving corridors and wings only a few feet above ground. It was left to the Earl-Bishop’s son, the future 1st Marquess of Bristol, to make what use he could of his father’s extraordinary plan. Having no need for massive galleries, in 1821 he instructed his architect, John Field, to redesign the East Wing as family living-quarters.
Field fitted out the ground floor of the Rotunda as state rooms in an austere Regency style. The West Wing was added purely for symmetry and so was left empty. The Trust is pleased to announce the go-ahead of a package for a project to develop the West Wing to provide new facilities for visitor reception, information, education, shop, restaurant, functions, conferences and events.
As the family lived mostly in the East Wing, the rooms that visitors see in the Rotunda spent much of the year under dust sheets, coming into their own mainly for parties and other special occasions. But as a result, their superb furnishings and decoration have survived in excellent condition and little changed since the heyday of the house in the Edwardian era.
The house, with much of its collections of family portraits, Huguenot silver, Regency furniture and china, and part of the ancient deer-park, passed to the National Trust in 1956.
The East Wing has been transformed into a four star hotel by the hotel company Luxury Family Hotels who lease the East Wing. Until 1997 the East Wing was home to the late 7th Marquis of Bristol who had leased the property from the National Trust.
The hotel has 35 luxury rooms - 11 in the Dower House a separate property situated on the north-west of the estate (opened in autumn 2002) - the hotel complex has three restaurants, a 50ft indoor pool, horse riding facilities and a tennis court.
Ickworth’s 18th-century parkland and gardens include some of the most stunning countryside to be found in East Anglia.
The Park
The extensive 1,800 acres of wooded parkland, created in part by 'Capability' Brown, is a living landscape rich in plant, animal, and bird life. Some parts cultivated and grazed yet much can be explored and enjoyed. Some waymarked field margins may also be walked. Access has been made possible through funding by the Forestry Commission’s Countryside Access scheme.
The Gardens
The gardens surrounding the house were created in the first half of the 19th century by the First Marquess of Bristol. Those in the formal Italian style to the south of the house feature the Gold and Silver Gardens, a Victorian Stumpery and the Temple Rose Garden. A raised terrace walk separates the south garden from the park.
Beyond the church are the remnants of an 18th-century garden created by the First Earl. His summerhouse (circa.1703) and ornamental canal still survive. The kitchen garden, protected by high brick walls, is now a vineyard producing Ickworth wines (available in the National Trust shop).
Midtown Manhattan, New York City, New York, United States
An integral component of the highly-acclaimed International Style Seagram Building designed by Ludwig Mies van der Rohe (a designated New York City Landmark), the Four Seasons Restaurant Ground Floor and First Floor Interiors have been praised by architectural critics as among the finest International Style interior spaces in the United States. Designed in 1958 by celebrated architect Philip Johnson and built in 1958-59 as an innovative first-class restaurant for Restaurant Associates, it opened amid much fanfare and was at that time the costliest restaurant ever constructed. The
interiors produced by Johnson and a stellar team of consultants are considered to be among Johnson's last projects to mirror the architectural theories of his mentor Mies van der Rohe. The designers used rich materials, installed with expert craftsmanship to accentuate their inherent beauty, innovative technology, and distinctive architectonic elements to shape the understated and elegantly proportioned interiors, which reflect the modular system employed in the design of the Seagram Building. The operations of the award-winning Four Seasons Restaurant were taken over in 1972 by Tom Margittai and Paul Kovi, who have kept the interior spaces in virtually intact condition and have been faithful to their original, influential design. Among the creative features of the restaurant is its seasonal' theme, which inspires the meals served as well as plantings and color-coded ' appointments. A cultural magnet for tourists and the city's elite, it is one of New York's premier dining spaces due to the architectural preeminence of its design, the richness of its exquisite interiors, its location in the the Seagram Building, and the restaurant's exceptional culinary reputation.
