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

 

Summary

 

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

 

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

 

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

 

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

 

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

 

DESCRIPTION AND ANALYSIS

 

History of the Neighborhood

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

parkways.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Design and Construction of the Church

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

However, by the time

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

William H. Birkmire

 

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

 

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

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

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

 

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

 

Tremont Avenue.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

- From the 2000 NYCLPC Landmark Designation Report

. . . My Office today: Chipmunk control! This includes baiting them with the finest black oil sunflower seeds, having them spend as little time as possible in the trap, and safely relocating them to another woodlot a few miles away!

 

Have a great Friday and weekend Facebook and Flickr friends!

 

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Hunts Point, Bronx

 

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

 

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

 

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

 

The Early Twentieth Century Development of Hunts Point

 

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

 

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

 

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

 

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

 

The American Bank Note Company

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Subsequent History

 

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

 

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

 

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

 

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

 

Description

 

Plan & Circulation

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

 

Lafayette Avenue Wing

 

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

 

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

Printing Press Wing

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

 

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

 

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

 

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

 

- From the 2008 NYCLPC Landmark Designation Report

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Wat Phra Kaew (Thai: วัดพระแก้ว, rtgs: Wat Phra Kaeo, IPA: [wát pʰráʔ kɛ̂ːw], Pronunciation, English: Temple of the Emerald Buddha; full official name Wat Phra Si Rattana Satsadaram, Thai: วัดพระศรีรัตนศาสดาราม, IPA: [wát pʰráʔ sǐː rát.ta.náʔ sàːt.sa.daː.raːm]) is regarded as the most sacred Buddhist temple (wat) in Thailand. The Emerald Buddha housed in the temple is a potent religio-political symbol and the palladium (protective image) of Thai society. It is located in Phra Nakhon District, the historic centre of Bangkok, within the precincts of the Grand Palace.

 

The main building is the central phra ubosot, which houses the statue of the Emerald Buddha. According to legend, this Buddha image originated in India where the sage Nagasena prophesized that the Emerald Buddha would bring "prosperity and pre-eminence to each country in which it resides", the Emerald Buddha deified in the Wat Phra Kaew is therefore deeply revered and venerated in Thailand as the protector of the country. Historical records however dates its finding to Chiang Rai in the 15th century where, after it was relocated a number of times, it was finally taken to Thailand in the 18th century. It was enshrined in Bangkok at the Wat Phra Kaew temple in 1782 during the reign of Phutthayotfa Chulalok, King Rama I (1782–1809). This marked the beginning of the Chakri Dynasty of Thailand, whose present sovereign is Bhumibol Adulyadej, King Rama IX.

 

The Emerald Buddha, a dark green statue, is in a standing form, about 66 centimetres tall, carved from a single jade stone ("emerald" in Thai means deep green colour and not the specific stone). It is carved in the meditating posture in the style of the Lanna school of the northern Thailand. Except for the Thai King and, in his stead, the Crown Prince, no other persons are allowed to touch the statue. The King changes the cloak around the statue three times a year, corresponding to the summer, winter, and rainy seasons, an important ritual performed to usher good fortune to the country during each season.

 

HISTORY

In 1767, the Kingdom of Ayutthaya fell to the Burmese, and King Taksin then moved the capital to Thonburi where he built the old palace beside Wat Arun on the west bank of Chao Phraya River. In 1778, Taksin's army under the command of Chao Phraya Chakri (who later became Rama I) captured Vientiane and took the Emerald Buddha back to Thonburi.

 

In 1782, King Rama I succeeded to the throne and founded the Chakri Dynasty, and he decided to move the capital across the river to Bangkok as it would be better protected from attack. The site chosen for the palace is situated between two old wats, Wat Pho and Wat Mahathat, an area inhabited by Chinese residents who were then moved to the present Chinatown. He started the construction of the Grand Palace so that the palace may be ready for his coronation in 1785. Wat Phra Kaew, which has its own compound within the precinct of the palace, was built to house the Emerald Buddha, which is considered a sacred object that provides protection for the kingdom. Wat Phra Kaew was completed in 1784. The formal name of Wat Phra Kaeo is Phra Sri Rattana Satsadaram, which means "the residence of the Holy Jewel Buddha."

