View allAll Photos Tagged fumigation
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“We often mingle with the world, but our discovery is hidden away, as it can be in a small compass, and no one suspects who or what we are. We pass as tourists among our fellow-men.”
– Mystery Airship Pilot 1858-1898
Edit: Wow, this photo was chosen to be the Pic of the Day for Linden Lab. I'm rather taken aback.
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When a Steampunk doctor arrives with alarming equipment and looking gleeful and wide eyed once he removes his Reliquary Fumigator mask...perhaps its time to be sick for another day and slam shut the door in his face. Hilted's Little Flappy managed to hang on while I used my ROSOREGALIA wings, and still looks adorable while everyone stares in horror at the fingers....UNGOD's Steam Injector Claws will certainly concentrate the mind of even the sickest patient.
Get well soon...
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!R! Esteemed Fumigator Visage/ Special Ed.
ROZOREGALIA_KALAVINKA*WING_Friends
HILTED - Little Flappy - Black/Gold (on left shoulder)
UNGOD Steam Injector Claw
@ The Engine Room Till Oct 20th 2020
Sintiklia - Hair Somnus @TMD Event till Sept 30th 2020
[ContraptioN] Thibaut Tailcoat *???* Jake
[ContraptioN] Dapper Dandy's Gloves *ASTROM* A Jake 2.0
Both @Mainstore
LeLUTKA.Head Skyler 2.0 @Mainstore
-Belleza- Jake 2.1 Bento @Mainstore
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Lighting created by winlight sliders in Firestorm.
Pose created me.
Backdrop created by me.
A general sense of horror at the thought of Steampunk doctors treating you while you are sick....your own.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), an unfinished Elizabethan summer house, which is now owned by the National Trust. It is located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
It was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
Big thank you for having the opportunity to blog for !R! Reliquary with this amazing item that can be found now in the Engine Room
♦!R! Esteemed Fumigator Visage/ Special Ed.
♦!R! Archaic Syringe [Currently a GIFT in the Engine Room just by their stand]
Other credits go to ::
♦[DONT INSPECT ME] Odradek
♦[P.0.E] - Recon Harness
♦[P.0.E] - Marshal Armor set
♦SISU\\ VALKYRIE PLATE CARRIER
♦SISU\\ Forty Belt
♦SISU\\ WAR BELT
♦Hotdog - Conceited pose
//Also big ol' influence of Death Stranding cause I want that game and when I get it I'll be a mailman ahahah. Ty for checkin out the photo and visiting the Engine room ❤//
A fumigation chamber at Point Nepean quarantine station.
In the 1850s many fever stricken passengers immigrating from England had to disembark and quarantine. All their belongings were disinfected in the fumigation chambers.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
An unfinished Elizabethan summer house, which is now owned by the National Trust, was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
Rooks (Corvus frugilegus) are highly intelligent, gregarious members of the crow family (Corvidae) known for their complex social structures, unique appearance, and remarkable problem-solving abilities that rival those of great apes.
While not known for tool manufacturing in the wild, captive rooks have shown astonishing cognitive abilities in studies. They have been observed bending wire into hooks to reach food, a skill previously thought unique to New Caledonian crows.
Rooks have been observed engaging in "anting," where they rub ants into their feathers to use the formic acid as a pesticide. More drastically, a rook has been documented holding a smouldering cigarette butt under its wing to fumigate parasites.
A group of rooks is known by several collective nouns, including a "parliament," a "clamour," a "storytelling," or a "building".
Rook (Corvus fruglegus) winter Germany 9164_
The fumigation room at Point Nepean quarantine station.
In the 1850s many fever stricken passengers immigrating from England had to disembark and quarantine. All their belongings were disinfected in the fumigation chambers.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), an unfinished Elizabethan summer house, which is now owned by the National Trust. It is located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
It was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
Embrace by Peter Newsome (Bonded Glass)
“Embrace was inspired by the attraction of opposites that combine to create something more than their parts - a garden sculpture relating to human emotion made possible by use of modern glass engineering techniques.”
For those who remember the delights of Blue Stratos, here are a few reviews of that Aftershave:
“I was intrigued. It’s a pleasant inexpensive aftershave but it’s more likely to attract the neighborhood cats than any female company.”
“a crisp scent for men, with leading notes of lime, lemon, petitgrain, and bergamot, central notes of geranium, rose, patchouli, and lavender, and foundational notes of cedarwood, vanilla, amber, and musk.”
“I don't hate this because it's cheap. No, on the contrary, I rather like Canoe and Acqua di Selva and Benetton Colors and other less expensive frags. But THIS stuff belongs in the garage, not in the house, as it's most handy when cleaning carburettors, stripping varnish, and fumigating.”
In the present situation taking photographs has taken a back seat, and been replaced to some extent, by reading, odd jobs about the house and TV!
A friend sent me the following quotation by Martin Luther the German theologian, written during the Black Death plague in the 1350’s …….. nearly 700 years ago, and yet his advice seems very familiar to us today.
“I shall ask God mercifully to protect us. Then I shall fumigate, help purify the air, administer medicine and take it. I shall avoid places and persons where my presence is not needed in order not to become contaminated and thus perchance inflict and pollute others and so cause their death as a result of my negligence. If God should wish to take me, he will surely find me and I have done what he has expected of me and so I am not responsible for either my own death or the death of others. If my neighbor needs me however I shall not avoid place or person but will go freely as stated above. See this is such a God-fearing faith because it is neither brash nor foolhardy and does not tempt God."
Luther's Works Volume 43 page 132 the letter "Whether one may flee from a Deadly Plague" written to Rev. Dr. John Hess “
My picture is of a bridge at Upware, Cambridgeshire, originally taken in 2011 and reworked.
Wearing something beautiful on the brink. Dernier has the sexy Sabrina Gown. Sparkles, tons of colors to pick from and ohh yes add the sparkle. Get it at the Mainstore.
:Dernier: "Sabrina" Gloves and Sparkle
:Dernier: "Sabrina" Gown and Sparkle
Random Matter - Bosca Necklace
Random Matter - Fayeth Earrings
Random Matter - Verona Telescopic Cigarette
REBORN by eBODY v1.69.6
[ContraptioN] Fumigation Soldier's Gas Mask *???* B
Nylon Outfitters Liz Hair
Fumigation against mosquitos to prevent spread of dengue fever and malaria in a slum on the coast of Arabian Sea in Colaba area of in Mumbai, India. There has been an increase in the number of dengue cases last year and the government was tackling the issue by large scale fumigation actions.
With the discovery of gold in 1851 the steady flow of immigrants sailing into the Port Phillip District became a flood. Within a year nearly 100,000 people had arrived in Melbourne by sea.
Due to the crowded conditions on board, ships were breeding grounds for disease. Cholera, smallpox, typhoid, influenza and measles occurred in epidemics in the 1800s and caused many deaths.
A number of ships suffered significant outbreaks of disease on the voyage to the colony. The Ticonderoga lost 100 passengers to scarlet fever and typhoid by the time it anchored off Portsea.