History of the Seagram Buildinq
The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Ludwig Mies van der Rohe. Carefully related to the tranquil granite and marble plaza on its Park Avenue site, the elegant curtain wall of bronze and tinted glass enfolds the first fully modular modem office tower. Constructed at a time when Park Avenue was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage. The president of Joseph E. Seagram & Sons, Samuel Bronfman, with the aid of his daughter Phyllis Lambert, carefully selected Mies, assisted by Philip Johnson, to design an office building later regarded by many, including Mies himself, as his crowning work and the apotheosis of International Style towers. The innovative, modular design of the building was a feat furthered by a coalition of talented consultants, a successful collaboration rarely realized in twentieth-century architecture, and by pioneering efforts of research and fabrication. Still virtually intact due to the foresighted maintenance plan of the Seagram Company, the building and plaza have inspired the work of many subsequent designers, affected New York's zoning regulations and real estate tax assessment, and provided a favorable environment for work and repose.
As one of the amenities of the building, the Seagram management from the beginning had the intent to provide large, elegant interior spaces with public access from the lobby. In discussions as early as 1956, several options were considered: a museum of crafts, a stylish automobile showroom (along the lines of Frank Lloyd Wright's Mercedes-Benz showroom further north on Park Avenue), and a first-class restaurant. Mies and Johnson began preliminary work on the overall design of the interior spaces prior to the selection of Restaurant Associates as the tenant.
Restaurant Associates
The Seagram Company decided that a first-class restaurant should occupy the space adjacent to the lobby of its new building, and in 1957 Seagram's leasing agent, Cushman & Wakefield, made arrangements with the firm of Restaurant Associates. Restaurant Associates, Inc. was founded in 1947 by A.F. Wechsler, leader of one of the world's largest companies which roasted coffee for commercial use. Holding a substantial interest in the restaurant chain that owned Rikers restaurants, Wechsler selected his son-in-law Jerome Brody (bom c.1924) as the president of R.A. Mr. Brody expanded the company's activities to include the operation of snack bars and cafeterias for outside interests? he also negotiated contracts to operate the food services at Newark Airport and the Lexington Hotel in New York, and purchased the tourist-enticing leone's. After their successful expansion into the first-class restaurant business with the Forum of the Twelve Caesars, Brody and vice-president Joseph Baum (bom c.1921), a prominent American restaurateur, dedicated themselves to establishing the Four Seasons Restaurant in the Seagram Building as a first-class restaurant with a seasonal theme.
Philip C. Johnson
When approached by Lambert regarding who should design of the restaurant interiors, Mies recommended Johnson. Critic, historian, and architect Philip Johnson (b. 1906) was graduated from Harvard University and became associated with the Museum of Modem Art soon after its founding in 1929, directing its innovative department of architecture and later designing its sculpture garden (1953) and two additions (1950, 1964). With the critic and historian Henry-Russell Hitchcock, he organized the momentous exhibition, "Modem Architecture" (1932), and coauthored The International Style (1932), a manifesto for the vanguard architecture of Walter Gropius, Le Corbusier, and Mies van der Rohe.
Johnson was responsible for inviting Le Corbusier and Mies to the United States. Completing his professional degree in architecture at Harvard in 1943, he subsequently designed several influential residences, including his own Glass House (1949). His association with Mies on the Seagram Building, particularly his design for the Four Seasons Restaurant Interiors (1958-59), was recognized by architectural critics as a highlight in Johnson's career. His later work includes many New York projects: Asia House (now the Russell Sage Foundation/Robert Sterling Foundation Building), 112 East 64th Street (1958- 60), located in the Upper East Side Historic District; New York State Theater at Lincoln Center (1964); New York State Pavilion (1964, with Richard Foster) for the World's Fair in Flushing; Elmer Holmes Bobst Library and Tisch Hall, New York University (1972, both with Richard Foster) ; and the American Telephone and Telegraph Building, 550 Madison Avenue (1980-84, with John Burgee). In 1978 the American Institute of Architects awarded him its highest honor, the Gold Medal.
Design Consultants
Johnson selected a stellar team of design consultants to work with him on the Four Seasons Interiors; in addition, he was aided by William Pahlmann, who was the principal designer for Restaurant Associates.
A graduate of the Parsons School of Design in New York and the Parsons School in Paris, leading interior designer William C. Pahlmann, F.A.I.D., (1900-87) worked as a stage designer and in 1931 established a New York office as a private interior consultant. He became head of the decorating department at Lord & Taylor in 1936; his designs there earned him the reputation as "the best known department store decorator in the U.S."