 

Wat Phra Kaew has undergone a number of renovations, restoration and additions in its history, particularly during the reign of King Rama III and Rama IV. Rama III started the renovations and rebuilding in 1831 for the 50th Anniversary of BangkoK of 1832, while Rama IV's restoration was completed by Rama V in time for the Bangkok Centennial celebrations in 1882. Further restoration was undertaken by Rama VII on Bangkok's 150th Anniversary in 1932, and by Rama IX for the 200th Anniversary in 1982.

 

EMERALD BUDDHA

It is not known when the statue of the Emerald Buddha was made, but it is generally believed that it was crafted in 14th-century Thailand. However, there are also claims that the statue originated in India or Sri Lanka. None of these theories can be firmly established as none of the historians could get a close look at the statue.

 

According to one account, the Emerald Buddha was found in Chiang Rai, Lanna in 1434, after a lightning storm struck a temple. The Buddha statue fell down and later became chipped, and the monks, after removing the stucco around the statue, discovered that the image was a perfectly made Buddha image from a solid piece of green jade. The image was moved a few time to various temples, first to Lampang, then to Chiang Mai, from where it was removed by prince Chao Chaiyasetthathirat to Luang Prabang, when his father died and he ascended the throne of both Lanna and Lan Xang, in 1551. The statue remained the it to his new capital of Lan Xang in Vientiane in the 1560s. The statue remained there for twelve years. King Chaiyasetthathirat then shifted it to his new capital of Lan Xang in Vientiane in the 1560s. He took the Emerald Buddha with him and the image remained in Vientiane for 214 years until 1778.

 

In the reign of King Taksin, Chao Phya Chakri (who later became Rama I) defeated Vientiane and moved the Emerald Buddha from Vientiane to Thonburi where it was installed in a shrine close to Wat Arun. When Chao Phra Chakri took over the throne and founded the Chakri Dynasty of the Rattanakosin Kingdom, he shifted his capital across the river to its present location in Bangkok. The Emerald Buddha was also moved across the river with pomp and pageantry and installed in the temple of Wat Phra Keaw.

 

LEGENDS

There a number of legends associated with the Emerald Buddha. It was said the iconic image of the Emerald Buddha was made by Nagasena, a saint in Pataliputra (present day Patna), India, who, with the help of Hindu god Vishnu and demigod Indra, had the Emerald Buddha image made. Nagasena predicted that:

 

The image of the Buddha is assuredly going to give to religion the most brilliant importance in five lands, that is in Lankadvipa (Sri Lanka), Ramalakka, Dvaravati, Chieng Mai and Lan Chang (Laos).

 

The Emerald Buddha image was taken to Sri Lanka after three hundred years in Pataliputra to save it during a civil war. In 457, King Anuruth of Burma sent a mission to Ceylon with a request for Buddhist scriptures and the Emerald Buddha, in order to promote Buddhism in his country. These requests were granted, but the ship lost its way in a storm during the return voyage and landed in Cambodia. When the Thais captured Angkor Wat in 1432 (following the ravage of the bubonic plague), the Emerald Buddha was taken to Ayutthaya, Kamphaeng Phet, Laos and finally Chiang Rai, where the ruler of the city hid it, and was later found.

 

ARCHITECTURE

Wat Phra Kaeo has a plethora of buildings within the precincts of the Grand Palace, which covers a total area of over 94.5 hectares. It has over 100 buildings with “200 years royal history and architectural experimentation” linked to it. The architectural style is named as Rattanakosin style (old Bangkok style). The main temple of the Emerald Buddha is very elegantly decorated and similar to the temple in ancient capital of Ayudhya. The roof is embellished with polished orange and green tiles, the pillars are inlaid in mosaic and the pediments are made of rich marble, installed around 18th century. The Emerald Buddha is deified over an elevated altar surrounded by large gilded decorations. While the upper part of this altar was part of the original construction, the base was added by King Rama III. Two images of the Buddha, which represent the first two kings of the Chakri dynasty, flank the main image. Over the years, the temple has retained its original design. However, minor improvements have been effected after its first erection during Rama I's reign; wood-work of the temple was replaced by King Rama III and King Chulalongkorn; during King Mongkut's reign, the elegant doors and windows and the copper plates on the floor were additions, Rama III refurbished the wall painting (indicative of the universe according to Buddhist cosmology) and several frescoes that display the various stages of the Buddha's life; three chambers were added on the western side by King Mongkut; in the chamber known as 'Phra Kromanusorn' at the northern end, images of Buddha have been installed in honour of the kings of Ayutthaya; and in the 19th century, In Khong, a famous painter executed the wall murals. The entry to the temple is from the third gate from the river pier.The entrance is guarded by a pair of yakshis (mythical giants – 5 metres high statues). The eponymous image Buddha in brilliant green colour is 66 centimetres (26 in) in height with a lap width of 48.3 centimetres. It is carved in a yogic position, known as Virasana (a meditation pose commonly seen in images in Thailand and also in South India, Sri Lanka and Southeast Asia). The pedestal on which the Emerald Buddha deified is decorated with Garuda (the mythical half-man half-bird form, a steed of Rama, who holds his mortal enemy Naga the serpent in his legs) motifs It is central to Thai Buddhism. The image made with a circular base has a smooth top-knot that is finished with a "dulled point marking at the top of the image". A third eye made in gold is inset over the elevated eyebrows of the image. The image appears divine and composed, with the eyes cast downward. The image has a small nose and mouth (mouth closed) and elongated ears. The hands are seen on the lap with palms facing upwards.