To control and prevent the spread of these diseases Point Nepean was opened in 1852 as a maritime quarantine reserve. Ships carrying passengers with infectious diseases were required to land all cases there along with those at risk of contracting the disease. Passengers' luggage was taken ashore to be fumigated with formaldehyde gas and passengers were required to take baths using antiseptic soap.
Entered in the Spotlight Your Best contest "roads".
www.flickr.com/groups/2729648@N21/discuss/72157671417481506/
Entered in the Challenge 148.0 ~ Trees ~ The Award Tree ~ .............. November 2016.
www.flickr.com/groups/awardtree/discuss/72157674318779732/
June-August 2017 Magic Troll Artistry Challenge ~ Streets, Roads & Highways ~
www.flickr.com/groups/magiktroll_daarky_style/discuss/721...
FIRST PLACE WINNER
The Auckland waterfront is a city-side stretch of the southern Waitematā Harbour coastline in Auckland, New Zealand. Previously mostly dominated by Ports of Auckland uses, from the 2000s on it is becoming increasingly open to recreational public use, with a number of former wharves being converted to office, entertainment, and later also some residential uses.
The waterfront stretches roughly from the suburb of Saint Marys Bay / the Auckland Harbour Bridge in the west to the Ports of Auckland areas in the east. However, in most usage, 'Auckland waterfront' only refers to those parts freely accessible to the public (such as around the Viaduct Basin and the Auckland CBD), and thus at the moment excludes much of the Western Reclamation and almost the whole of the Ports of Auckland area to the east.
While Auckland City technically has a second waterfront on the Manukau Harbour, this is never called 'Auckland waterfront'.
During 2006, a prolonged public discussion about the future of the waterfront was begun, first by the start of public consultation on the future of the Western Reclamation, then by the plans for Stadium New Zealand on the land of Ports of Auckland. While the plans for Stadium New Zealand were eventually scrapped (partly because of complaints of some citizens that it would block harbour views, but mostly due to its effect on port operations), the discussion had shown that Aucklanders would prefer greater access to the waterfront, which is at the moment is still industrial land / port land in large areas.
However, Ports of Auckland (the company still owning most of the Auckland wharves) noted that while it will explore plans for greater public access, it needed most of the space for the foreseeable future. As most of the Western Reclamation will not see any immediate transformation (due to ongoing commercial leases and required decontamination before future use), the sights are currently set on extending the public areas of the Viaduct Basin with a new entertainment strip along Jellicoe St to the west of it. This is to be linked by a bridge to the Viaduct and the Auckland CBD, with the bridge design possibly being internationally tendered, and for all works to be completed in time for the Rugby World Cup 2011.
In early 2008, ARC plans were unveiled that may see Queens Wharf, the wharf closest to the Auckland Ferry Terminal, converted into public space. Currently the wharf is used to store ripening bananas and hold import cars before fumigation treatment by Ministry of Agriculture and Forestry staff. However, plans for the specific activities are still up in the air, though a new cruise ship terminal, to support the heavily booked Princes Wharf terminal, seems likely to be part of the mix.
Commentators have remarked that the wharf has been open to the public before during its early working life, when loading took place next to strolling members of the public, recreational fishing and other uses, a kind of life as on a "European square", and that the authorities should try to recreate such a feeling by providing for compatible mixed uses. The Yokohama Passenger Terminal was held up as an example, with port, ferry and customs/immigration facilities contained within a wharf, and with a sweeping public park on the roof of the structure.
Scarlet Robin male.
This is from 2014, when the robins were relatively plentiful in the south west corner of Callum Brae.
This year they are a bit scarce. Lets hope they return next winter when the road-works, weed spraying and rabbit fumigating activities are completed.
There really is a "damned if you do, damned if you don't" situation with regard to pest control on these reserves. Since European settlement, weeds and feral animals have wreaked havoc with the Australian bushland. To be effective, control measures must be done on a fairly large scale, and inevitably, these too disturb the wildlife.
How lucky I was to be in the right place at the right time a couple of years ago.
Williamsburg, Brooklyn
A collaborative project of the Federal Public Works Administration and the newly established New York City Housing Authority, the Williamsburg Houses are notable as one of the earliest housing developments in the United States to reflect the ideas of the modern movement in architecture. In the 1920s Williamsburg was one of the most densely populated sections of Brooklyn and nearly six hundred, mostly frame, structures were demolished to create the 23.3 acre site. Proposed in 1934, this residential complex was skillfully designed by the Williamsburg Associated Architects during 1935 and most units were occupied by 1938.
The partnership included Richmond H. Shreve, of Shreve, Lamb & Harmon, the architects of the Empire State Building, and William Lescaze, the Swiss-born architect who helped introduce the “International” style on the eastern seaboard. Lescaze was responsible for the design, which includes twenty 4-story structures on four “super” blocks turned at 15 degree angles to the street grid. Oriented to the sun and prevailing winds, this unusual layout produced a series of large and small courts, many of which flow into a large public space at the center of each block. A light-colored palette distinguishes the facades, executed in tan brick and exposed concrete.
Among the most prominent features are the entrances, marked by blue tile and projecting stainless steel canopies, and the handsome streamlined storefronts. The complex was widely discussed by contemporary critics and more than 25,000 New Yorkers applied for 1,622 apartments. During the mid-1990s, the buildings underwent an extensive restoration which included the replacement of all exterior materials. Sponsored by the Housing Authority, in consultation with the Landmarks Preservation Commission, these alterations were remarkably sensitive and in the 4th edition of the AIA Guide to New York City the “revivified” complex was called “the best public housing project ever built in New York.”
DESCRIPTION AND ANALYSIS
Housing the Masses
From the rowhouse to the apartment building, New York City has been a laboratory for innovative housing. Beginning after the Civil War, apartments, variously known as French Flats and tenements, were built to house the city’s surging population. Immigrants, for the most part, crowded into unregulated tenements, structures that maximized profits for developers while providing few amenities that we take for granted today, such as light, air, and private bathrooms.
Despite government efforts to legislate minimum standards in 1867 and 1879, initially private individuals took the most significant steps to make decent housing affordable to all. Several pioneering examples were located close to the Brooklyn waterfront, including the Home and Tower Buildings (William Field and Son, 1876-78), the Astral Apartments (Lamb & Rich, 1885-87) and Riverside (William Field and Son, 1890). The later complex surrounded a large tree-shaded courtyard incorporating a music pavilion and areas for drying laundry. Despite these, and a few innovative Manhattan developments, the majority of New Yorkers continued to live in substandard conditions.
The passage of the New Tenement Law in 1901 improved the situation, requiring that multiple dwellings be built on significantly larger lots, with fire escapes and separate “privies” for each family. After World War I, the garden apartment came into vogue. While most were built for the middle class, especially in Jackson Heights, a significant group were sponsored by unions and cooperative organizations that wished to provide members with inexpensive apartments. Significant examples include the Amalgamated Houses (Springsteen & Goldhammer, 1930) on Manhattan’s Lower East Side and the “Coops” built in the Bronx by the United Workers Cooperative Association (Springsteen & Goldhammer, 1925-27; Herman Jessor, 1927-29).