Praised for his colorful designs, he then became a military camoufleur as a captain in the Army Air Corps. Noted for both his eclecticism and innovativeness, Pahlmann "exercised a pervasive influence on American taste" and helped turn interior designing and decorating into an important component of the multi-billion-dollar home-furnishings industry. At the Four Seasons, he is credited with proposing the marble pool for the north dining room, its placement in the room with four trees at its comers, and the floral festoons at the windows. The New York chapter of the American Institute of Interior Designers granted him the Elsie de Wolfe Award in 1964.
Architect and lighting consultant Richard Kelly (c.1911-1977) designed the lighting for the Seagram Building and the Four Seasons Restaurant Interiors. While studying at Columbia College, Kelly supported himself by designing and selling light fixtures; after graduating in 1932, he opened his own office as a lighting consultant. During his career, Kelly, the "most outstanding lighting consultant in the country," collaborated with such prominent architects as Louis I. Kahn and Eero Saarinen, as well as Mies and Johnson.
He produced many exceptional lighting designs, including those for: the Seagram Building; Lincoln Center (except for the Metropolitan Opera), New York (1962-64); Dulles Airport, Chantilly, Va. (1958-62); General Motors Technical Center, Warren, Mich. (1945-56); Sculpture garden at the Museum of Modem Art, New York (1953) ; Jefferson National Expansion Memorial, or St. Louis Arch (1948-64); Philip Johnson Glass House, New Canaan, Conn. (1949); Eric Boissonnas House, New Canaan, Conn. (1956); Kneses Tiferith Israel Temple, Port Chester, N.Y. (1956); Toronto City Hall (1961-65); Yale University Art Gallery, New Haven, Conn. (1951-53); Mellon Center for British Art and Studies at Yale University, New Haven, Conn. (1969-74) ; Coming Glass Center, Coming, N.Y. (1950-51, 1955-56) ; Lake Shore Drive Apartments, Chicago (1948-51) ; and the Kimbell Art Museum, Fort Worth, Tex. (1966-72). Kelly also published extensively on illumination.
Other consultants were Karl Linn, the landscape architect and a professor at the University of Pennsylvania; Everett Lawson Conklin, the horticulturist and award-winning floral designer; and Marie Nichols, a weaver who designed the aluminum chain draperies for the Four Seasons Interiors and had collaborated with Richard Kelly on several projects. Artist Richard Lippold designed the suspended gold-dipped brass sculptures in the Bar/Grill Room.
Still others were selected for their designs of movable features which, although significant to the history of the Four Seasons, are not included in this designation. The chairs were designed by Mies much earlier in his career and originally shown in Czechoslovakia in 1927. Additional chairs were designed by Charles Eames (1907-78), pull-up hassocks and small tabouret tables by Eero Saarinen (1910-61), two prominent architects and designers who collaborated on furniture designs for Knoll Associates as well as on architectural projects. Ada Louise and L. Garth Huxtable produced over sixty special designs for the silver holloware, glassware, and silver services—which are still in use at the Four Seasons.
Design and Construction
Having provided the Seagram Building with a unity between indoor and outdoor spaces, Mies carried the modular design, clearly evident on the building's exterior, into the interiors of the grand public rooms. Johnson used the structural system and generously proportioned volumes as his point of departure for the design of the restaurant interiors, substantially completed in 1958. His design took advantage of the space to create dramatic effects and elegant proportions achieved through varied ceiling heights, a controlled system of circulation through the rooms, and architectonic elements, such as the pool and the bar, which further define distinct volumes within the larger spaces.
The interplay of solid and void is artfully exemplified by the sturdy bar with its delicate sculpture above. These large public spaces were conceived to have elegant interiors to complement the Seagram Building itself: walls of the spacious rooms covered with expensive wood paneling washed in light from invisible sources and floor-to-ceiling windows screened by metallic chain curtains which ripple when the ventilation system is operating. The restrained ceiling, elegant staircases, ingenious lighting scheme, sculpture, and furnishings were carefully designed to create the sophisticated simplicity associated with the International Style. Johnson's early works were noticeably indebted to Mies's architectural theories, and this design is generally regarded as Johnson's last such project.
