View allAll Photos Tagged streamlined
Norfolk Southern operated Norfolk & Western J-class 4-8-4 Northern steam locomotive # 611, providing a view of the engineer's cab control and throttle position in the yard at Atlanta, Georgia, October 1989. In this view you can see the throttle handle in the top left corner of the photo. In the middle of the photo is the brake control unit and behind that is the valve adjustment quadrant and reverse gear control. The J-class steam locomotive was a modern streamlined state-of-the-art locomotive.
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Chicago, Milwaukee, St. Paul and Pacific RR - The Milwaukee Road - F-7 4-6-4 by Kumata for Nickel Plate Products.
A shiny well preserved streamlined locomotive from the Sonora Baja California Railroad. It ran from Tijuana, Baja California Norte to Hermosillo, Sonora and included two sections on the US side of the border in California. The first US section , through Carrizo Gorge has suffered from floods and fires and is probably currently out of service (a short segment near Campo is used by a private museum for excursions on some weekends). The section from Mexicali to Hermosillo is still used for freight.
This segment west of Mexicali was part of the original rail route from Yuma, Arizona to San Diego, California. Tracks still lead to San Ysidro on the US side of the border. There is also a cross border track connection at Mexicali / Calexico.
These are a few Streamlined and Semi-streamlined steam locomotives in HO scale. All are brass, except the two British LNER locomotives. Southern Pacific RR (SP) GS-4 4-8-4 by KTM
This former roadside diner built in the 1930's to resemble a Union Pacific streamliner at one time was located just north of Perris, CA on U.S. 395. Seen at the Southern California Railway Museum.
Me in front of the streamlined LMS Princess Coronation Class steam locomotive number 6229 'Duchess of Hamilton' inside the Great Hall at the National Railway Museum in York (UK).
6229 was built at Crewe Works by the London Midland and Scottish Railway in 1938.
With its streamlined styling, low-slung chassis and supercharged engine, the Type 57SC Atalante is one of the most desirable Bugattis. It was personally designed by Jean Bugatti as a two-seater sports coupe and became the rarest of the four different body styles offered by Carrosorie Bugatti. The Atalante body style was an interpretation of the 1935 Aérolithe Coupe, essentially a prototype that reached very limited production in 1936 as the Type 57 Atlantic. This somewhat bizarre car used riveted panels to form a streamlined sports coupe. It’s rumored that Jean Bugatti was influenced by the Mercedes-Benz 500 K Autobahnkurier at the 1934 Frankfurt Auto Show and created the Aérolithe as a response.
As majestic and unusual as the Atlantic was, it wasn’t suitable for series production with its high set doors, fussy construction and split front window. The design was revised into the Atalante which included the Aérolithe’s teardrop shape, but with a flat windshield, a separate trunk area with recessed spare-tire and full-size doors that retained the signature kidney-bean windows.
On the 57S Atalante, Jean used a two-tone paint scheme that accentuated the use of his French curve on the side of the car. Typically, the car was black with an intense highlight color. On some cars, this accent dash extended around the entire cabin.
The basis for this remarkable car was Bugatti's top-of-the-line Type 57S chassis. These were the same type that Jean-Pierre Wimille and Robert Benoist drove to win the 1937 24 Hours of Le Mans. It had a much lower chassis than the preceding Type 57 and also used complex de Ram shock absorbers
. In many ways this was the ultimate Bugatti since no logical successor was ever produced. Some cars came with fitted superchargers, while others were retrofitted with them.
To maintain exclusivity, no two of the Type 57S Atalantes were the same. In detail, each was distinct and some major differences were introduced. For instance, two were made as Roll-Back Coupes with reclining soft-tops. Some of the first had independent headlights while others were sculpted into the body. Most featured skirted rear arches and wire wheels or polished aluminum hubcaps. Some of the more dramatic cars feature lengthened rear fenders. Essentially, where anyone tries to make a rule there is usually an exception.
Type 57SC Chassis
Atalante bodies were manufactured on the complete range of Type 57 chassis. This was Jean Bugatti’s answer to model consolation, replacing the six luxurious and sporting chassis made under his father’s direction. Using the dual-overhead camshaft (DOHC) concept engine from the Type 55 road car, he designed an entirely new chassis.
The first of these were the Type 57 and supercharged 57C both were distinguished by their tall radiator and chassis. They were powered by a new engine with 72mm bore and 100mm stroke, producing 135 bhp at 5,000 rpm. Almost as important, they provided the support for Jean Bugatti’s exceptional bodies which were elegant, with balanced proportions and daring colors.
Later, the chassis was definitively upgraded into the lower Type 57S or Surbaissé version. The main chassis rails of this model were elegant and complex. Towards the center of car, the chassis rails became wider and taller to provide the necessary rigidity. At the rear, the axle passed through the chassis and was supported by reversed quarter-elliptic leaf springs. This allowed for the lowest possible ride height while retaining suspension compliance. Furthermore, the engine clearance dictated a dry-sump lubrication was needed that used a 20-liter external reservoir.
Outwardly, the Type 57S chassis was distinguished by its ovoid radiator that formed a deep vee. Other chassis details included self-adjusting DeRam hydraulic shock absorbers on both the front and rear axles. Furthermore, the engine was not a stressed member of the chassis anymore, instead being mounted with rubber bushings.
