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Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: , Kendel Drysdale,
LITTLE ONE and EYE SPY
Tuesday 9 and Wed 17 July, 7.30pm, £10, Lock 91, 9 Century Street, Manchester M3 4QL; and
Friday 12 and Saturday 13 July, 7.30pm, £10, Eagle Inn, 18-19 Collier Street, Salford, M3 7DW.
Two one hour twisted yet comic explorations looking at the darker side of human nature with a short interval between. We all recognise love, we all understand hate and yet we dance between them day-by-day. How far do those emotions take us and can they push us across lines we should never have crossed? The first, Little One by Hannah Moscovitch is the haunting story of adopted siblings Aaron and Claire - one the definition of normal, the other deeply disturbed and unpredictable - and the strange lives of their neighbours, a man and his mail order bride. The second is Eye Spy, a company devised piece: A cycle of six short plays that take a peek at the not so distant future. Eye Spy is set in a Tech-obsessed society and looks at the stories of people living under the 'BOOK' regime. Sarah, a modern influencer needs more followers, how far will she go to get them? Jack has started wearing his yellow hat with pride, why? Will we ever find the Hacker? Whatever you do DON'T type a FORBIDDEN WORD!
Trailer... youtu.be/iY0t4YkqdEg
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture:
From the De Selby Essay "The Giant Silverfish and Its Influence on Noh Masks and the Iconography of the Fleeting Floating World'.
Taken in the churchyard of St Buryan's in Nevern. A very overcast day with not very helpful light. Lith seemed a good way to capture the weathered texture in the stonework and convey the general sense of gloom imbued by the conditions.
Lith print on Foma Nature II, Fotospeed LD20 + old brown.
Mamiya RB67, Ilford HP5+, Rodinal 1+50
For slideshow see: www.flickr.com/photos/artedelares/sets/72157627490512660/...
I was inspired to photograph the NYC Indian Independence Parade after reading about Anna Hazare's ongoing hunger strike to fight corruption in India with the thought that America needs someone like him to fight the corrupting influence of corporations and "corporate-person-hood". INDIA is a multicultural democracy with an ancient history of culture and spiritual wisdom that has much to teach Americans about the struggle for social justice.
Anna Hazare started a hunger strike on 5 April 2011 to exert pressure on the Indian government to enact a strict anti-corruption law as envisaged in the Jan Lokpal Bill, for the institution of an ombudsman with the power to deal with corruption in public offices. The fast led to nation-wide protests in support of Hazare. The fast ended on 9 April 2011, the day after the government accepted Hazare's demands. The government issued a gazette notification on the formation of a joint committee, constituted of government and civil society representatives, to draft the legislation.[4][5]
8/21/2011
NEW YORK — Indian-Americans from the New York area marched in Sunday's India Day parade with pride — and a gripe: alleged corruption in their homeland's governing party.
"Remove corruption, save India" read signs hoisted by some of the thousands of spectators lining the Madison Avenue route of the biggest Indian parade in the United States.
The grand marshal of the 31st annual celebration was "Bollywood" star actress Rani Mukherji, with honored guests including Indian classical singer Pandit Jasraj and the president of Guyana, Bharrat Jagdeo.
Mukherji was mobbed by fans when she arrived for the 10-block parade down Madison, starting at 38th Street.
"I feel as if I'm in India today!" she shouted out to the crowd — some of at least 200,000 people of Indian origin living in New York City, New Jersey and Connecticut, according to U.S. Census figures.
Dozens of floats and marching groups reflected India's cultural and religious diversity.
Members of the Brahma Kumaris World Spiritual Organization were dressed as angels — in white, with wings attached — to proclaim their message of world peace and harmony.
Hundreds of other spectators took a more strident stance — in support of Anna Hazare, an activist on a hunger strike to demand that Indian lawmakers pass a bill creating an anti-corruption watchdog with authority over the judiciary and prime minister's office.
"We feel India now has one of the most corrupt governments ever," said Atul Kumar, an official of the Jersey City, N.J.-based Bihar Society, a nonprofit representing natives of the eastern Indian state of Bihar.