The first significant act of government intervention occurred in 1926 with the passage of the New York State Housing Law. Promoted by Governor Alfred E. Smith to encourage construction through the formation of local authorities that would sell bonds or seek federal funds, it had little impact until 1934 when the New York City Housing Authority (NYCHA) was established. The authority’s first project, aptly called the First Houses (Frederick L. Ackerman, 1934-36), was located in Manhattan’s East Village. Begun as a rehabilitation program involving the demolition of every third structure, due to structural problems the eight brick buildings were entirely rebuilt.
Throughout the early Depression, government-subsidized housing remained a controversial issue. Consequently, it was first promoted as worker relief, organized to create jobs but not compete with the commercial market. The first federal agency to involve itself with housing was the Reconstruction Finance Corporation (RFC) which was created in 1932 to provide low-interest loans to limited-dividend housing corporations. Of the two loans it made, one was toward the construction of Knickerbocker Village (John S. Van Wart & Frederick L. Ackerman, 1933). Built for the Fred F. French Company, this Chinatown-area development consists of two 12-story buildings, both enclosing an interior courtyard.
In mid-1933, as part of Franklin Delano Roosevelt’s New Deal, the Housing Division of the Public Works Administration (PWA) was established. What made this agency different from its predecessor, the RFC, was that it would be directly involved in the planning and construction of low-income housing. The program was a great success and over the next three and half years it collaborated on the design and construction of 51 projects in 36 cities, including the Harlem River Houses and the Williamsburg Houses.
The passage of the Wagner-Steagall Bill (aka U.S. Housing Bill) by the United States Congress in September 1937, strengthened the federal government’s commitment to housing, but shifted greater control to local authorities. The first New York City housing project to be financed under this program was the Red Hook Houses (Electus Litchfied, chief designer, 1938-39) in Brooklyn. Future construction, which would amount to more than half a million low-rental units nationwide by 1957, would be funded primarily through low-interest loans.
Site
The Williamsburg Houses are located in northwestern Brooklyn, approximately one mile east of the Williamsburg Bridge and two blocks south of Grand Street, a lively commercial thoroughfare. Founded as part of the town of Bushwick in the mid17th century, Williamsburg was incorporated as a village in 1827. The community prospered and by 1852 it was the 20th largest city in the nation. Three years later, Williamsburg became part of Brooklyn and was commonly referred to as the Eastern District. Although ferry service was important to the area’s development, it was the planning and construction of a second East River crossing, the Williamsburg Bridge, that caused the most dramatic growth.
Proposed in 1883, the bridge was completed with much fanfare in 1903, serving pedestrians, bicycles and horse-drawn vehicles. In subsequent decades, Williamsburg rivaled the Lower East Side in population and density. The Brooklyn Eagle claimed in 1920 that the bridge was part of the busiest traffic center in the nation and that a single block north of it was the most crowded in the world. Conditions in the neighborhood continued to deteriorate throughout the decade, so much so that the population began to decline.
In October 1933, the Federal Works Administration (PWA) established a slum clearance committee to study conditions throughout New York City. Richmond H. Shreve, who would later serve as chief architect of the Williamsburg Houses, was named director. Based on the committee’s recommendations, $25 million was set aside for a housing program in New York City. Under the direction of the NYCHA, a more comprehensive study was undertaken in 1934, focusing on fourteen neighborhoods, including Williamsburg. The PWA reported:
When the study was completed the blighted slum area of the Williamsburg section stood out as the best example where the most good could be done in wholesale clearance work.
Of 93 blocks studied, a grid of 12 was identified for redevelopment in Williamsburg. These blocks were chosen because property values were relatively low and the owners were willing to sell. Most of buildings were mixed-use, incorporating retail spaces at ground level and apartments above. Each lot was carefully documented: 90% of the structures were at least forty years old, 70% were built of wood, 78% had no central heating, and 67% had no private toilets. Such statistics were used to paint an extremely bleak picture of life there:
But the Williamsburg section of Brooklyn, according to official surveys, is unique in that its slums bear the stamp of dull listlessness and despair . . . Laissez faire, exploitation, and land speculation have robbed the community of its natural potentialities for development and orderly urban life.
Public amenities were also in short supply; there were few schools and there were almost no parks.
Architects
Five architects were appointed to the NYCHA’s architectural board in May 1934: Richmond H. Shreve (1877-1946) of Shreve, Lamb & Harmon, Matthew W. Del Gaudio (1889-1960), William Lescaze (1899-1969), Arthur C. Holden (18901993), and James F. Bly. As members of the board, their initial role was advisory. They would act as the authority’s chief architect, overseeing the design and construction of municipal housing citywide.
In June 1934 an open competition was held to choose the architects who would work on the Williamsburg Houses and other NYCHA projects. The program guidelines did not specify the location, but the grid chosen closely resembled the long blocks where the Williamsburg Houses would be built. Of 278 architects who participated, 5 of the 22 selected were assigned to the Brooklyn project: Samuel Gardstein, of Holmgren, Volz & Gardstein, G. Harmon Gurney (b. 1896), of Gurney & Clavan, John W. Ingle Jr., Paul Trapani (1887-1974), and Harry Leslie Walker (1877-1954).
In June 1935, a contract was signed with the Williamsburg Associated Architects. The partnership consisted of ten men: the five architects selected by jury, as well as the five members of the architectural board. Among them, Shreve had the most experience with large projects, having worked on a succession of major Manhattan skyscrapers, most notably, the Empire State Building (Shreve, Lamb & Harmon, 1931).
A graduate of the College of Architecture at Cornell University (1902), he began his career as a member of the school’s faculty and later joined the firm of Carrére & Hastings in New York City where he distinguished himself as having a “genius for the solution of operational and administrative problems.” Whereas prior to the Depression he mainly worked on office buildings, in his later years Shreve was associated with residential developments, most notably the Vladeck Houses (1940) on the Lower East Side, and Parkchester (1938-42), a development with more than twelve thousand apartments in the Bronx. During the late 1930s, he also served as a member of the board of design for the New York World’s Fair.
Design
Of the three initial projects built by the NYCHA and the PWA, the Williamsburg Houses were the most innovative. Shreve appointed Lescaze as the chief designer, responsible for the plan and elevations. In the 1930s, he was at the height of his career, profiled in publications read by professionals and the layman. Born near Geneva, Switzerland, in 1896, he studied in Zurich with the architect Karl Moser in 1915-19 and for a brief period worked in Paris with Henri Sauvage, an important designer of apartment buildings. Lescaze moved to the United States in 1920 and after working in Cleveland and New York City, formed a partnership with George Howe, a Philadelphia architect, in 1929.