As the ultimate Atalante, the Type 57SC had both this lower chassis and supercharged engine. It was distinguished by its 4–5 psi supercharger that helped the 3.3-liter engine produce 170 bhp. This Roots unit was mounted at the rear of the engine and driven directly from the camshaft. Versions of this engine went on to win the best races including the 24 Hours of Le Mans.
With such a capable chassis, the Type 57SC has been described as the world’s first supercar
Jamaica Business Resource Center, 90-33 160th Street, Jamaica, Queens, New York City, New York, United States
La Casina is a rare surviving example of Streamlined Moderne design in New York City. The metal and stucco facade of this former nightclub and restaurant structure was constructed c. 1933, during the period of greatest popularity for the streamlined style. The building, erected in the heart of Jamaica’s commercial center, is representative of the many entertainment facilities built in Jamaica during the first decades of the twentieth century as this area developed into the commercial and entertainment hub for Queens County and nearby sections of Long Island. Although altered over the years, the La Casina Building has been beautifully restored and is again one of the most distinctive structures in Jamaica’s business district.
Development of Jamaica
Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655. The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.
Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683. The English established Jamaica as the governmental center of Queens County, with a court, county clerk’s office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.
Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation. The roads and rail lines connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City had a tremendous impact. Jamaica’s farmland was soon being subdivided into streets and building lots, and new homes were erected.
By the turn of the century, Jamaica’s importance as a commercial area became evident in the impressive buildings beginning to appear on Jamaica Avenue, most notably the Beaux-Arts Jamaica Savings Bank Building (Hough & Deuell, 1897-98), 161-02 Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.
It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center. By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.
During the 1920s and early 1930s, many small- scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures, including the Jamaica Chamber of Commerce Building (George W. Conable, 1928-29) on 161st Street; the Title Guarantee Company Building (Dennison & Hirons, 1929), 90-04 161st Street; and the J. Kurtz & Sons Store (Allmendinger & Schlendorf, 1931; a designated New York City Landmark) on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center. By the mid-1930s, there were at least eight movie theaters on or just off of Jamaica Avenue, and there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. It was within this bustling commercial and entertainment setting that La Casina opened.
The Nightclub:
A Brief Examination of Its History and Design
During the late 1920s and 1930s, the nightclub became a prominent and romantic symbol of New York’s nightlife. While partially based on the reality of the city’s exclusive clubs and restaurants, the nightclub image was largely a fantasy based on Hollywood’s interpretation of these elegant establishments. Nightclubs and restaurants with live shows began to appear in New York City in the late 1920s as the enforcement of Prohibition ebbed. With the end of Prohibition in 1933, nightclubs proliferated." As nightclubs and restaurants with live shows grew in popularity, their designs became increasingly elegant. Clubs and related restaurants such as the Central Park Casino, the Persian Room, the Rainbow Room, El Morocco, the 21 Club, and the Stork, catered to an exclusive clientele. While most New Yorkers could not afford to patronize these establishments, they were well known through newspaper gossip columns, magazines, and other popular media outlets.
Movies such as Broadway (1929), Puttin’ on the Ritz (1930), Gold Diggers of 1935 (1935), Broadway Melody of 1936 (1935), and Swing Time (1936) created a romantic image of nightclubs with Modeme and Art Deco decor incorporating streamlined walls and ceilings, glistening mirrored floors, and elegantly appointed revelers. Perhaps in homage to popular Latin dances, many of these clubs, both real and cinematic, were given Spanish- sounding names.
Although modest in scale, La Casina was designed to fit the image of the up-to-date night spot. The club and restaurant was provided with a Latin name and its streamlined design echoes, in miniature, the elegant clubs enjoyed vicariously by patrons as they viewed movies at their local movie palaces.
La Casina: The Site and the Design of the Building
La Casina is located on 160th Street between Jamaica Avenue and 90th Avenue. Located only a few blocks from the center of Jamaica, 160th Street was initially developed with modest frame buildings, most erected as residences but later converted for commercial use. In 1907, the Queens Borough Real Estate Exchange erected a neo-Classical style brick and limestone office building designed by Tuthill & Higgins at 90-33 160th Street.
The building was purchased in 1918 by Arnold Behrer, Jr., and Clarence Behrer. On November 1, 1932, the Behrers leased the site to Bernard Levy and La Casino, Inc., for a period of four years (until 1936). According to the lease agreement, the building was "to be used and occupied only as a restaurant, cabaret, beer garden, casino and dance hall." The rent rose from $1,800 a year the first year to $3,000 during the fourth year. All alterations made to the building by the lessee had to be approved by the owner.
The La Casino Supper Club opened in 1933. It first appeared in the Queens telephone directory for winter 1933-34. Apparently, the club was only open for a short time since it did not appear in the telephone directory for winter 1934-35. The club reopened by May 1936. Telephone directory listings continued to call the establishment the La Casino Restaurant. However, the weekly La Casina Journal, published by the establishment, spelled the name with an "a" and also referred to the La Casina Restaurant and Supper Club in its text. The work undertaken to create the present streamlined design was an alteration of the original building, but no surviving alteration application has been located that specifically notes the construction of a new front. Several permits for small alterations were issued in 1933, and one of these may have included the new facade.