The Four Seasons Restaurant
Five dining rooms accommodate 400 persons. Its two wine "cellars" permit the Four Seasons to boast one of the largest wine collections in the country. Upon the opening of the restaurant in July of 1959, first-class service was assured by daily indoctrination for waiters by James Beard, the famous wine and food authority.
The seasonal theme inspired the Four Seasons to maintain its own herb garden, an innovative venture in American restaurants. Eclectic menus combine American bounty with international culinary concepts and techniques, making the Four Seasons a pioneer of what would later be called the "New American Cuisine." These concepts are reflected visually in the restaurant's decor. Rotated seasonally, the four trees at the comers of the marble pool complement the restaurant's logo, which determines the color scheme for each season. Thus auxiliary planting as well as appointments such as uniforms,
menus, and even ash trays were originally rotated every three months: pink for spring, green for summer, burnt orange for autumn, and brown for winter. Establishing an optimum micro-climate for plant survival allowed the designers to integrate interior planting from the beginning of the project.
The total cost of approximately $4.5 million for the Four Seasons, making it at that time the costliest restaurant ever built, included architectural alterations and furnishings, linens, uniforms, art, kitchen equipment, silver, service carts, china, glassware, menus and other printed matter, plants and flowers, and design and consultation fees. The Seagram Company underwrote part of the cost, including the installation of the air conditioning system, the walls, and the partitions.
The Seagram Company enhanced the International Style interiors by lending the restaurant several masterpieces of modem art. These features, while long associated with the restaurant spaces, are not part of this designation. Pablo Picasso's "The Three-Cornered Hat," a painted curtain completed in 1919 for Diaghilev's ballet "Le Tricorne" hangs in the restaurant lobby.
This dedication to modem art, continued over the years, includes works by Frank Stella and Jackson Pollock. In 1984 the current restaurant owners commissioned James Rosenquist for a painting later titled "Fish, Flowers, and Females for the Four Seasons," now displayed in the mezzanine dining room overlooking the Pool Room.
The Four Seasons opened to the public in July, 1959, and was followed, in the subsequent year, by a neighboring restaurant, The Brasserie, also designed by Johnson and Pahlmann (not included in this designation).
Description
located on portions of the first floor and the ground floor at the eastern end of the Seagram Building, the Four Seasons Restaurant Interiors are composed of several interior spaces, each with a distinct character and spatial quality but united by certain design elements. The Interiors of the Fours Seasons Restaurant include two major dining rooms, the Pool Room at the north side of the building and the Bar/Grill Room at the south side, linked by an Entrance Corridor/Lobby which adjoins the Lobby of the Seagram Building.
The East 52nd Street Entrance lobby located at the ground floor provides access to the Bar/Grill Room by means of a broad staircase. Two small, adjoining private dining rooms are situated behind a balcony that overlooks the Bar/Grill Room. Another dining room is located at the mezzanine level of the Pool Room. The restaurant is furnished with movable custom furniture, fixtures, and accessories which still adhere to the original designs.
The Entrance Corridor/Lobby:
The entrance to the Four Seasons Restaurant Interiors from the Seagram Building Lobby (a designated New York City Interior Landmark) is reached by broad travertine steps. A glass wall provides visual continuity between the two spaces, which share certain design features: walls and floors lined in travertine, ceilings composed of gray glass mosaic set in black cement, and engaged bronze piers of the building's structural system. The bronze-framed tripartite glass wall is bisected by a central meeting rail and contains paired glass doors. A flat bronze band intersects the lower portion of the wall. Bronze piers are located near the eastern wall of the corridor, flanking Picasso's painted curtain, "The Three-Cornered Hat" (not subject to this designation).