A float bearing a canon represented another flashpoint in Indian history: violence against the Sikhs, starting with the deaths of 66 Sikhs under 19th century British rule.
The official theme of this year's parade was "My Earth, My Home" — an effort to raise awareness of environmental pollution resulting from India's burgeoning industries.
"India is getting better at going 'green' — with regulations more tightly enforced by the government," said Kurang Shah, executive vice president of the Federation of Indian Associations, a tri-state umbrella group that organized the march.
Last year, Jagdeo was awarded a United Nations' "Champions of the Earth" award, the world body's highest honor for environmental leadership.
The president of the Caribbean nation with a large ethnic Indian population told the crowd, "India is alive and well in Guyana
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture:
Influencer Marketing is the use of a social media marketing tool to create business awareness directly with a potential client or by a third party for the purpose of influencing the target individual.
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_8990
Meeting details at 2011 Top 100 SMB Influencers. Picture by Grant Wickes principal of Wickpoint Management Services and currently VP Businss Development Wasp Barcode Technologies.
In picture: , Regina Ciardiello
Influence of alignment filtering.(A) Random filtering and phylogenetic filtering both remove sequences from the unfiltered alignment, which is represented by the large tree a, but result in trees (b and c) that differ in the length of terminal branches (red). Tree b (random filter) is similar to a in containing many extremely short terminal branches that are known to challenge coevolution detectors. In contrast, tree c (phylogenetic filter) lacks short terminal branches. (B) Opposing effects of progressively increasing strength of filtering, which leaves gradually fewer sequences in the alignment. The top graph shows, for the phylogenetic filter, the minimal sequence-sequence distance among all sequence pairs in the filtered alignment. The two lower graphs show performance, measured by , of a coevolution detector for both the phylogenetic and random filter. The first effect, specific to the phylogenetic filter, is a rise of with increasing strength of filtering (decreasing number remaining sequences). This reflects the disappearance of short terminal branches, which in turn improves performance, until a maximum is reached around 250 sequences remaining. The second effect is the deterioration of performance with increasing strength of filtering, since fewer sequences provide less information for the coevolution detector. This effect is clearly seen for the random filter regardless of the number of remaining sequences but it becomes apparent for the phylogenetic filter only with strong filtering. Conditions: detector = MIp; protein family = ABC-C. Trees were plotted using FigTree v1.3.1 (tree.bio.ed.ac.uk/software/figtree/).
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Tantra, tantricism or tantrism is a religious philosophy according to which Shakti is usually the main deity worshipped, and the universe is regarded as the divine play of shakti and shiva. The word Tantra also applies to any of the scriptures commonly identified with the worship of Shakti. Tantra deals primarily with spiritual practices and ritual forms of worship, which aim at liberation from ignorance and rebirth. The tantric movement has influenced the Hindu, Bön, Buddhist, and Jain religious traditions. Tantra in its various forms has existed in South Asia, China, Japan, Tibet, Korea, Cambodia, Burma, Indonesia and Mongolia.Although he cautions against attempting a rigorous definition of tantra, David Gordon White offers the following definition:
Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways.