La Casina was designed in the Streamlined Modeme style which became popular in America in the 1930s.' Although it initially appeared on residential buildings, the Streamlined Moderne style was soon adapted for commercial buildings since the dramatic massing and dynamic stripped forms drew attention and, therefore, brought people to the buildings. The style was popular for relatively small-scale public buildings, especially those that were erected for businesses that relied on a large paying clientele.
These businesses included hotels, such as those in Miami Beach; theaters, such as the Pan Pacific Auditorium in Hollywood; movie theaters, notably those designed by S. Charles Lee; bus depots, such as the Greyhound Bus Terminal in Washington, D.C.; and roadside structures such as auto showrooms, motels, and diners. Historian Martin Greif characterized the Streamlined Moderne (also sometimes referred to as Depression Modem) as "an art stripped bare of all ornamentation. . . . Ideally, the Depression Modern style was spare . .
. without a single detail that could be called extraneous, without any embellishment, without a line that did not seem inevitable."
With its smooth planes of stucco, dynamic ziggurat massing, sweeping bands of metal, and its lack of applied ornamentation, the La Casina building fits Greifs description of the ideal streamlined structure. The streamlined mode was an appropriate choice for La Casina, not only providing an up-to-date image for the establishment, but also creating a noticeable form for the small midblock structure, one that would attract attention from busy Jamaica Avenue. This was heightened by the use of a bright projecting vertical neon sign announcing the nightclub’s presence.
La Casina: The Restaurant and Nightclub
La Casina offered dining, dancing, and entertainment. According to the La Casina Journal, La Casina offered three shows a night performed by the La Casina Adorables and the La Casina Swing Melo-Dears. The club also featured special guests such as Maureen Rio, the Broadway star of Earl Carroll’s Sketch Book? There was no cover charge and the club offered free parking.
The Journal noted such special events as "Celebrity Night"; "Democratic Night" and "Republican Night" (at the latter two evenings guests were to meet primary candidates); and "Bowery Night," where guests were to dress in old clothes, men were to arrive unshaven, and all were to be entertained by Diamond L’il, Cuspidor Carrie, Fishface Fanny, Gashouse Gertie, Willie the Gonof, Little Annie Rooney, Champagne Lil, and Limehouse Lou.
Later History
La Casina (or a facility with a similar name) occupied the building until about 1938; the last entry in the telephone directory is for winter 1937-38. In 1940, Arnold Behrer, Jr., lost the property in a legal proceeding to the mortgagor, the Domestic and Foreign Missionary Society of the Protestant Episcopal Church in the United States of America. A tax photograph taken by New York City in 1940 shows "For Rent" signs in the picture windows of the club.
In 1942, the building was sold to the Church of God of Greater New York, Inc., although it does not appear to have ever been used as a church (the Church of God was headquartered on 224th Street). The use, if any, of the building in the early 1940s is not known.
In 1946, the former nightclub was sold to Polly Foundations, Inc., which converted the building into a factory that manufactured Ladyform bras. In 1952, the building was purchased by the Ellen Howard Corporation which manufactured Roxanne swim suits in the building until c.1987.
At some point, probably in the 1960s or 1970s, the galvanized-iron cladding of the ziggurat was covered in aluminum siding. The building was vacated in the late 1980s and deteriorated. In 1989, the Greater Jamaica Development Corporation acquired the former home of La Casina. A restoration was undertaken in 1994-95 under the guidance of the architectural firm of Li-Saltzman.
The restoration entailed the removal of the aluminum siding, the replacement of the deteriorated galvanized iron with aluminum that matched the form of the original, the restoration of the stucco at the lower level to its original colors, the removal of historically and stylistically inappropriate glass block windows and their replacement with historically accurate plate-glass windows, and the restoration of the tile flanking the entrance and of the original doors and glass entrance surround. The original vertical sign was conserved and encased within a new sign. The building now houses the Jamaica Business Resource Center.
Description
La Casina is a one-story symmetrical structure with a two-tiered streamlined facade in the form of a stepped pyramid or ziggurat. The base of the pyramid is set parallel to the sidewalk. This section of the building is faced with stucco.
The stuccoed portion of the facade is divided into a lower section that is painted gray and an upper section painted coral (paint studies determined the historical accuracy of these colors). The base is punctuated by a central entrance that is set back from the sidewalk within a five-stepped enframement clad in glazed black tiles at the lower section; the upper section is coral-colored stucco.
The entrance contains its original wood and glass double doors with very large vertically-placed bronze handles supported by silver-metal upper and lower stepped brackets. The doors are set within a frame of opaque black glass. The entrance bay is flanked by rectangular windows.
During the restoration, glass blocks that were crudely installed, probably when the building became a factory in the 1940s, were removed and replaced with historically accurate undivided plate glass. In addition, a shallow ramp for handicapped access has been added in front of the building.