Their association lasted four years and produced one architectural masterpiece, the Philadelphia Savings Fund Society building, completed in 1932. During the mid-1930s, he was extremely active, working on unrealized plans for the Museum of Modern Art, the Brooklyn Museum, and the Brooklyn Children’s Museum, as well as building three of the earliest modern-style townhouses in Manhattan, his own house and studio, completed in 1934, as well as the Raymond C. and Mildred Kramer (1934-5) and Edward and Dorothy Norman (1940) houses. He also designed, with Albert Frey, the Chrystie-Forsyth Houses. Planned in 1931, this unrealized proposal was included in the Museum of Modern Art’s so-called “International Style” exhibition of 1932.
One of the most unique aspects of the Williamsburg Houses is the plan. To create the 23.3 acre complex, twelve blocks were acquired by the city, and the two east-west streets (Stagg and Ten Eyck) were closed to traffic to create four “super” blocks. All but one extend three full blocks from north to south, except part of the block between Manhattan and Graham Avenues that was set aside for a new junior high school and play area.
The development of New York City was closely tied to its gridiron. Introduced in 1811, it resulted in a city of predictable intersecting streets and avenues. In 1835, a similar plan was approved for Brooklyn and by the early 1850s the streets that cross through the site of the Williamsburg Houses had opened.
Most were named for area residents, such as Daniel Maujer, a lawyer and alderman, John and James Lorimer Graham, land jobbers, and James Scholes, a local land owner. The impact of this approach is visible throughout New York City, establishing blocks and lots of equal size and dimensions. Residential developers benefitted immensely, commissioning rowhouse and tenement designs that could be repeated without regard to location.
By the end of the 19th century, there was relatively little open space in Manhattan and Brooklyn. As part of the City Beautiful movement, various attempts were made to loosen the grid’s hold, first through the passage of the Small Parks Act in 1887, which focused on tenement neighborhoods, and later, by situating major civic structures in plazas. Similar ideas shaped the development of garden apartments which came into vogue after 1910. One of the primary characteristics of this type of multiple dwelling was reduced site coverage.
In most cases, such as in the Jackson Heights Historic District, the buildings were set around the perimeter of each block, enclosing large private gardens, but in other situations, such as at the Harlem River Houses, a “crankshaft” arrangement was adopted, creating a mixture of interior and exterior courts.
Lescaze borrowed freely from both the garden apartment tradition and architects associated with European modernism. In his earliest design, each block incorporated six U-shaped structures arranged around a narrow central court. A later design was considerably more irregular. Turned at an angle to the street, there were fewer but larger buildings.
Many aspects of this proposal were integrated into the final design. The Williamsburg Houses are configured in three ways, with footprints suggesting a capital “H,” small “h,” and “T.” All have small spurs and extensions, resembling crossbars. By adding this feature the number of courtyards was significantly increased. Within each block are six buildings (except north of the school); at the north and south are the “H” and “h” configurations, and in the middle, the “T”s.
The decision to turn the buildings at a 15 degree angle to the street grid proved controversial. PWA accounts described it in functional terms, explaining that the orientation would provide tenants with more sun and take advantage of the prevailing northwest breezes. During the previous decade, many architects and planners experimented with similar ideas. One of the earliest built examples “to deviate from the geometry of the New York gridiron” was the Mesa Verde apartments (1926) in Jackson Heights. Designed by Henry Atterbury Smith and based on an earlier proposal from 1917, the development featured two rows of six “closed L buildings” set at 45 degree angle to the surrounding streets.
Lescaze, however, was more likely to have been influenced by European sources. During the 1920s, he frequently returned to Europe, a period when leading architects were involved in the design of social housing. Many favored the “tower in the park” approach in which free-standing high-rise structures stood in continuous open space. Writing in English in 1935, Walter Gropius concluded that apartment blocks should “command a clear view of the sky, over broad expanses of grass and trees which separate the blocks and serve as playgrounds.”
Another source of inspiration might have been Ernst May who oversaw the design and construction of many low-rise housing estates in Frankfurt. In his Bruchfeldstrasse development of 1926-27, designed with C. K. Rudloff, one section was arranged in an overlapping zig-zag configuration. As in Williamsburg, each unit had corner windows, providing tenants with uninterrupted views of a central garden.
Many writers were skeptical about the benefits of Lescaze’s plan. Hamlin argued that the layout would convert the courts “into perfect channels for Project for a group of factories. our most vicious northwest winds.” He was told that
the arrangement had, in fact, been chosen for aesthetic reasons, to “break up the street facades” and “allow the feeling of space to weave in and out on the street fronts. This goal was definitely achieved, producing an environment that was new and distinctive. The flowing spaces that Lescaze planned are less monumental and more intimate than those experienced in most housing projects, juxtaposing wedge-shaped lawns with semi-enclosed courtyards and large open plazas. As originally built, no fences interrupted the spaces and the areas adjoining the curving concrete walks were paved with cobblestone.
The Elevations
Equally modern were the elevations. Lescaze was attracted to the expressive and aesthetic qualities of modern materials. Particularly unusual was the decision to use a light-colored palette. Built from reinforced concrete, the walls were originally enclosed with a sand-cast brick that was variously described by observers as bright tan, yellowish, pinkish, and grayish warm pink. One of the most notable features was the exposed concrete floor plates which express the structure and division between the floors while giving the complex a strong horizontal appearance. Talbot Hamlin observed:
The effectiveness of the buildings is undoubted. The striping of brick and concrete and the contrast of the light walls which front the stair towers make a vivid picture . . .
Prior to the mid-1930s, red brick was the most frequently used material in housing developments, used throughout Jackson Heights and in the First Houses and Harlem River Houses. The proposal to break with this tradition generated considerable debate. While the general scheme was approved in June 1935, it was not until October that specific materials were selected. Presumably, the PWA wished to standardize the building process and reduce costs. Frederick Ackerman, technical director of the NYCHA, defended Lescaze’s proposal. He wrote the authority’s chairman, Langdon W. Post:
. . . the “effect” of the Project will depend very largely upon the texture and quality of the exterior wall. Unless the exterior wall possesses a greater intrinsic interest than one made of common brick then the resultant effect is certain to be a bleak, barren and unusually forbidding mass of building:
One might readily mistake the At Williamsburg, the buildings stand as freestanding objects, finished on all sides and approachable from multiple directions. No facade dominates and the apartment entrances face both the streets and courtyards. For those unfamiliar with the layout, the angled plan may have been somewhat disorienting. To make it easier to navigate, signs were installed throughout the complex and Lescaze skillfully designed the entrances, making dramatic use of color and form. Like Le Corbusier, he was an “accomplished” painter and frequently used color, especially blue, to enliven wall surfaces. Another possible model was May’s housing development at Praunheim (1926-29) where contrasting colors were used to give the projecting stair towers a distinctive appearance.
Within the courtyards are as many as five entrances. Each is sheltered by a small cantilevered aluminum marquee and is flanked by square blue terra-cotta tiles. The entrances that are located at the far end of the larger courtyards are set at a angle. In these instances, the tiles spread onto the adjoining walls and extend above the parapet to the stair bulkhead. Other tile treatments project slightly forward, or are recessed above the doors to the roof. An entrance is also located in the covered breezeway. Reached by a short flight of stairs connecting both the street and courtyard, the more public street facade had an asymmetrical character, incorporating projecting blue tiles to one side and a wide aluminum marquee.