Designed to be illuminated from below, a row of raised alabaster panels, framed in bronze and protected by posts with suspended chain, is located along the floor beneath the curtain. Recessed light fixtures illuminate the space and incandescent recessed troffer lighting fixtures wash the eastern wall with light. Metal-framed glass doors at each end of the corridor lead to vestibules serving the major dining rooms. The vestibules have dropped ceilings formed by brass-colored egg-crate grids illuminated from above. The glazed eastern wall of the Pool Room vestibule reveals a wine "cellar," and the eastern wall of the Bar/Grill Room vestibule is lined in French walnut with openings to accommodate a coat- check area.
The Pool Room:
A lofty, square space with a twenty-foot high ceiling, the Pool Room is dominated at the center by a table-height twenty-foot square pool of white Carrara marble filled with continuously bubbling water. Cylindrical bronze planters holding trees sit on the floor at each of the four comers of the pool; the trees, which change seasonally, are illuminated from below with bucket lights set into the planters.
The western and northern walls are composed of continuous windows which rise above low travertine ledges. The windows are divided into vertical panels by bronze mullions; metal draperies of thin anodized aluminum chains are fitted into vertical channels in the mullions. The chains, in shades of brass, bronze, and copper, subtly ripple with the movement of air from diffusers set into the ledges below. Bronze bowl planters are suspended in front of the windows from nearly invisible wires. The southern wall, pierced by openings for the entrance and the kitchen, is lined with rectangular rawhide panels set on walnut. The bottom row of panels is gray, and those above are natural. Each wall in the room is punctuated by engaged bronze piers.
At the eastern end of the Pool Room is a rectangular mezzanine-level room reached by a broad central staircase. The base of the mezzanine is paneled in gray rawhide. The stairs and the edge of the mezzanine are lined with bronze railings composed of thin staggered rods, which, when viewed as one passes them, create the effect of movement. Panels of French walnut, designed and crafted to emphasize the prominent grain of the wood, are set behind the railings; they also pivot so that the mezzanine-level room may be either closed off or function as an extension of the Pool Room. The glazed northern wall is continued in the upper room, while the eastern wall, dominated by a large painting by James Rosenquist (not subject to this designation), and the southern wall of that room are covered in beige carpet panels.
The specially-designed ceiling is composed of square off-white panels of perforated aluminum layered over a recessed grid; the intersections of the grid are fitted with "darklites," a recessed incandescent fixture from which light is directed by bronze-finished reflectors. Recessed troffers wash the southern wall with light. The wall-to-wall carpeting has a grid pattern which echoes the overall geometry of the room. (Although not original, it was designed under the direction of Philip Johnson).
The Bar/Grill Room:
The Bar/Grill Room is divided into several different areas. A small lounge area located at the northwest comer of the room is separated from a bar area at the southwest comer of the room by a large, broad stairwell linking the space with the East 52nd Street Entrance Lobby. A dining area occupies the center of the room and a narrow balcony-level dining area, reached by stairs at each end, spans the eastern side of the room.
The Bar/Grill Room has some of the many architectural elements as the Pool Room, including the twenty-foot high specially-designed ceiling, window walls with metal draperies rising from travertine ledges at the west and south, French walnut paneling lining the northern and eastern walls, wall- to-wall carpet, and the balcony. The face of the balcony is now washed with light from below by a bay of incandescent lamps covered by a grid. Engaged bronze piers punctuate the walls. The carpeting is a darker version of the same design used in the Pool Room.
The stairwell between the bar and lounge areas is lined in bronze railings of thin, staggered rods. The bar area is dominated by a square walnut bar fitted with leather panels and surrounded by an ebonized oak floor. Two sculptures by Richard Lippold, composed of delicate groups of gold-dipped brass rods of varying lengths, are suspended from the ceiling by nearly invisible wires. Following his usual procedure, Lippold designed the sculptures specifically for their present locations to enhance the organization of the Bar/Grill Room. The larger sculpture contrasts dramatically with the solid walnut bar directly beneath it, creating an intimate space within the larger limits of the room. This juxtaposition is balanced by the smaller sculpture over the balcony.
The bar is separated from the dining area by a partition of laminated, cracked glass; this was installed in 1983 under the direction of Philip Johnson and replaced a trellis of climbing ivy. A French walnut service desk to the east of the entrance from the Corridor/Lobby and round planters (which replace the original wood planters) between the service desk and the partition also serve to define the dining area.