Directly above the entrance is a curving streamlined frontispiece. It is divided into six wide horizontal bands with seven raised narrower bands covering the joints. To either side of this frontispiece is a six-layer stepped ziggurat. The frontispiece and flanking ziggurats were originally clad in smooth galvanized sheet metal attached to a wooden frame. The metal may originally have been painted gray. During the restoration, the deteriorated galvanized metal was replaced with shiny bands of aluminum.
Attached to the Building is the original vertical neon sign. This sign, which retains the words "La Casina" (an "o" for "casino" overlaps the "a"), "Ladyform Bras," "Swim Suits," and "Roxanne Swim Suits,” has been encased in a new aluminum sleeve with the "JBRC" initials of the Jamaica Business Resource Center in neon.
- From the 1996 NYCLPC Landmark Designation Report
Steamtown, USA display of former Canadian Pacific non-streamlined 4-6-4 H1b Hudson (Empress) # 2816, with son Jeff standing by the rear 75" driver at the museum in Riverside, Vermont, August 1982. You can see why steam locomotives always looked so large to kids when they were looking at the drivers. These drivers are only 75" in diameter, however, many others are up to 80 inches or more at 84 inches in diameter.
At Levenshulme (Lloyd Rd) terminus in this early postwar view. 634 was delivered new in 1937 in the horizontal upper deck style of streamlined paint markings, so has evidently received a repaint meantime. The original off white overpainted in wartime grey is reappearing from beneath due to weathering. Looking totally bedraggled here, 634 was withdrawn for scrap in 1951.
DC Transit pre-PCC streamlined streetcar, National Capital Trolley Museum. Part of a 20-car order in 1935, split between Brill and St Louis Car Company. Sadly this car was lost to a carbarn fire at the museum in 2003.
For more photos of pre-PCC streetcars, check out this interesting post on the Trolley Dodger blog: thetrolleydodger.com/2015/05/05/chicagos-pre-pccs/ and this post on the Hicks Car Works blog: hickscarworks.blogspot.com/2012/04/h4001.html
Norfolk Southern operated Norfolk & Western J class 4-8-4 Northern type steam locomotive # 611, showing a view of it's drivers while in the yard at Atlanta, Georgia, Oct 1989. The 70" drivers installed on this modern powerful streamlined steam locomotive were of conventional spoked design rather than the more modern boxpok or disc designs. These locomotives also used lightweight alloy side rods. Actually these drivers were of a small diameter size for such a large and modern locomotive. With the use of roller bearings on all locomotive axles, side rods and at other specified locations along with fine balancing of the drivers, these locomotives could obtain speeds in excess of 100 mph with a heavy passenger train. These small drivers also helped this locomotive to produce 80,000 lbs of starting tractive effort with out the use of a booster.
This 1949 art deco / streamlined moderne edifice is no more, having sat nearly 60 years on what is now prime real estate for condos. The Bayshore was 3 stories - a drop in the bucket compared to today's condo highrises. But it had STYLE! Note all the streamline detailing. It was the closest Tampa had to South Beach style. This was located at 319 Bayshore Blvd, just southwest of Downtown Tampa.
www.crescent-resources.com/apartments/thebayshore/default...
Another look at the austere lines of Q1 class 0-6-0 C1 alongside streamlined LMS express passenger 'Princess Coronation' class 4-6-2 6229 'Duchess of Hamilton'. Built at Crewe in 1938 as the last of the streamlined members of this class, 6229 ran without the streamline casing from 1947 until withdrawal from BR service in 1964. Subsequently bought by Sir Billy Butlin for preservation at his Minehead holiday camp, 6229 was loaned to the NRM in 1976 and then purchased by them outright in 1987. The streamline casing was restored in 2009 following a fund raising appeal in 'Steam Railway' magazine.
The Birdcage public house was built as the Pottergate Tavern, which name it retained until recently. In what appears to be a fairly recent picture of the building, found on Google, the band between the floors was painted cream, as were the strips around the edge of the roof. The black is not an improvement and, in any case, it looks as though the walls were originally of unpainted brick. The hanging baskets ought to go but it is good to see the metal windows still in place. How unfailingly traffic cones and wheelie bins sprout in the vicinity of buildings one wishes to photograph.
Charming little streamlined Tatra T-97. The '97 was the small, four-cylinder version of Tatra's flagship car at the time, the T-87. This one is the only known example on UK roads, and has recently been renovated, including a repaint in this "sand" colour. Formerly this car had been blue. The location is the wonderful Art Deco Aviator Hotel at Sywell, Northamptonshire.
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
Norfolk & Western 611 sits outside the shops at the Strasburg Railroad in Pennsylvania......preparing for the day's excursions. I am so happy that they decided to re-visit Strasburg, from it's usual home of either the Virginia Museum of Transportation in Roanoke VA.....or the roundhouse at Spencer NC where it was rebuilt and has resided recently. I was fortunate enough to go check out 611 when it was up at Strasburg back in 2019 for the first time......and now 2021 gives me a whole new set of opportunities to see more of this impressive steam locomotive. Each time I see it, I catch a new detail.
Norfolk southern operated Norfolk & Western modern streamlined 4-8-4 Northern steam locomotive # 611, is seen hauling a railfan excursion along the mainline to Chattanooga, TN, with the train on a curve in Georgia, May 1983. This was a good time to be standing at a dutch door where photos could be taken while rounding a curve. This locomotive operates with a water canteen car located behind it's tender. This excursion trip is operating on the mainline between Atlanta and Chattanooga and return.