Construction
To prepare the site for construction, 568 buildings were demolished on 349 lots and approximately 5,400 people were relocated. A 1935 report described the population as divided equally between American born, Italian born, and other nationalities. Most were semi-skilled workers, employed in manufacturing, or as clerks, truck drivers, and construction workers.
Demolition commenced in June 1935 as PWA supervisor Elizabeth Ross dug a crowbar into the facade of 197 Manhattan Avenue, near Ten Eyck Street. In the months that followed:
Steam shovels and picks played a tune to rival that of the pipes of the Pied Piper of Hamlin. From every dank basement and crumbling wall rats fled in droves. Backyards disgorged an assortment of rusted cans, trash, filth and litter that would have discouraged the most voracious goat.
Ground was broken on January 3, 1936. Following a brief ceremony in the rain, public officials addressed an audience of five hundred at Public School 196. During April 1936, the first foundations were poured at the southwest corner of Manhattan Avenue and Stagg Street. Mayor Fiorello H. LaGuardia was in attendance, followed by “a few hundred interested onlookers and an army of schoolboys.”
As the foundations neared completion, the PWA solicited bids for construction. Starrett Brothers & Eken was awarded the $7. 5 million contract for the first 18 buildings in October 1936. A subsequent contract, for construction of buildings No. 5 and 18, was signed in late April 1937.
Founded by Paul Starrett (1866-1957) and William Aiken Starrett (1877-1932) and Andrew J. Eken (1882-1965) in 1922, the firm was responsible for such high-profile buildings as the New York Life Insurance Company Building (1925), Bank of Manhattan Building (1929-30), McGraw-Hill Building (1930-31), and Empire State Building (1930-31, all are designated New York City Landmarks). The Starrett Brothers worked closely with Shreve on the Empire State Building and it is likely that this relationship helped secure the contract for the Williamsburg Houses. William Starrett acknowledged the importance and complexity of this issue when he said:
It is the hope of people who are discussing this (slum) problem that those same brains that put together the great skyscrapers . . . will turn toward this.
Starrett Brothers & Eken later built Parkchester (Richmond H. Shreve, chairman of the board of design, 1938-42), Stuyvesant Town (Irwin Clavan and Gilmore Clarke, 1943-49) and Peter Cooper Village (Irwin Clavan and Gilmore D. Clarke, 1947) for the Metropolitan Life Insurance Company.
The cornerstone was laid in October 1936. It contained an aerial view of the site, a copy of the federal act creating the PWA, as well as an autographed copy of Jacob Riis’s timeless account of slum conditions, How the Other Half Lives, donated by his widow. Construction progressed rapidly, and aside from minor walk-outs by metalworkers and painters, the first six buildings were ready for occupancy with a year, in September
Publicity
The Williamsburg Houses was the largest and costliest project built by the PWA. With 1,622 apartments, it was more than twice the size of the Harlem River Houses. The approximate cost was $12.8 million. It was described by the PWA as part of “demonstration program” and numerous public events were held. In a letter to Post, Shreve stated:
As this project is the beginning of what, in a way, is a housing community experiment and as the public attitude toward housing will be largely controlled by the success or failure of such an experiment, it is of importance that every effort be made to make the first experiment successful.
In this context, how the project was perceived was of the utmost importance. Once the design had been approved, a scale model was built by the PWA and exhibited at banks in Brooklyn Heights and Williamsburg during late 1935 and 1936. This presentation was accompanied by a series of posters documenting the site, including photographs of earlier buildings and their demolition, as well as projected floor plans. The New York Times reported the model:
. . . throws into graphic relief the application of the new principle of multiple housing, providing more air, sunlight and recreational facilities and involving a departure from the solid-block construction.
The idea of using public funds to create low-income housing was relatively new and much of the language used in speeches and press releases heralded it as a major advance. At the site, signs were posted, calling Williamsburg the “Largest Low Rental Development in the USA.” At the ground-breaking, public officials evoked the memory of Alfred T. White, whose Brooklyn developments were among the first attempts to improve low-income housing in the nation.
Mayor LaGuardia thanked the President, Franklin Delano Roosevelt, for his support, as did Harold L. Ickes, Secretary of the Interior, who described slums as a “vicious project of that old order whose passing, we hope, is at hand.” While some critics equated the federal housing program with socialism, most speakers saw it as a defense of democracy.
In November 1935, Post had contacted the PWA, requesting that the complex be called the “Ten Eyck” Houses. No explanation was given, but it is likely that the request was made to distinguish the new development from the larger surrounding neighborhood.
Ten Eyck Street was one of two east-west streets closed to create the site and it was probably named for the Dutch family whose Brooklyn lineage extended back to at least the 18th century. In the immediate area also lived William Ten Eyck, who during the mid-19th century served as the deacon of the Reformed Church of South Bushwick (1853, a designated New York City Landmark). Post’s request was quickly approved. The new name, however, was not widely used and a 1938 PWA publication refers to the development as the Williamsburg Houses.
On October 28, 1936, the construction site was briefly visited by President Franklin Delano Roosevelt and Eleanor Roosevelt. According to the New York Times, ten thousand school children and five thousand adults “cheered the President’s passage through the streets bordering the housing project.”
Three “model” apartments were opened for public view in July through August 1937. Furnished with loans from various Brooklyn department stores, they were presented at 180 Maujer Street. Post was an early visitor and he described the apartments as a “demonstration of what can be done, this is the most valuable contribution to social progress that the New Deal has made.” An average of 1,200 persons a day visited. In September 1937, a second group of apartments opened at 176 Maujer Street, including one decorated entirely with “reconditioned furniture.” In a related development, during April and May 1938, the WPA created an exhibit in a storefront office at 212 Graham Avenue. Organized by William Friedman of the art teaching division, the display was changed periodically to demonstrate different apartment layouts and decoration. Nine experts spent five months preparing the exhibit, hoping that it would influence local residents and provide a model for future public housing developments. A music branch, at 176 Maujer Street, also provided lessons in theory, voice, and various instruments.
Tenants
According to the Brooklyn Eagle, the Williamsburg Houses were “one of the most perfect home sites in the word . . . an eagerly sought spot to live.” Income and need formed the basis of selection and no tenant could earn more than five times the annual rent. Preference was also given to former residents of the site.
The first tenants began to occupy their apartments on September 30, 1937. The New York Times devoted at least two articles to “Moving Day,” as did the Brooklyn Eagle. As part of the operation, each tenant’s belongings were moved to a fumigation plant for sterilization near the intersection of Bushwick Avenue at Scholes Street.
This procedure was described as a “wise precaution against the spread of disease.” Bessie and Louis Grabkowitz were recognized by the NYCHA as the first official tenants. A week’s rent, of less than seven dollars, was paid and they were given keys to their new apartment. Two to five rooms in size, units featured steam heat, hot and cold water, as well as electric stoves and refrigerators. Residents praised their new homes, commenting on the appliances and abundant sunlight.