Two adjoining rooms are situated behind walnut-paneled doors at the northern and southern ends of the balcony; these doors have an ebonized surface on the side of the rooms. The rooms are smaller and more intimate than the large rooms. A vestibule behind the northern end of the balcony leads to the larger of the two rooms, which is rectangular, and joins the smaller, square room to the south by a wide doorway with a sliding ebonized door. Except for the outer wall of the southern room which has continuous windows and metal draperies, the walls are lined with rectangular panels of highly-polished hardwood set onto a dark wood surface. The ceiling is of the same grid-and-panel design used in the larger rooms, except that the surface is black and the panels are pierced with holes roughly one-inch wide and spaced apart in a random pattern, which are illuminated from above. The floors are carpeted. The vestibule at the northern end is similarly finished.
The East 52nd Street Entrance Lobby:
The lower Entrance Lobby is reached at its southeastern end from East 52nd Street through two sets of glass doors separated by a vestibule with a brass-colored egg-crate grid ceiling. The outer doors are etched with vertical stripes. The floor and walls are travertine and pierced with openings along the eastern, southern, and northern walls for restrooms, an office, and a coat-check area. The space is illuminated by recessed fixtures set into a low white ceiling. Engaged bronze piers and a ceiling beam bisect the room on a north-south axis. At the western side of the lobby is a broad staircase with one landing; this links the Lobby and the Bar/Grill area. It is lined with bronze railings. The two round planters replace the original wood planters.
Subsequent History
Immediately after its opening the Four Seasons received enthusiastic reviews, both architectural and culinary; critics said that the "spectacular, modem and audacious" restaurant design "combines its exceptional sumptuousness with exquisite refinement." When it opened, the restaurant had no peer "in conception, in scale, in the wealth of talent behind it."
In the early 1970s, Transylvanian-born Tom Margittai, then vice- president of Restaurant Associates, was given the responsibility of selling off the business of a foundering Four Seasons Restaurant. Instead, he and the director of the Four Seasons, Hungarian-born Paul Kovi, jointly purchased it from R.A. in 1972 with the goal of reviving the restaurant. They hired chef Joseph Renggli, a Swiss native, and soon the restaurant became, as "one of America's leading symbols of good taste," extremely popular with New York's elite. A recipient of twenty-two major awards, the Four Seasons has hosted many memorable parties for national celebrities, international gourmet societies, and wine inaugurals.
Experts Ada Louise and L. Garth Huxtable, involved with the restaurant from its planning stages, have noted that the new owners "have been faithful to the [original] concept." The design of these famous International Style interiors has been caringly maintained. Among the handful of physical changes was the removal of an ivy-covered screen and its replacement in 1983 by a laminated, cracked glass partition designed by Johnson.
- From the 1989 NYCLPC Landmark Designation Report
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Athens, GA (Clarke County) Copyright 2010 D. Nelson
Another scorcher. Hot, hot, hot summer! Amazingly, last month's electric bill was only $ 35! The advantage of living in an underground cubby hole and not a bigger place.
This old GNR railway station and the adjoining station master's house are in exceptional condition. This picture clearly shows its original wooden canopy overhang, main doors and window frames. Sadly, the current owner seems to be using it as an unkempt junkyard and of which nearly all the stuff is fit only for the recycling centre!
Oldcastle railway station was the terminus on the Navan to Oldcastle branch-line via Kells station. The line was extended from Kells and reached Oldcastle in 1863 but was closed to passenger traffic on the 14th April 1958 and finally closed to all other rail traffic on the 1st April 1963. Only part of the line to remains open for the transportation of mineral ore from Tara Mines connecting to Drogheda station.
The Kells to Oldcastle extension was completed by the Dublin & Belfast Junction Railway, who were taken over by the Great Northern Railway of Ireland (GNR) in 1876. The station is surprisingly intact with many of its associated buildings still standing. The station house was built c.1880 in the Italianate style and is typical of many other Victorian railway stations across Ireland’s old railway network. After 1945, the Irish railway network was taken over by by Córas Iompair Éireann (CIE) and who undertook a severe rationalisation of the Irish railway system during the 1950’s, rapidly replacing steam locomotion with diesel and closing down numerous loss-making branch lines with closures continuing well into the 1960’s.