Streamlined nose of Shinkansen series E5 high-speed train
Omiya station
Saitama, Japan
Nikon D700 + DC-Nikkor 135mm f2.0
Dr Ana Plata, Dr P.E. Vincent, Dr A.A.E. Hunt, Professor Spencer Sherwin and Professor Peter Weinberg
Imperial College London (BHF Centre of Research Excellence)
The onset of coronary heart disease partly depends on the movement of blood in the arteries. This moving representation of blood flow is from a research group which uses advanced computer techniques to try to solve medical problems.
The London Midland and Scottish Railway (LMS) Coronation Class is a class of express passenger steam locomotives designed by William Stanier. They were an enlarged version of the LMS Princess Royal Class. Several examples were originally built as streamlined, though this was later removed. The non-streamlined locomotives were often referred to as Duchesses, though to enginemen they were often known as Big Lizzies.
They were the most powerful passenger steam locomotives ever to be built for the British railway network, estimated at 3300 horsepower and making them far more powerful than the diesel engines that replaced them.
The streamlining was removed from the fitted locomotives from 1946 onwards. It had been found to be of little value at speeds below 90 mph (140 km/h), and was unpopular with running shed employees as it caused difficulty of access to maintenance staff. Only three locos were still streamlined at the end of the LMS period and they had been stripped by the end of 1949. Only 46243 City of Lancaster carried its British Railways number while streamlined.
Initially de-streamlined locomotives could readily be recognised by the sloping top to the front of the smokebox. All were eventually re-equipped with fully round smokeboxes. The sloping top led to the train-spotters' nickname of Semis (i.e. semi-streamlined).
hree Duchesses have been preserved. 6229 Duchess of Hamilton, 6233 Duchess of Sutherland have both been in service on main line railtours. The third locomotive completed, (4)6235 City of Birmingham, was the centrepiece in the now defunct Birmingham science museum. The locomotive was put in place and the museum built around her. 6235 is now located at ThinkTank in Birmingham.
Following a successful appeal run by Steam Railway Magazine, 46229 has been re-streamlined. The locomotive was moved to Tyseley Locomotive Works, where the work was carried out. The project was completed in 2009, and the locomotive returned to York on 18 May, now wearing her pre-war number 6229 and taking her place at the heart of a new National Railway Museum temporary exhibition.
This image was scanned from an original glass plate or negative, kindly provided by the Australian Railway Historical Society, New South Wales Division.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose please obtain permission by contacting the University of Newcastle's Cultural Collections.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
If you have any further information about the image, please contact us or leave a comment.
The streamlined Art Moderne look of The Spot restaurant in Sidney, Ohio, dates to 1941 after it was rebuilt following a fire that broke out on Dec. 31, 1940. The establishment has had several owners since its founding in 1907 including Joe Cook, who along with Homer Spence acquired it from founder Spot Miller in 1913. At one time there was a chain of five Spot to Eat restaurants in Ohio but only the original in Sidney is still open. It has been at the corner of Ohio and Court streets on the southwest corner of the Shelby County Courthouse square since 1907.
"Lackawanna" E8's 808 (ex-PRR 5702A) and 807 (ex-PRR 5761A) stored and displayed at the State Fairgrounds in Syracuse, New York. Owned and operated by the Central New York Chapter NRHS for many years, the group has agreed to sell the idled units to the new Saratoga & North Creek Railway, where they will be reconditioned and used in seasonal excursion service between Saratoga Springs and North Creek.
Streamlined art deco van. This design is a slightly modified version of Flickr user snaillad's van, which you can find in his photostream. I wanted to do a different colour and add a more rounded rear - and I think I achieved the last part quite nicely. First created in MLCad, then built with real bricks.
The East Coast Giants event at Barrow Hill in 2014
A nice comparison of the two repatriated A4s - 4489 Dominion of Canada, fitted with valances and in LNER Garter blue livery, next to 60008 Dwight D. Eisenhower in British Railways lined green livery. Behind them is Peppercorn A2 60532 Blue Peter in British Railways apple green livery. Note the Canadian Railways bell fitted to 4489.
The Gresley A4 Pacifics were a class of streamlined 4-6-2 steam locomotive designed by Nigel Gresley for the London and North Eastern Railway (LNER) and introduced in 1935. Their streamlined design gave them a high-speed capability, as well as making them instantly recognisable, and one of the class, 4468 'Mallard', holds the world speed record of 126 mph for a steam locomotive. Thirty-five of the class were built to haul express passenger trains on the East Coast Main Line (ECML) route from London Kings Cross via York to Newcastle, and later to Edinburgh. They remained in service on the ECML until the early 1960s, when they were replaced by the Deltics. Some of the A4s saw out their remaining days until 1966 in Scotland, particularly on the Aberdeen - Glasgow route.