 

The entire complex, including the temples, is bounded by a compound wall which is one of the most prominent part of the wat is about 2 kilometres length. The compound walls are decorated with typically Thai murals, based on the Indian epic Ramayana. In Thai language these murals are known to form the Ramakian, the Thai national epic, which was written during the reign of Rama I. The epic stories formed the basic information to draw the paintings during the reign of King Rama I (1782–1809). These paintings are refurbished regularly. The murals, in 178 scenes, starting with the north gate of the temple illustrates the complete epic story of Ramayana sequentially, in a clockwise direction covering the entire compound wall. The murals serve to emphasise human values of honesty, faith, and devotion.

 

There are twelve salas that were built by Rama I, around the temple. They house interesting artefacts of regions such as Cambodia and Java. One of these salas had an inscription of Ramkamhaeng, which was shifted, in 1924, to the National Library. During the reign of King Mongkut, the Phra Gandharara – small chapel on the southwest corner – and a tall belfry were new additions.

 

WORSHIP AND CEREMONIES

Early in the Bangkok period, the Emerald Buddha used to be taken out of its temple and paraded in the streets to relieve the city and countryside of various calamities (such as plague and cholera). However, this practice was discontinued during Rama IV's reign as it was feared that the image could get damaged during the procession and also a practical line of thinking that Rama IV held "that diseases are caused by germs, not by evil spirits or the displeasure of the Buddha". The image also marks the changing of the seasons in Thailand, with the king presiding over the seasonal ceremonies.

 

Like many other Buddha statues in Thailand, the Emerald Buddha is dressed in a seasonal costume. It is a significant ritual held at this temple. In this ritual, dress of the deity is changed three times a year to correspond to the seasons. In summer it is a pointed crown of gold and jewels, and a set of jewelled ornaments that adorns the image from the shoulders to the ankles. In winter, a meshed dressing gown or drapery made of gold beads, which covered from the neck down like a poncho is used. During the rainy months, a top-knot headdress studded with gold, enamel and sapphires; the gold attire in the rainy season is draped over the left shoulder of the deity, only with the right shoulder left bare while gold ornaments embellish the image up to the ankles. The astrological dates for the ritual ceremonies, at the changing of the seasons, followed are in the 1st Waning Moon of Lunar Months 4, 8 and 12 (around March, July and November). The costume change ritual is performed by the Thai king who is the highest master of ceremonies for all Buddhist rites. On each occasion, the king himself "cleans the image by wiping away any dust that has collected and changing the headdress of the image". Then a king's royal attendant climbs up and performs the elaborate ritual of changing garments of the image as the king is chanting prayers to the deity. On this occasion, the king sprinkles water over the monks and the faithful who have assembled to witness the unique ritual and seeks blessings of the deity for good fortune during the upcoming season. The two sets of clothing not in use at any given time are kept on display in the nearby Pavilion of Regalia, Royal Decorations and Coins in the precincts of the Grand Palace. While Rama I initiated this ritual for the hot season and the rainy season, Rama III introduced the ritual for the winter season. The robes, which the image adorns, represents that of monks and King's depending on the season, a clear indication of highlighting its symbolic role "as Buddha and the King", which role is also enjoined on the Thai King who formally dresses the Emerald Buddha image.