Sri Yantra Hindu Sacred Symbols: www.sriyantras.com
Built in 1923, this Renaissance Revival-style twenty-story skyscraper was designed by George B. Post and Sons to house the Buffalo Statler Hotel, part of the Statler Hotel chain that was headquartered in Buffalo. The second permanent hotel that the Statler family built in Buffalo, the building replaced an earlier hotel that stood on the site, housed in the former Millard Fillmore mansion, known as the Castle Inn, and an earlier flagship Statler Hotel, which was built in 1907, and located at the southeast corner of Swan Street and Washington Street in a building that was heavily influenced by the nearby Guaranty Building. Ellsworth Milton Statler, whom owned the business, had started in the hospitality industry with a restaurant in the basement of the Ellicott Square building in 1896, expanding with a 2,000-room temporary hotel at the 1901 Pan-American Exposition in Buffalo, and a 2,200 room hotel at the 1904 Louisiana Purchase Exposition in St. Louis, which were so successful that Statler, a former bellhop, decided to re-enter the Hotel business permanently. The present building was the flagship hotel for the chain, which was based in Buffalo, but had hotels all around the United States, which featured amenities that are commonly expected today, including private bathrooms, telephones in each room, and free stationery and newspapers, and were priced at a moderate cost for more average travelers, rather than being targeted at wealthy clientele. Statler also wanted to attract the city’s elite to his establishment, and thus bought the nearby Iroquois Hotel, a longstanding center of social life for Buffalo’s elite and business class, in 1923, and closed it a day after his new hotel opened. Arguably, the original Hotel Statler was more architecturally significant, as it was one of the largest ever Art Nouveau buildings constructed in the United States, and featured a far more unique and distinctive interior and exterior, as well as being the first hotel to have all the innovative features that Statler became known for. Like the similarly significant Larkin Building, however, the original Statler Hotel Buffalo was demolished in 1968 to make way for a “shovel-ready” development site, with no regard for the non-monetary value of the building. Private development never materialized on the site, and it sat as a barren parking lot until a baseball stadium and plaza were built on the site in the late 20th Century.
The building features a tripartite composition, with a four-story base, which extends to the rear (east) of the tower along Genesee Street and Mohawk Street to Franklin Street, which contains many of the hotel’s major public spaces, including meeting rooms, ballrooms, lobbies, and retail spaces. Above the base rises a tower, twenty stories tall and E-shaped, with two light wells on the western side of the building that extend deep into the block to the east, with a largely unadorned red brick-clad section between the sill line of the windows on the sixth floor to the sill line of the windows on the eighteenth floor, forming the “shaft” of the composition. At the top is a more richly detailed three-story section of the building, forming the “capital” of the composition, drawing the eye upwards and emphasizing the verticality of the building. The first floor is clad in stone with rustication, with the second and third floors sharing large window bays with decorative surrounds, which include decorative keystones, broken pediments with cartouches, triple arched window openings flanked by doric pilasters and recessed niches on the western facade, paired arched windows facing Niagara Square, separated by doric pilasters, and smaller windows at the east end of the building along Franklin Street and Mohawk Street. Above the arched window bays are low-slope roofs enclosed by decorative balustrades, with smaller window openings on the fourth floor featuring decorative stone trim, with the window bays around the perimeter of the base of the tower portion of the building being flanked by doric pilasters, with an architrave with triglyphs and decorative reliefs above the pilasters, and a cornice featuring modillions running around the sill line of the fifth floor windows, marking the base of the transition from the base to the shaft. The fifth floor features windows with decorative surrounds and keystones with busts, and is topped with a cornice, which is the last strong horizontal datum before the building becomes an unadorned brick shaft for the next twelve floors. The building features double-hung and fixed windows, some of which are original, and others of which are replacements, with two-over-two windows being predominant between the sixth and eighteenth floors. On the eighteenth floor, the sill line of the windows is a line of stone belt coursing, with decorative window trim at the window openings, and a cornice with dentils above the windows, originally extending further out from the facade, but having been chiseled away due to structural issues in the late 20th Century. The nineteenth and twentieth floors feature decorative trim once again, with the outermost bays of the individual north and south facades, as well as the west facade, featuring single windows flanked by doric pilasters with decorative window trim, including busts on the keystones, and the middle bays being recessed, flanked by ionic pilasters, with copper spandrel panels. The top of the twentieth floor windows is a line of belt coursing, above which are a few courses of brick, with decorative reliefs above the doric pilasters on the east and west facades, which sits below the building’s cornice, which features brackets, and runs around the base of the brick parapet that encloses the building’s low-slope roof. Atop the parapet above the doric pilasters are decorative urns. The rear of the building also features a large circulation tower, housing the building’s main stairways and elevators, which features a largely unadorned facade with four oxeye openings with stone trim at the top, with this being the least detailed section of the building’s exterior.