Names - the first four locomotives built included the word 'silver' in their names because they were intended to haul the Silver Jubilee train. 2512 'Silver Fox' of this batch carried a stainless-steel fox near the centre of the streamline casing on each side, made by the Sheffield steelmakers Samuel Fox and Company. The next batch of A4s were named after birds, particularly those that were fast flyers, Gresley being a keen bird-watcher. Five of the class (4488–92) were named after British Empire countries to haul the new Anglo-Scottish Coronation train, and two (4495/6), intended to haul the new West Riding Limited, received names connected to the wool trade - 'Golden Fleece' and 'Golden Shuttle'. 4498 was the hundredth Gresley Pacific to be built, and was appropriately named after him. Subsequently, some other A4s were later renamed, usually to names of directors of the LNER.
Withdrawals - one locomotive, No. 4469 'Sir Ralph Wedgwood', was withdrawn and scrapped after being damaged beyond repair in a German bombing raid on York on 29 April 1942 during World War Two. The next five withdrawals, in Dec 1962, were: 60003 'Andrew K. McCosh', 60014 'Silver Link', 60028 'Walter K. Whigham', 60030 'Golden Fleece' and 60033 'Seagull'. The rest of the class was withdrawn between 1963 and 1966. The last six in service were: 60004 'William Whitelaw', 60007 'Sir Nigel Gresley', 60009 'Union of South Africa', 60019 'Bittern', 60024 'Kingfisher' and 60034 'Lord Faringdon'.
Preservation - six of the 35 locomotives were been preserved, four of which are based in the UK and have run on the BR main line at some point during their preservation career. Another two 'Dominion of Canada' and 'Dwight D. Eisenhower' were exported to museums in Canada and the US respectively, upon withdrawal by British Railways. During 2013, 4464 'Bittern' underwent a series of high-speed runs, partly in commemoration of Mallard's record, partly to see if mainline speeds for certain heritage steam locomotives could be increased (The current maximum is 75 mph). During the "Tyne Tees Streak" run, Bittern broke its own 91 mph speed record set just a few months prior by reaching a maximum speed of 93 mph (149.7 km/h).
From 2015 to 2020, 60009 'Union of South Africa' was the only A4 operational with a valid mainline certificate until it expired in 2020; 60007 'Sir Nigel Gresley' was withdrawn for overhaul on 20 Sep 2015 and 4464 'Bittern' operated until the end of 2015 at the Watercress Line, when it was withdrawn and placed on static display in 2018 at Crewe. 60009 'Union of South Africa' was withdrawn in Oct 2021 due to boiler issues, and with the coming expiration of its boiler certificate in early 2022. 60007 'Sir Nigel Gresley' finally returned to the mainline on 21 Apr 2022 following the completion of its major overhaul. As of 2022, five of the six surviving A4's are on static display, with the only working one being 60007 'Sir Nigel Gresley'. [Information courtesy of Wiki - en.wikipedia.org/wiki/LNER_Class_A4]
Locomotive history - 4489 'Woodcock' The locomotive was built in Doncaster works in May 1937 as Works Number 1854. It was originally to be named 'Buzzard' but initially received the name 'Woodcock' instead until it was renamed 'Dominion of Canada' by High Commissioner of Canada, H. Vincent Massey on 15 June 1937. No. 4489 underwent trials, the only one of the 'Coronation' A4s so treated, and left in works grey lined in white. It had apple green painted coupled wheels. At this point it wore the name Woodcock, but this was removed before final painting and release to traffic. The Canadian Pacific Railway issue whistle was fitted 15 July 1937 for the unveiling and naming. The CPR-type bell fitted was steam operated and was actually used, as a photograph from 19 August 1939, illustrates. In 1937, locomotive 4489 was the locomotive used to try and take back the speed record previously taken by the LMS' passenger train, the Coronation Scot, which clocked at 114 mph (183 km/h). 4489 achieved 109.5 mph (176 km/h) down Stoke Bank. It suffered damage in a collision at Hatfield and required attention at Doncaster Works from 31 January to 18 March 1939. Allocated to Kings Cross from new, it was reallocated to Grantham on 7 April 1957. The next shed was Kings Cross again on 15 September 1957. New England was the next allocation on 16 June 1963, after the closure of Kings Cross. The final allocation was to Aberdeen on 20 October 1963 to be used, along with other displaced A4s, primarily for the three-hour Aberdeen to Glasgow express service. More info here: en.wikipedia.org/wiki/LNER_Class_A4_4489_Dominion_of_Canada
Locomotive history - 4496 'Golden Shuttle' was built by the London and North Eastern Railway (LNER) in 1937 at Doncaster Works. It was renamed Dwight D. Eisenhower after World War II and renumbered 8 on 23 November 1946, under Edward Thompson's LNER 1946 renumbering scheme. After nationalisation in 1948, British Railways renumbered it 60008 on 29 October 1948. It was retired from service in 1963 and was moved to the National Railroad Museum in Ashwaubenon, a suburb of Green Bay, Wisconsin, United States, where it is currently on display. It returned to England in 2012 for display at the National Railway Museum in York, when all surviving A4s were reunited. It returned to Green Bay in 2014. More info here: en.wikipedia.org/wiki/LNER_Class_A4_4496_Dwight_D_Eisenhower
You can see a random selection of my railway photos here on Flickriver: www.flickriver.com/photos/themightyhood/random/
N&W 611 is being towed back to Goshen during its session of fall excursions on the Buckingham Branch Railroad.