 

A ceremony that is observed in the wat is the Chakri Day (begun on April 6, 1782), a national holiday to honour founding of the Chakri dynasty. On this day, the king attends the ceremony. The present king Rama IX, with his Queen, and entourage of the royal family, the Prime Minister, officials in the Ministry of Defence, and other government departments, first offer prayers at the Emerald Buddha temple. This is followed by visit to the pantheon to pay homage to the images of past Chakri rulers that are installed there.

 

The coronation ceremony, which marks the crowning of the king, is an important event of the Chakri dynasty. One such recent event took place when the present Rama IX was crowned the King. On this occasion, the King came to the Chapel Royal- the Wat Phra Keo – in a procession wearing a 'Great Crown'. After entering the chapel, the king made offerings of gold and silver flowers to the deity and also lighted candles. He also paid homage to the images of Buddha that represented the past kings of the dynasty. In the presence of assembled elite clergy of the kingdom, he took a formal vow of his religion and his steadfastness to 'Defend the Faith'.

 

RULES OF ENTRY AND CONDUCT

The sacred temples in Thailand follow a dress code, which is strictly followed. Men must wear long pants and sleeved shirts and shoes; women must wear long skirts. Visitors who arrive dressed otherwise may rent appropriate clothing items at the entry area of the temple. It is compulsory to remove the shoes before entering the temple, as a sign of respect of the Buddha, as is the practice in all other temples in Thailand. While offering prayers before the Buddha image, the sitting posture should avoid any offensive stretching of feet towards the deity; the feet should be tucked in towards the back.

 

OTHER MONUMENTS

While the surrounding portico of the shrine is an example of Thai craftsmanship, the perimeter of the temple complex has 12 open pavilions. These were built during the reign of Rama I. There is plethora of monuments in the temple complex. These are:Grand PalaceThe former residence of the King, the Grand Palace, adjoins the temple. The King makes use of this Grand Palace for ceremonial functions such as the Coronation Day. The King’s present residence is to the north of this Grand Palace and is known as the Chitlada Palace. The four structures surrounding the temple have history of their own. At the eastern end is the Borombhiman Hall (built in French architectural design), which was the residence of King Rama VI, now used as guest house for visiting foreign dignitaries. It has the dubious distinction of having been used as the operational headquarters and residence of General Chitpatima who attempted a coup, in 1981. The building to the west is the Amarindra hall, earlier a hall of Justice, now used for formal ceremonies. The Chakri Mahaprasat is the largest hall in the Grand Palace, built in 1882 by British architects, the architecture of which is fusion of Italian renaissance and Traditional Thai architecture. This style is called farang sai chada, (meaning: "Westerner wearing a Thai crown") as each wing has a shrine (mandap) crowned by a spire. Ashes of the Chakri kings (five ancestors) are enshrined in the largest of these shrines, also known as the pantheons, that were rebuilt after a fire in 1903 during Rama IV's reign. Ashes of the Chakri princess who could not become kings are enshrined in an adjoining hall. The throne room and the reception hall are on the first floor, while the ground floor houses a collection of weapons. The inner palace had the King’s harem (the practice was discontinued during King Rama VI's time who decreed the one wife rule), which was guarded by well trained female guards. Another hall in the palace is the 'Dusit hall' in Ratanokosin-style, which runs from east to west, which was initially an audience hall but now converted into a funerary hall for the Royal family. Royal family corpses are kept here for one year before they are cremated in a nearby field. There is also a garden which was laid during rama IV's reign. The garden depicts a "Thai mountain-and-woods-fable" mountain scenes where the coming of age ritual of shaving the topknot of the Prince is performed.PagodasThe temple grounds also depict three pagodas to its immediate north, which represent the changing centres of Buddhist influence. One such shrine to the west of the temple is the Phra Si Ratana Chedi, a 19th-century stupa built in Sri Lankan style enshrining ashes of the Buddha.Library

 

Rama I also built a library in Thai style, in the middle of the complex, known as the "Phra Mondop". The library houses an elegantly carved Ayutthaya-style mother-of-pearl doors, bookcases with the Tripitaka (sacred Buddhist manuscripts), human-and dragon-headed nagas (snakes), and images of Chakri kings.

 

During the 19th century, the Royal Pantheon was built in Khmer style to the east of the temple, which is kept open for only one day in year, in the month of October to commemorate the founding of the Chakri dynasty.