Inside, the building features many original semi-public spaces that have been partially preserved from the original period of construction and function as a hotel. These include the “palm room”, the main lobby that is themed after a tropical garden, which sits just outside the hotel’s main dining room, a two-story space with a vaulted ceiling, decorative archways, paired arched second-story openings with balustrades and columns, arched windows above the dining room entrance, an entrance portico at the dining room with ionic columns, a decorative cornice, a broken pediment with a cartouche, and a decorative balustrade atop the portico, and a fountain surrounded by greco-roman statues. There is also the Terrace Room, which features a decorative beam ceiling, ionic columns, and a section of the ceiling that is vaulted, the golden ballroom, formerly the hotel’s main dining room, which features a cantilevered second-story balcony with ionic columns featuring capitals and accents clad in gold leaf, decorative trim and panels clad in gold leaf, a wooden parquet floor, and a vaulted ceiling, and a room in the mezzanine with well-preserved carved wood paneling and black marble fireplace surrounds. Other spaces, including the lounge, tea room, cafeteria, swimming pool, and turkish baths, have not been preserved in as intact of a condition.
The hotel began to see a decline in occupancy with the onset of the Great Depression, with several of its 1,100 rooms regularly sitting vacant. As a result, it began to see portions of its interior converted into office space, which accelerated after the opening of the WBEN TV studio in the building. The Statler hotel chain was bought out by Hilton in 1954, which continued to use the Statler brand on hotels that the chain had already built, but eventually phased it out. The hotel finally shuttered in 1984, with the building being renamed the Statler Towers. The building became largely vacant, with only the lower floors being occupied, with the highest occupancy being in the street-facing retail spaces. In the 2000s, the building was slated for conversion into a hotel and condominium, but this proved unsuccessful when the entity that owned the building went bankrupt, leading to a foreclosure and the building being threatened with demolition. Preservationists worked hard to save the building, leading to it being auctioned to a developer in 2010, whom started to stabilize the structure and address its deferred maintenance, reopening the event spaces on the lower floors in 2011, with plans to eventually renovate the rest of the building with an incremental, multi-phased approach. After that developer died, the building was sold to another developer, whom has announced plans to convert the base into a combination of parking, meeting and event space, amenity space, and retail space, with 600 apartments on the upper levels, with work being well underway in 2022.
Influencers church (Paradise) fireworks 19/12/2014
Carols and Fireworks.
Canon EOS 5D, 24-70L, ND2-400 Variable filter, 1 sec exposure and longer
2015
_MG_8966
2 June 2015 - OECD Forum 2015 - Talk Together- Social Media & Influence: Are you Listening?
Centre: Matthias Lufkens, Author, Twiplomacy
OECD, Paris, France.
For more information, visit: www.oecd.org/Forum
Photo: OECD/Andrew Wheeler
In its final days when this shot was taken late 86, unbelievable small in the flesh.........I copied this and did study in HB pencil for my GCSE art exam.....I got a C!
Appropriate (for him and me) that George de la Tour was probably influenced by the Utrecht School of Painting.
We've been without much light in our dining room the past couple of days, since one of the lightbulbs burnt out, so with the candles, I've had de la Tour on my mind recently.
The influence of the Nickel Plate is visible in the placement of the signal heads on this home signal in Spencer, Ohio. The NKP acquired the original Wheeling & Lake Erie in the late 1940s.
By the end of the decade, Portland domestic architecture had moved decisively away from Queen Anne irregularity toward broad, planar compositions influenced by the Craftsman and late Shingle Style traditions. Here the enormous front gable acts as a single unifying form sheltering a full-width upper sleeping porch. The gable surface is treated as a taut geometric field of continuous shingles interrupted only by a shallow arched panel and a restrained band of windows. Ornament is sparse and architectural rather than applied. The emphasis falls on proportion, horizontal layering, and the dramatic sheltering quality of the roof mass, signaling the transition into a more modern domestic aesthetic.