Buffalo Gap, VA.
Ex LMS Coronation class No. 46229 Duchess of Hamilton sits inside the National railway museum. I would say this would be the one locomotive in the NRM that i would really like to see restored to working order, and in this guise too.
Jamaica Business Resource Center, 90-33 160th Street, Jamaica, Queens, New York City, New York, United States
La Casina is a rare surviving example of Streamlined Moderne design in New York City. The metal and stucco facade of this former nightclub and restaurant structure was constructed c. 1933, during the period of greatest popularity for the streamlined style. The building, erected in the heart of Jamaica’s commercial center, is representative of the many entertainment facilities built in Jamaica during the first decades of the twentieth century as this area developed into the commercial and entertainment hub for Queens County and nearby sections of Long Island. Although altered over the years, the La Casina Building has been beautifully restored and is again one of the most distinctive structures in Jamaica’s business district.
Development of Jamaica
Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655. The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.
Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683. The English established Jamaica as the governmental center of Queens County, with a court, county clerk’s office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.
Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation. The roads and rail lines connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City had a tremendous impact. Jamaica’s farmland was soon being subdivided into streets and building lots, and new homes were erected.
By the turn of the century, Jamaica’s importance as a commercial area became evident in the impressive buildings beginning to appear on Jamaica Avenue, most notably the Beaux-Arts Jamaica Savings Bank Building (Hough & Deuell, 1897-98), 161-02 Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.
It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center. By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.
During the 1920s and early 1930s, many small- scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures, including the Jamaica Chamber of Commerce Building (George W. Conable, 1928-29) on 161st Street; the Title Guarantee Company Building (Dennison & Hirons, 1929), 90-04 161st Street; and the J. Kurtz & Sons Store (Allmendinger & Schlendorf, 1931; a designated New York City Landmark) on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center. By the mid-1930s, there were at least eight movie theaters on or just off of Jamaica Avenue, and there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. It was within this bustling commercial and entertainment setting that La Casina opened.
The Nightclub:
A Brief Examination of Its History and Design
During the late 1920s and 1930s, the nightclub became a prominent and romantic symbol of New York’s nightlife. While partially based on the reality of the city’s exclusive clubs and restaurants, the nightclub image was largely a fantasy based on Hollywood’s interpretation of these elegant establishments. Nightclubs and restaurants with live shows began to appear in New York City in the late 1920s as the enforcement of Prohibition ebbed. With the end of Prohibition in 1933, nightclubs proliferated." As nightclubs and restaurants with live shows grew in popularity, their designs became increasingly elegant. Clubs and related restaurants such as the Central Park Casino, the Persian Room, the Rainbow Room, El Morocco, the 21 Club, and the Stork, catered to an exclusive clientele. While most New Yorkers could not afford to patronize these establishments, they were well known through newspaper gossip columns, magazines, and other popular media outlets.
Movies such as Broadway (1929), Puttin’ on the Ritz (1930), Gold Diggers of 1935 (1935), Broadway Melody of 1936 (1935), and Swing Time (1936) created a romantic image of nightclubs with Modeme and Art Deco decor incorporating streamlined walls and ceilings, glistening mirrored floors, and elegantly appointed revelers. Perhaps in homage to popular Latin dances, many of these clubs, both real and cinematic, were given Spanish- sounding names.
Although modest in scale, La Casina was designed to fit the image of the up-to-date night spot. The club and restaurant was provided with a Latin name and its streamlined design echoes, in miniature, the elegant clubs enjoyed vicariously by patrons as they viewed movies at their local movie palaces.
La Casina: The Site and the Design of the Building
La Casina is located on 160th Street between Jamaica Avenue and 90th Avenue. Located only a few blocks from the center of Jamaica, 160th Street was initially developed with modest frame buildings, most erected as residences but later converted for commercial use. In 1907, the Queens Borough Real Estate Exchange erected a neo-Classical style brick and limestone office building designed by Tuthill & Higgins at 90-33 160th Street.
The building was purchased in 1918 by Arnold Behrer, Jr., and Clarence Behrer. On November 1, 1932, the Behrers leased the site to Bernard Levy and La Casino, Inc., for a period of four years (until 1936). According to the lease agreement, the building was "to be used and occupied only as a restaurant, cabaret, beer garden, casino and dance hall." The rent rose from $1,800 a year the first year to $3,000 during the fourth year. All alterations made to the building by the lessee had to be approved by the owner.
The La Casino Supper Club opened in 1933. It first appeared in the Queens telephone directory for winter 1933-34. Apparently, the club was only open for a short time since it did not appear in the telephone directory for winter 1934-35. The club reopened by May 1936. Telephone directory listings continued to call the establishment the La Casino Restaurant. However, the weekly La Casina Journal, published by the establishment, spelled the name with an "a" and also referred to the La Casina Restaurant and Supper Club in its text. The work undertaken to create the present streamlined design was an alteration of the original building, but no surviving alteration application has been located that specifically notes the construction of a new front. Several permits for small alterations were issued in 1933, and one of these may have included the new facade.