Model of Angkor WatThe temple complex also contains a model of Angkor Wat (the most sacred of all Cambodian shrines). In 1860, King Mongkut ordered his generals to lead 2,000 men to dismantle Angkor Wat and take it to Bangkok. Modern scholars suggested that the king wanted to show that Siam was still in control of Cambodia, as France was seeking to colonise Cambodia at that time. However, the king's order could not be fulfilled. A royal chronicle written by Lord Thiphakorawong (Kham Bunnag), then foreign minister, recorded that many Thai men fell ill after entering Cambodian wilderness. The chronicle also stated that forest-dwelling Khmer people ambushed the Thai army, killing many leading generals. King Mongkut then ordered the construction of the model within Wat Phra Kaew, instead of the real Angkor Wat that could not be brought to Bangkok. Mongkut died before he could see the model. Its construction was completed in the reign of his son, Chulalongkorn.Hermit statue

 

A hermit's bronze image, which is believed to have healing powers, is installed in a sala on the western side of the temple. It is near the entry gate. It is a black stone statue, considered a patron of medicine, before which relatives of the sick and infirm pay respects and make offerings of joss sticks, fruit, flowers, and candles.

 

EIGHT TOWERS

On the eastern side of the temple premises there are eight towers or prangs, each of a different colour. They were erected during the reign of Rama I and represent eight elements of Buddhism.

 

ELEPHANT STATUES

Statues of elephants, which symbolize independence and power, are seen all around the complex. As Thai kings fought wars mounted on elephants, it has become customary for parents to make their children circumambulate the elephant three times with the belief that that it would bring them strength. The head of an elephant statue is also rubbed for good luck; this act of the people is reflected in the smoothness of the surface of elephant statues here.

 

WIKIPEDIA

A large, well-built log residence, constructed for James Galloway in 1803. Galloway settled in Greene County in 1797, erected this log home in 1803, and built a large stone farmhouse in 1809; such frontier success is exceptional. According to Donald Hutslar, "Tecumseh, the famous Shawanee chief, visited [the] house on occasion."

 

Originally, the building stood near US Highway 68, north of Xenia; it was relocated twice, in 1937 and 1965. The 1974 tornado destroyed the dwelling's second floor, scattering logs (some never recovered) and portions of the roof "some distance." A vacant single pen house in Miami Township provided replacement logs for the 1976 reconstruction; several photos of this building appear in The Architecture of Migration.

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

Basque Americans (Basque: euskal estatubatuarrak, Spanish: vasco estadounidenses, French: Basco-Américains) are Americans of Basque descent. According to the 2000 US census, there are 57,793 Americans of full or partial Basque descent, but the real number of Basque Americans could easily reach 100,000 people. Of them, 41,811 people claimed be simply Basque American, 9,296 claimed be originating from Spanish Basque Country, and the other 6,686 claimed be originating from the French Basque Country.

 

Basque immigration peaked after the Spanish Carlist Wars in the 1830s—Ebro customs relocated to the Pyrenees—and in the 1860s following the discovery of gold in the foothills of the Sierra Nevada mountain range of California. The current day descendants of Basque immigrants remain most notably in this area and across the Sierras into the neighboring area of northern Nevada, then northward, into Idaho. When the present-day states of California, Arizona and New Mexico were annexed by the United States after the Mexican–American War (1848), there were reportedly thousands of Basques of Spanish or mixed Mexican origin living in the Pacific Northwest.

 

By the 1850s, there were some Basque sheepherders working in Cahuenga Valley (today Los Angeles, California). In the 1870s, the Los Angeles and Inland Empire land rush reportedly attracted thousands of Basques from Spain, Mexico and Latin America, but such reports do not bear out in a current census of Basque persons in the Southern United States where Basque persons are exceptionally rare in US census reporting. By the 1880s Basque immigration had spread up into Oregon, Utah, Montana, Wyoming, with significantly lesser numbers reaching the Southern states of Arizona, New Mexico, and Texas in the Southern most region. By 1895 there were reportedly about ten thousand self reporting Basque-Americans in the United States.

 

The current census figures demonstrated in the US map on this page are remarkably low in comparison to these reports and the overall increase in the US population since the 19th century. There has been a radical decrease in Basque immigration since that era which has resulted in the significant decline in persons of Basque national or Spanish origin throughout the US. Most of the self reporting Basque persons remaining in the US today are descendants of the original peak of Basque immigrants who arrived between 200 and 100 years ago, typically reporting as multi-generational or great great grandchildren (1860 immigrants) as opposed to native born persons of Basque ethnic identification and their subsequent immediate family, children, or grandchildren.