About Buckman
Buckman is one of Portland’s oldest and most historically layered east-side neighborhoods, a district where the city’s transition from Victorian boomtown to modern streetcar metropolis can still be read directly in the streetscape. Bounded roughly by the Willamette River, East Burnside Street, Southeast 28th Avenue, and Hawthorne Boulevard, the neighborhood developed rapidly between the 1880s and the First World War as East Portland evolved from a separate municipality into an integral part of the expanding city. ([en.wikipedia.org](en.wikipedia.org/wiki/Buckman%2C_Portland%2C_Oregon?utm_s...))
Buckman’s earliest growth was tied to industry, rail transportation, and river commerce. The west side of the neighborhood near the river filled with warehouses, mills, rail sidings, and small factories, while residential development spread eastward along a regular street grid served by streetcar lines. Unlike some later Portland neighborhoods planned around a single social class, Buckman emerged as a mixed urban district from the outset. Workers’ cottages, duplexes, boarding houses, flats, and substantial middle-class residences often stood within a few blocks of one another, giving the neighborhood a density and variety that still distinguish it from more uniformly residential areas farther east.
Architecturally, Buckman preserves one of Portland’s clearest records of the transition away from the high Victorian era. The oldest surviving houses, dating from the late 1880s and 1890s, are predominantly Queen Anne in character, with asymmetrical massing, bays, spindlework porches, steep roofs, and richly varied textures. Yet around 1900 the neighborhood entered a transitional phase in which local builders began simplifying Victorian forms while experimenting with new roof masses, broader surfaces, and more unified facades. Some houses from this moment show the influence of the eastern Shingle Style, particularly in their immense front gables, recessed upper porches, and continuous shingled wall planes. These houses often treat the roof and upper story as a sculptural composition rather than merely a cap placed atop the structure below.
What followed in Buckman, however, was not primarily the spread of the fully developed Craftsman bungalow. Instead, the dominant post-Queen Anne form became the Portland four-square: practical, cubic, two-and-a-half-story houses with broad pyramidal or hipped roofs, centered dormers, and full-width front porches. These houses reflected the city’s enormous need for respectable middle-class housing during the streetcar expansion years from roughly 1905 to 1920. Their appeal lay in efficiency, economy, and visual solidity rather than artistic expressiveness. While some incorporated Craftsman details such as exposed rafters or tapered porch supports, the type itself derived more from national American Foursquare patterns and builder traditions than from the philosophical ideals of the Craftsman movement.
The four-square gave Buckman much of its lasting residential character. Block after block filled with sturdy, box-like houses that abandoned the restless asymmetry of the Queen Anne in favor of balanced facades and rational planning. Ornament became restrained and concentrated around porches, window groupings, and cornices rather than spread across every surface. The effect was urban, respectable, and quietly modern without aspiring to the handcrafted romanticism associated with high-style Craftsman architecture.
Commercial development proceeded alongside residential construction. Belmont, Morrison, Hawthorne, and Grand Avenue became lively streetcar corridors lined with stores, apartment buildings, taverns, workshops, and mixed-use commercial blocks. Washington High School emerged as a major civic landmark, while Lone Fir Cemetery remained a visible reminder of the district’s nineteenth-century origins and of the pioneer generation that first shaped Portland’s east side.
Like many close-in American urban neighborhoods, Buckman changed significantly after World War II. Some larger houses were subdivided into apartments or rooming houses, industrial activity declined, and deferred maintenance became common as investment shifted toward suburban development. Yet Buckman escaped the wholesale clearance that destroyed many older urban districts elsewhere in the United States. By the 1970s and 1980s, its surviving nineteenth- and early twentieth-century building stock attracted artists, preservationists, students, and small business owners drawn to the neighborhood’s architectural texture and proximity to downtown.
Today Buckman remains notable less for monumental landmarks than for the cumulative richness of its ordinary urban fabric. Victorian survivors, transitional shingled houses, practical four-squares, early apartment buildings, commercial storefronts, and remnants of industrial Portland coexist within a compact street grid that still conveys the layered development of the inner east side. More than many Portland neighborhoods, Buckman preserves the physical evidence of the city’s evolution from an exuberant late Victorian settlement into a mature twentieth-century streetcar neighborhood shaped by practicality, density, and incremental growth.