Oldcastle is a small market town and the 18th century creation of the Naper family who had received parts of the Plunkett estate following the confiscations of the Cromwellian wars (1649-1653). Today, the town has a population of around 2,500 and still retains much of it rural character as well as many fine 18th and 19th century buildings. Fortunately, the town survived the destructive forces of overdevelopment that afflicted much of Ireland during the building boom of the 1990’s and 2000’s.
Oldcastle is more famously associated with Saint Oliver Plunkett and the nearby Loughcrew Cairns, a complex of Neolithic tombs built around 5,300 years ago. The town derives its name from a 12th century Norman castle built there by the Tuite family but has long since disappeared.
References:
www.buildingsofireland.ie/niah/search.jsp?type=record&... (Buildings of Ireland website - Oldcastle railway station).
eiretrains.com/Photo_Gallery/Railway%20Stations%20O/Oldca... (Other photos of Oldcastle railway station).
en.wikipedia.org/wiki/Oldcastle,_County_Meath (Oldcastle town).
www.meath.ie/CountyCouncil/Heritage/ArchitecturalHeritage... (Oldcastle Architectural Statement of Character, Meath County Council).
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I was looking at this remarkable sight on Dundas street near my home and was thinking wouldn't Ivy be the best kind of air conditioning? shielding the house when it's hot, letting the sun on when it's old... seems pretty perfect to me? has anyone noticed the effect? I will grow Ivy on our building!!! I am, I bought a pot and landed it near the corner of the rail to the basement and the porch wall... it's growing!!!
Former EMR power cars now in a tatty rubbed down condition haul 5 KEA wagons from Gascoigne Wood Sidings to Shirebrook WH Davis.
Another ex-Southern Railway Maunsell U class 2-6-0, 31625, was in the lines of engines located in the main body of the scrapyard on the reclaimed dock area.
31625 was later preserved at the Mid-Hants Railway where it ran in BR livery and even made it onto the main line. However for many years it had the indignity of running painted red as James of Thomas & the Tank Engine fame. It is currently stored at Ropley awaiting restoration again.
The front end of Great Western Railway pannier 0-6-0PT 9466 with chalked number just makes it in shot on the right Dennis Howells and his support crew would be shocked to see its condition here!
In 1955, Living For Young Homemakers magazine sponsored the “Living Conditioned” homes program, which was sponsored by Hotpoint as part of their Golden Anniversary celebration. The magazine selected four architects from all over the nation to design modern homes with a “magnificently simple design for gracious living” while also incorporating all-electric appliances (Hotpoint, of course), as well as the latest in air conditioning.
Four model homes were built and later given away to lucky contestants in the Hotpoint Giveaway, and others who didn't win homes could buy plans for them for $10 from Living For Young Homemakers. This design was built in Oklahoma City (and in 43 other states) and is pretty spectacular for a modest mod. The home is on the market now -- here are more photos of it and history about it:
Just got these instructions in a BrickLink order - the condition is amazing! Nice price too.
The giant computer brick is a kit I got ages ago from Charlesworth Dynamics, and finally got around to building. The body is 3D printed and the face pieces are laser cut acrylic. Pretty cool.
Malakoplakia, a condition often associated with immunodeficiency and characterized by abnormal macrophage function consists of sheets of large histiocytes in response to a bacterial infection. It represents a relatively ineffective inflammatory response because of persistence of bacteria and/or bacterial degradation products within the histiocytes. In the lungs it is almost always caused by infection with Rhodococcus equi but it may be caused by other bacteria. Malakoplakia is morphologically very similar to Mycobacterium avium complex infection in AIDS patients and to Whipples disease and lepromatous leprosy. The distinguishing and diagnostic feature of malakoplakia is the presence of small intracellular concentrically calcified structures called Michaelis-Gutman bodies (MG bodies). MG bodies also contain stainable iron. Intracytoplasmic calcifications not having the typical appearance of MG bodies may also be present.
The Prussian blue stain for iron strongly stains MG bodies and other intracytoplasmic bodies.