By the end of 1937, most apartments were occupied. A community newspaper, the Projector, began publishing on a semi-monthly basis in December 1937. In April 1938, the complex was completed. In addition to the twenty residential buildings, there were retail spaces, facing the north-south streets. The PWA reported:
To insure efficient, sanitary commercial services, 49 stores and shops within the project, distributing drugs, groceries, appliances, and general merchandise, have been leased to private individuals.
The storefronts were executed in a sleek Moderne style. To the north and south, they curved away from the street, recalling the streamlined designs of Erich Mendelsohn, as well as J. J. P. Oud’s Kiefhoek development of 1925. The prominent metal parapets were blue, matching the color of the apartment entrances. Despite their polished design, a significant number failed to attract and retain tenants. Consequently, in 1945 ten unleased spaces, near the corners of Maujer and Leonard Streets, and Scholes Street and Bushwick Avenue, were converted to apartments.
Tenants enjoyed a variety of useful services. At the center of the complex, on Graham Avenue stood the stripped classical-style William J. Gaynor Junior High School (1936-37), and opposite it, Building No. 11 housed a nursery school. Incorporated into the building’s south court and featuring a large play terrace, Hamlin described its glass-fronted design as “pleasant” and “delightful.” In addition, a new Moderne-style health center was built directly across from the complex, on Maujer Street.
Throughout the development were “social and craft rooms.” These basement spaces were originally used for classes, clubs, and meetings and many were decorated with large colorful murals. In contrast to the majority of WPA murals that were executed in style of social realism, the Williamsburg murals were non-objective. Lescaze favored “abstract and stimulating patterns” and Burgoyne Diller who headed the Federal Art Project, wrote that:
The decision to place abstract murals in these rooms [of the Williamsburg Housing Project] was made because the areas were intended to provide a place of relaxation and entertainment . . . The more arbitrary the color, possible when not determined by the description of objects, enables the artist to place an emphasis on its psychological potential to stimulate relaxation.
Of twelve murals commissioned, at least five were installed. In the early 1990s, the deteriorated canvases were restored and moved to the Brooklyn Museum of Art. They include works by the American painters Ilya Bolotowsky, Paul Kelpe, and Balcomb Greene.
Critical Reception
The opening of the Williamsburg Houses was treated as major news and writers used the event to analyze the project and express their own views about the role of public housing and the importance of modern architecture. Some of the earliest comments came from the architect Walter Gropius, former director of the Bauhaus in Germany. On a visit to New York City in April 1937 he was interviewed by H.I. Brock in the New York Times. They traveled together throughout the city, visiting both new skyscrapers and the nearly-complete Brooklyn development. Gropius was impressed and praised the unusual plan, saying that Lescaze:
. . . seems to have solved the problem of space and light very successfully and economically, and it has the great advantage of being spread over enough land to make it worthwhile as a sample of planned development.
Lewis Mumford was the first critic to publish a substantial review in February 1938. As a persistent advocate for public housing, he used the opportunity to evaluate the “outlines of the new order of building.” He praised the PWA for eschewing “overpriced building lots” and instead assembling large sites in quieter areas where streets could be closed to traffic to create gardens and playgrounds. Considerable attention was paid to the slanted orientation. Although he described it as “a bit queer,” he liked the way it separated the residences from the street and that it gave the appearance that the architects were concerned about providing tenants with ample sunlight.
Talbot Hamlin published the most-detailed analysis. In this review, he addressed both PWA projects, calling them “a new vision of democracy ... they are better than the most expensive apartments on Park Avenue.” Despite such praise, he expressed mixed feelings. While he found the buildings “fresh and inventive and alive,” he was disturbed by the “shockingly low” standards of construction. He also admired the “imaginative and carefully studied detailing,” but criticized the landscaping as little more than adequate. The WPA Guide to New York City, published in 1939, shared similar views, quoting Hamlin’s review, and praising the design of the individual buildings.
In the years since completion, the Williamsburg Houses have been a frequent subject for architectural historians. Many, starting with the Museum of Modern Art in 1939, have placed the development within the context of European modernism. In an exhibition celebrating the museum’s 10th anniversary and the opening of its new building, it was the only architectural work represented that was located in New York City. In a brief essay on housing, the curators highlighted the “triple-size superblocks,” that form an “oasis of open space,” but criticized the adjoining school building as a lost opportunity to create a “truly important work.” Photographs of the complex were also included in Forms and Functions of Twentieth-Century Architecture (1952), in sections devoted to city planning and concrete construction.
G. Holmes Perkins wrote in the city planning section that despite faults, the complex “may be held up as patterns for tomorrow.” Richard Pommer, in one of the most insightful discussions of Depression-era housing in the United States, criticized the angled plan, calling Lescaze a “versatile pasticheur” who used visual effects without logic or relation to function. Robert A. M. Stern shared this view, writing in 1980 that it “seems overrated.” Richard Plunz, in A History of Housing in New York City, credited the project as the start of a “brief but intense struggle” to determine the aesthetic direction government-built housing would take. All four editions of the AIA Guide to New York City have praised the Williamsburg Houses. The 1968 edition called it a “very successful solution to the problem of low-rent subsidized housing,” and in 2000 “the best public housing project ever built in New York.”
Subsequent History
Conveyed by the federal government to the NYCHA in 1957, the Williamsburg Houses continue to serve their original purpose, housing more than three thousand New Yorkers. Major alterations were first proposed in 1980 and significant work took place during 1985-91. At this time, the original casement windows were replaced with bronze-colored aluminum sash and the blue terra cotta that surrounded the entrances, with tan “Morocco” glazed brick.
In a remarkable turnaround, during the mid1990s, the facades were restored. What began as continued maintenance, soon evolved into a major architectural project, requiring an outside contractor and consultation with the Landmarks Preservation Commission. Under the supervision of Neil Cohen of the NYCHA, the elevations were completely reskinned, the parapets replaced, as well as the chimneys, railings, and terra-cotta banding. In addition, new canopies, doors, lighting fixtures, and signage were fabricated.
The approximately $70 million project was executed with great sensitivity; there was an article in the real estate section of the New York Times and the NYCHA was the recipient of the Lucy G. Moses Preservation Award from the New York Landmarks Conservancy (1999), which praised the participants for restoring the complex to “better-than-new condition.” Restoration of the storefronts, except along Bushwick Avenue, was completed in 2002.
The high standards set by the design of the Williamsburg Houses have rarely been matched. Innovative in terms of scale, plan, and aesthetics, it remains one of the most pleasant and architecturally-distinguished housing developments in New York City.
Description
There are twenty walk-up buildings in the 23.3acre Williamsburg complex and a total of 1,620 apartments. These buildings are numbered from 1 to 20 and each entrance has its own street address, for instance, “112 Maujer Street.” Stainless steel signs, with pin-mounted numbers and letters, identify each entrance.