 

The degree to which one self reports being "Basque" is a personal choice, often tied to an interest in one's heritage whether one is the grandchild of a native born Basque or of significantly mixed Native American (Mexican, S. American, etc.), Anglo European, or other racial admixture. There are significant numbers of Mexicans with Basque names, as many as 1 million self reporting Mexicans of Basque racial or surname heritage today.

 

Thousands of Basques were recruited from Spain due to severe labor shortages during World War II. They came under contract with the Western Range Association between the 1940s until around 1970.[3] The Spanish Right of Return extends Spanish citizenship only to the grandchildren of Basque immigrants who were born in Spain and forced to flee during the Francoist uprising in the mid-1930s.

 

No US state is more associated with Basque people and culture than Idaho. Basques today are an integral part of the state's social fabric, especially in Boise. Prominent Basque-American elected officials in Idaho include longtime Secretary of State Pete T. Cenarrusa, his successor Ben Ysursa, both Republicans, Democrat David H. Bieter, the current Boise mayor, as well as Republican, J. David Navarro, the current Clerk, Auditor and Recorder of Ada County, the most populated county in Idaho.

 

Basques were initially drawn to Idaho by the discovery of silver, in settlements such as Silver City. Those that did not directly become involved in mining engaged in ranching, selling beef and lamb products to the miners. While some such immigrants returned to Basque Country, many remained, later to be joined by their families following them in immigration. Exact counts of Basque immigrants to Idaho are not practical to determine, as the United States Census did not distinguish between Basques from other Spanish immigrants, though a majority of Spanish immigrants to Idaho likely self-identified as Basque.

 

en.wikipedia.org/wiki/Basque_Americans

 

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

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

 

www.mansfieldmonk.co.uk

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

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

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

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

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

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

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

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

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

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

 

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

South Mountain Freeway Chuckwalla Relocation

The sphere was relocated several times before it reached final location

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

 

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relocation service geneva

The Stories of Village Relocation 遷村

All Photos from Richard Wong are shown in the Richardwonghk Photo Collection : www.flickr.com/groups/2674798@N22/pool/with/14578518712/#...

As the constructions of the reservoirs in Hong Kong in the past, villages were relocated by the government with compensation.

Shing Mun New Village 城門新村:

In 1933 the Shing Mun Reservoir was built and completed in 1937 to meet the increasing demand for fresh water in Hong Kong. The reservoir was completed in 1937. The local Hakka villages were resettled in other parts of the New Territories. The villagers in Shing Mun Village were relocated to Shing Mun New Village in Kam Tin.

Sam Mun Tsai New Village 三門仔新村:

The construction of the Plover Cove Reservoir necessitated the displacement of the inhabitants of a number of Hakka villages which were covered by the reservoir. The Hakka villagers were compensated by the Hong Kong British colonial government with apartments and shop units along Kwong Fuk Road in Tai Po which were built for their resettlement there. Fishermen who live at the original Sam Mun Tsai site, close to Pak Sha Tau, now at the northeastern shore of Reservoir, were relocated to Sam Mun Tsai New Village on the island of Yim Tin Tsai in 1966.

Sai Kung Man Yee Wan and Sha Tsui New Village西貢萬宜灣沙咀新村:

In the 1970s the Hong Kong government decided to construct High Island Reservoir and ten villages, including Lan Nai Wan爛泥灣村 (or Man Yee Wan Village 萬宜灣村, Pak Tam Chung and Sha Tsui, were submerged by rising water or fell within the catchment area of the reservoir after construction. The villagers were then relocated to areas near Sai Kung Old Town and Sai Kung Man Yee Wan and Sha Tsui New Village.

 

Facebook: www.facebook.com/HKHeritages?ref=hl

 

   

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

 

www.mansfieldmonk.co.uk

relocated

Moving house can be a stressful, time consuming and costly process, which begs the question why do so many people choose to do it? From lack of space to a new job, this article will serve to explain the top 10 reasons why people decide to pack everything in cardboard boxes and move…

 

1. Need more space

First time home buyers positioning themselves on the property ladder often outgrow their starter home and need to upsize to a larger house with plans to start a family.

 

2. Upgrade

Deciding whether to improve your property or move house entirely can be difficult. Becoming restless at home is a common problem, with many people getting itchy feet to upgrade to a bigger, more desirable home.

 

3. New job

A new job can mean relocating to a different area if the commuting distance is simply too long or travelling from your current home to your new job is completely unfeasible.

 

4. Empty nest

When the kids are all grown up and have moved out of the family home, many choose to downsize to a smaller home as they no longer need all the extra space.

 

5. Relationships

Choosing to move in with a partner is typically a significant stage in any relationship and is one of the main reasons people relocate. It can often mean that one will need to sell their house if both owned homes prior to the decision. On the other hand, break ups can also result in moving house, as one person’s income may not be able to support the price of the home or one individual may need to buy the other out.

 

6. Visit family more often

For many people, living closer to their family is very important and can be one of the key reasons people choose to move house. As the family unit extends to several generations, parents want to be nearer their children, and grandparents prefer to live nearer their children and grandchildren.

 

7. Catchment area for schools

More and more people are moving house to catchment areas where their children will be a higher priority for admission to their school of choice. Parents who are keen to send their child to a particular school may not fall within the specific catchment area in their current home, meaning many decide to relocate.

 

8. Change of scenery/lifestyle

Those feeling unsettled in their current home or searching for a fresh start are most likely to uproot and move to a different location. Whether you want to move from the bright lights of the city to the peaceful countryside or vice versa, many decide that a change of scenery is the ideal option for them.

 

9. Cost of running a house

A change of income or need to save money means many choose to relocate to an area where the running costs of a house are much lower. From the price of the house itself to rent or bills, the expense of owning and running a house can cause many to move to a different area.

 

10. Changes in the surrounding area

Since originally moving into your current home, the neighbourhood might have significantly deteriorated for economic, social or physical reasons. This might mean that you choose to relocate to an area where you feel much happier and more comfortable in your surroundings.

 

Secretary of State Antony J. Blinken hosts a Afghanistan Task Force and Relocation Volunteers Recognition Ceremony from the U.S. Department of State in Washington, D.C., on December 20, 2021. The Secretary recognized the Department’s efforts to evacuate and resettle more than 124,000 U.S. citizens and Afghans over the past five months. [State Department photo by Freddie Everett/ Public Domain]

Old house, Horowhenua

Restored and relocated just north of the railroad tracks, which are now operated by the Dakota, Minnesota & Eastern subsidiary of the Canadian Pacific system. This is the freight room portion of the original depot; I don't know what happened to the rest of the depot.

Independence, CA

I recall one dog that was relaxing in the middle of the lane of a two lane windy road. A good thing for slow speed limits as he didn't move at all. It reminded me of this dog.

Route 33 & 54 Intersection Relocation Project Update. Compacting the base stone with a Vibromax roller. (Photo by D. Allen Covey, VDOT)

 

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History of the Vienna Hofburg

First residence

With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.

As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.

Imperial residence

Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.

First major extensions of the residence

In the area of ​​"desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .

Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.

In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of ​​today's Redoutensäle (1629-1631).

Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of ​​today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.

In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).

After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.

Baroque redesign of the Hofburg

In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.

After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.

Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .

Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.

Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).

Extensions in the 19th Century and early 20th century

Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.

1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.

1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.

1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.

In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of ​​an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).

At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.

After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.

On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.

1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.

1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.

The Imperial Palace in the 20th century

The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.

1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.

During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).

During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.

1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.

1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.

1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.

1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.

From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.

Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.

In 2006, additional rooms for the convention center were created by the boiler house yard.

(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)

www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....

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Residents residing on All Hallowes Road as well as those seeking adventure down the Fraser River can now access the road more safely thanks the addition of a left turning lane.

 

To make the area more accessible the west side of Highway 1 was widened and six utility poles were relocated. Also, along Highway 1, the west side of the slope had to be excavated and re-stabilized to accommodate these changes.

 

These adjustments have improved the sight distance and sight angle for drivers and have also provided additional shouldering that will allow vehicles to pull off of Highway 1 sooner before turning onto All Hallowes Road.

  

www.tranbc.ca

 

This was a surprise to see today, while out at the Pumpkin Patch at Impossible Acres Farm. This is the Tank House, that used to be at the Hunt Boyer Mansion downtown, but was moved, and then vanished completely, presumed dismantled. Well, it wasn't - it was sold to this farm (for just $11), who had to cut it in half to move it, and are planning to restore it and use it as a proper historic tankhouse. Very nice.

 

I drew it previously (see: www.flickr.com/photos/petescully/4651356243), when it had forst been moved to make way fro the new Mishka's cafe, but when it was moved again I thought it was gone. Apparently not!

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