The site extends four blocks east to west, from Bushwick Avenue to Leonard Street, and three blocks north to south, from Maujer to Scholes Streets. The principal north-south artery is Graham Avenue. Between Maujer and Scholes Streets, Ten Eyck Street and Stagg Street are closed to vehicles. These winding east-west paths are called Ten Eyck Walk and Stagg Walk. They are identified by large pin-mounted stainless steel letters attached to the building facades and are visible along the north-south streets. Throughout the complex are wall-mounted cantilevered lighting fixtures. These glass and aluminum fixtures are reproductions of the originals.
Three of the four blocks have a tree-shaded open space at center. At present, non-historic benches, play equipment, and basketball courts are located here. Most lawns are enclosed by low iron fences. Though not original, these fences pre-date the 1990s. Pole-mounted lighting fixtures are occasionally used to illuminate these areas.
All buildings materials are non-historic. Each structure is four stories tall and clad in ochre-colored brick. Exterior concrete spandrel beams are exposed at each floor. To disguise patches to the concrete, the beams are coated with a grey-colored water repellency finish. The entrances are flanked by blue structural glazed facing tiles that are approximately 12 by 12 inches. Blue mortar was used to minimize the joint lines. A canopy projects in front of each entrance (except on one side of the breezeways). Made of stainless steel, they incorporate recessed down lights. Some canopies are supported by a single pipe column. The entrance doors and sidelights are made of stainless steel.
Each door has a grid of four small square windows. Breezeways serve a dual purpose: reached by two sets of stairs, they provide an additional north-south passage, as well as entry to apartments. Most of the stairs are flanked by stainless steel railings. The bronze anodized aluminum windows, installed in the 1980s, are all one-over-one. Arranged as single windows or in pairs, they have concrete sills and meet the concrete spandrels above. The smaller windows light the bathrooms. Single windows and pairs are located where the facades meet, often creating triple-width openings at the cantilevered corners.
There are three general building configurations. All are original to the complex. They include eight buildings with “H” shaped floor plans, six with floor plans that suggest a small letter “h,” and six buildings with “T” shaped floor plans. While the “H” and “h” types alternate along Maujer and Scholes Streets (except next to the school where both are “H” shaped), the “T” shaped buildings are located only between Ten Eyck Walk and Stagg Walk.
The “H” buildings (Nos. 1, 6, 7, 8, 9, 14, 15, and 20) are nearly symmetrical, with almost identical north and south courtyards. At the center of each court is either a projecting center section or breezeway. The apartments are reached by four distinct entrances, each with a different tile treatment. They include: corner, wide, recessed between the door and the roof, and incorporated within a breezeway. Each entrance leads to interior stairs. The windows that light the stairs are arranged in horizontal grids of six and eight panes. Except for the recessed variant, the tiles project slightly and rise above the parapet to the stair bulkhead. The opposite side of the breezeway has no tilework. Reached by stairs, each breezeway incorporates two concrete columns and a metal door. The “h” buildings (Nos. 2, 5, 19, 13, 16 and 19) are similar to the “H” buildings, except one court is partially enclosed.
The “T” buildings (Nos. 3, 4, 11, 12, 17, 18) have shallow courts. The top of the ‘T” has three entrances, each framed with blue tiles. A pair of entrances are also found facing each other in one of the side courts, and occasionally on the opposite side, as well. Building No. 11, located on the east side of Graham Avenue, is unique due to the presence of a nursery school at the wider south end. To accommodate this function, the entrances were moved and the court at the south end was enclosed. The south wall of school is clad with glass blocks, many of which are original. A concrete shed, at the center of the wall, is not historic and there are plans for removal. From the south facade extends a raised play area that is enclosed by a fence. Along the east side of the building, facing Graham Avenue, a non-historic ramp with metal railings has been constructed.
Commercial storefronts parallel the streets and adjoin the apartment buildings in various locations. The materials are non-historic, but the new elevations closely resemble the originals. The largest storefronts are located on either side of Graham Avenue, between Maujer Street and Ten Eyck Walk (Nos. 8 and 9). Smaller retail spaces are located along Graham Avenue (near Scholes Street, No. 13); on Leonard Street (near Maujer Street, No. 1); and on Bushwick Avenue (between Maujer and Stagg Walk, No. 16). They have a stream-lined character and curve away from the street at both ends. One story tall, they have granite bases and are clad with stainless steel and metal that has a baked-on blue porcelain finish. Above the storefronts runs the blue metal parapet, crowned by a stainless steel roof rail. Lighting was added above the storefronts, and security gates, when the stores are open, roll up and are neatly hidden within the facades. Large glass blocks or plate glass are used throughout. Along Bushwick Avenue, the modifications are less sympathetic and a vertical grid of older decorative concrete block occasionally interrupts the facade.
- From the 2003 NYCLPC Landmark Designation Report
One of several chambers at Dachau concentration camp, used to delouse clothes with gas.
(When US troops liberated the camp they assumed they were used to kill prisoners but displays at Dachau say that that's not the case, for these chambers, anyway).
For an account of my week in Bavaria. including my visit to Dachau:
My phalaenopsis orchids are spending a few days outside while my house if being fumigated for termites. I also am spending a few days away from my house for a few days.
Harpy eagles are considered to be one of the world’s largest and most powerful eagles. Although this eagle has hind talons up to the size of grizzly bear claws, they typically can only fly with prey weighing up to approximately one half of their body weight.
Harpy eagles, like many other birds of prey, bring fresh green twigs and branches to the nest. Some researchers think this helps to fumigate the nest against insects and parasites, and provide a cooler environment for the nestling.
DIET
Tree-dwelling mammals, such as sloths, monkeys, coatis, porcupines, kinkajous, anteaters and opossums
👗Outfit👗
Mask: [ContraptioN] - Fumigation Soldier's Gas Mask (gift)
Horns: UNA - Capricorn Black Horn (gift)
Pants: Yasum - Wilma Pants
Jacket & Bra: Rokins - Natal Jacket & Bra
Companion: SEmotion Libellune Little Dragon Companion (gift)
Shoes: Pure Poison - Ella Pumps (gift)
Belly ring: Secrets - Chibi Piercing
Hair: Doux - Medusa
Houghton & Byrne, pest exterminators, with collection of dead rats from a ship and holding a packet of Calcid poison briquettes, Sydney, 9 July, 1937, Sam Hood, 35mm copy print from original nitrate negative, State Library of New South Wales, Home and Away - 8455/NCY28/731 collection.sl.nsw.gov.au/record/YRlDMGgn
mamiya 6MF 50mm f/4. film: kodak ektachrome E100VS, cross-processed in C-41, push +1 stop. lab: the icon, los angeles, ca. scan: epson V750. exif tags: lenstagger.
"That's a first. The hostess of this new Kabob Grille saw me, Don and Mom and said 'table for three?' Music to my ears although I didn't really get to eat at the table. My food was in put in a bowl on the floor for some reason.
We shared chicken kabobs with bulgar wheat pilaf. Yummy! I was a very good girl because it's not often I get to go out to lunch. Like almost never! But our house was being fumigated to get rid of ants so we all had to leave. I'll remember the day with happiness."
signed, Benni
24/52
It's Movie Night again, and Stormtrooper Bruce and the guys have settled down for another movie marathon and lots of good eatin'. STB wanted to make up for last weekend, since the plans for sneaking away from the Bake Off didn't go quite as planned.
Palpatine: Pardon my intrusion on your little... what ever this is, but I've come with the Bake Off results.
STB: No intrusion, sir. You're always welcome. But, if I may say so, what a surprise! The results - already? It usually takes weeks, but it's only been a few days!
Palpatine: Well, not to brag, but my genius idea to make all the contestants wear those Bunny Ears really cut down on the entries! Only the devoted, die-hard bakers entered this time; barely two dozen. So the judges were able to do their job, and not get sent to the MedBay from some dumb half baked cake by some Trooper who doesn't even know how to bake!
TK-1110: Wow! That was WTMIAO. Way too much information at once. Now I know where his nephew gets it!
Palpatine: I heard that, Trooper, but never mind. I'm here to announce the results, and I've brought a cake my own personal chef baked, too.
STB: Well, sir, I'm anxious to hear the results!
Palpatine: I'm proud to announce you tied with 3rd Place. Your award is to prepare all the baked goods for my next quarterly Officer's Staff Meeting, being held in two weeks.
STB: Um, wow. What an honor.
Palpatine: I know, right! And, this cake is a little something extra special my nephew insisted you deserved after he accidentally hit you in the Rotten Egg Toss at the Spring Fling. As I understand it, the armor you were wearing is still being fumigated.
STB: Yes, it was all rather unsettling. When I came to, the guys explained those eggs came from your Petting Zoo. But don't let me get started. Thank your nephew for me, and I accept his apology.
Palpatine: Well, on that note I'll be off - so you can get back to your little... still not sure what this is? Good evening, Troopers.
________________________________________
Viewing Large is always fun. Just click in the image.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), an unfinished Elizabethan summer house, which is now owned by the National Trust. It is located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
It was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
When it comes I wanna wail "MAIL!"
Yeah. All the cool kids are watching Blues Clues these days.
It's Tuesday. As you probably already know, thankyou Captain Obvious.
I'm waiting anxiously for the mail. Waiting waiting waiting ....if my dye doesn't come in today I'll probably cry.
This is the ridiculousity (yes it's a word) that is my hair. It's blonde at the bottom, orange midway up and light pink at the roots.
I've washed it 3 times since I've dyed it. What a rip off.
My dad and my brother are still making fun of me which kind of sucks and makes me want to cry because I'm already drowning in the failure from my "HEY! I"M GONNA DO THIS AND HAVE AWESOME PINK HAIR!" project. Seriously. I know I look retarded. There's no need to point it out.
I really don't want to do ANOTHER wig shot, this week as been my unofficial "Wig Week" so today if it works out the way I'm hoping, you guys will only see a shot of my hands.
My brother's friend has been here all weekend and he FINALLY went home. What is it with teenage boys and odors? Do they not understand the concept of a shower? Seriously. Sunday he came over and him and my brother both worked outside with my dad weeding and setting up the patio furniture. Yesterday they did the same thing. Today they woke up and spent most of the morning on the computer before my mom drove him home.
After 2 days of working outside in 90 degree weather THEY DID NOT SHOWER ONCE. And OH MY GOD! I couldn't even go into the library to use the PC to edit my pictures without fumigating it with Febreeze first.
Really I don't get it. It's super easy. My showers take 7 minutes. I don't like taking showers or baths, I get bored. So I get in and get out. Just incase there are any teenage boys out there viewing my stream, let me break it down for you:
1: Strip clothes off
2: Turn on water
3: Get in shower
4: Rub soap on body and hair
5: Rinse off
6: Turn off water
7: Dry off and get dressed.
You should try it sometime. It's pretty awesome.
Fumigation against mosquitos to prevent spread of dengue fever and malaria in a slum on the coast of Arabian Sea in Colaba area of in Mumbai, India. There has been an increase in the number of dengue cases last year and the government was tackling the issue by large scale fumigation actions.
Fancy a week of street photography in Varanasi in October? www.maciejdakowicz.com/upcoming-workshops/street-photogra...
There is only one last spot available.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), an unfinished Elizabethan summer house, which is now owned by the National Trust. It is located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
It was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
mamiya 6MF 75mm f/3.5 + circular polarizer. fuji RVP velvia 50. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.
really old, I want my hair to be longer again.
but what I really want more than longer hair is a hottie at my side so I could call him those cute food names and junk.
Examples: Hott Cakes, Butta Milk Pankakes, Lemon Breath, Banana Head, Cutie Cream Pie, Brownie Baby, Pumpkin Seed muffin, and uh my favorite Gummy Bear...Ya know?
Actually, I think I'll pass on all that. I'd just get hungry and den get fatter den a llama.
The Grade I Listed Lyveden New Bield, (sometimes called New Build), an unfinished Elizabethan summer house, which is now owned by the National Trust. It is located close to the village of Aldwincle in Northamptonshire owned by the National Trust.
It was constructed for Sir Thomas Tresham, the fervent Roman Catholic of Rushton Hall, and is thought to have been designed by Robert Stickells. The New Bield was on the estate of Tresham's second home, Lyveden Manor House, also known as Lyveden Old Bield.
New Bield has a religious design full of symbolism. Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature. The metopes contain the emblems and motifs found also at the triangular lodge, such as the "IHS" christogram.
The house had a great hall and parlour on the first floor, kitchen and buttery in the basement, and a bedroom on the upper floor. However, it was probably never intended for full-time occupation. Too close to the main house for use as a hunting lodge, it may have been intended for use as a "Secret House"—keeping a secret house was a custom of the 16th century. Often within a mile of the main house, the secret house was a place where the head of the household would retire for a few days with a minimum of servants, while the principal house was thoroughly cleaned and, bearing in mind the sanitation of the time, fumigated.
Sir Thomas Tresham died in 1605 following decades of religious persecution, his once vast wealth having been severely depleted. His son Francis Tresham inherited the estate, but within the same year, along with his cousins Catesby and Wintour, he became involved in the Gunpowder Plot. Thus, within a year the estate had a third owner, Francis's son Lewis Tresham. The estate was managed by Lewis's mother until her death in 1615. After this, Lewis Tresham, a spendthrift, lost the remaining family wealth. The estate was eventually sold following the death of his son in 1643.
Information Source:
Coming to Engine Room on September 20th!
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◊ Autocarriage
◊ Credits
• Mesh & Textures: Paradoxical Mode
• Scripting: JanosX Resident
• Photography: Paradoxical Mode
• Model: Vandom Voxel
◊ Style Card
• Balaclava: ANTINATURAL - Doctor Brow Balaclava for Maitreya
• Hood & Scarf: Meli Imako - Hooded Assassin Samurai Full Outfit
• Scarf: Plastik & Petrichor - Bitter Chill Scarf in Strinne
• Cape: PFC - Elven Cloak
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Release Date: 9/15/2020
Version Date: 9/15/2020