La Casina was designed in the Streamlined Modeme style which became popular in America in the 1930s.' Although it initially appeared on residential buildings, the Streamlined Moderne style was soon adapted for commercial buildings since the dramatic massing and dynamic stripped forms drew attention and, therefore, brought people to the buildings. The style was popular for relatively small-scale public buildings, especially those that were erected for businesses that relied on a large paying clientele.
These businesses included hotels, such as those in Miami Beach; theaters, such as the Pan Pacific Auditorium in Hollywood; movie theaters, notably those designed by S. Charles Lee; bus depots, such as the Greyhound Bus Terminal in Washington, D.C.; and roadside structures such as auto showrooms, motels, and diners. Historian Martin Greif characterized the Streamlined Moderne (also sometimes referred to as Depression Modem) as "an art stripped bare of all ornamentation. . . . Ideally, the Depression Modern style was spare . .
. without a single detail that could be called extraneous, without any embellishment, without a line that did not seem inevitable."
With its smooth planes of stucco, dynamic ziggurat massing, sweeping bands of metal, and its lack of applied ornamentation, the La Casina building fits Greifs description of the ideal streamlined structure. The streamlined mode was an appropriate choice for La Casina, not only providing an up-to-date image for the establishment, but also creating a noticeable form for the small midblock structure, one that would attract attention from busy Jamaica Avenue. This was heightened by the use of a bright projecting vertical neon sign announcing the nightclub’s presence.
La Casina: The Restaurant and Nightclub
La Casina offered dining, dancing, and entertainment. According to the La Casina Journal, La Casina offered three shows a night performed by the La Casina Adorables and the La Casina Swing Melo-Dears. The club also featured special guests such as Maureen Rio, the Broadway star of Earl Carroll’s Sketch Book? There was no cover charge and the club offered free parking.
The Journal noted such special events as "Celebrity Night"; "Democratic Night" and "Republican Night" (at the latter two evenings guests were to meet primary candidates); and "Bowery Night," where guests were to dress in old clothes, men were to arrive unshaven, and all were to be entertained by Diamond L’il, Cuspidor Carrie, Fishface Fanny, Gashouse Gertie, Willie the Gonof, Little Annie Rooney, Champagne Lil, and Limehouse Lou.
Later History
La Casina (or a facility with a similar name) occupied the building until about 1938; the last entry in the telephone directory is for winter 1937-38. In 1940, Arnold Behrer, Jr., lost the property in a legal proceeding to the mortgagor, the Domestic and Foreign Missionary Society of the Protestant Episcopal Church in the United States of America. A tax photograph taken by New York City in 1940 shows "For Rent" signs in the picture windows of the club.
In 1942, the building was sold to the Church of God of Greater New York, Inc., although it does not appear to have ever been used as a church (the Church of God was headquartered on 224th Street). The use, if any, of the building in the early 1940s is not known.
In 1946, the former nightclub was sold to Polly Foundations, Inc., which converted the building into a factory that manufactured Ladyform bras. In 1952, the building was purchased by the Ellen Howard Corporation which manufactured Roxanne swim suits in the building until c.1987.
At some point, probably in the 1960s or 1970s, the galvanized-iron cladding of the ziggurat was covered in aluminum siding. The building was vacated in the late 1980s and deteriorated. In 1989, the Greater Jamaica Development Corporation acquired the former home of La Casina. A restoration was undertaken in 1994-95 under the guidance of the architectural firm of Li-Saltzman.
The restoration entailed the removal of the aluminum siding, the replacement of the deteriorated galvanized iron with aluminum that matched the form of the original, the restoration of the stucco at the lower level to its original colors, the removal of historically and stylistically inappropriate glass block windows and their replacement with historically accurate plate-glass windows, and the restoration of the tile flanking the entrance and of the original doors and glass entrance surround. The original vertical sign was conserved and encased within a new sign. The building now houses the Jamaica Business Resource Center.
Description
La Casina is a one-story symmetrical structure with a two-tiered streamlined facade in the form of a stepped pyramid or ziggurat. The base of the pyramid is set parallel to the sidewalk. This section of the building is faced with stucco.
The stuccoed portion of the facade is divided into a lower section that is painted gray and an upper section painted coral (paint studies determined the historical accuracy of these colors). The base is punctuated by a central entrance that is set back from the sidewalk within a five-stepped enframement clad in glazed black tiles at the lower section; the upper section is coral-colored stucco.
The entrance contains its original wood and glass double doors with very large vertically-placed bronze handles supported by silver-metal upper and lower stepped brackets. The doors are set within a frame of opaque black glass. The entrance bay is flanked by rectangular windows.
During the restoration, glass blocks that were crudely installed, probably when the building became a factory in the 1940s, were removed and replaced with historically accurate undivided plate glass. In addition, a shallow ramp for handicapped access has been added in front of the building.
Directly above the entrance is a curving streamlined frontispiece. It is divided into six wide horizontal bands with seven raised narrower bands covering the joints. To either side of this frontispiece is a six-layer stepped ziggurat. The frontispiece and flanking ziggurats were originally clad in smooth galvanized sheet metal attached to a wooden frame. The metal may originally have been painted gray. During the restoration, the deteriorated galvanized metal was replaced with shiny bands of aluminum.
Attached to the Building is the original vertical neon sign. This sign, which retains the words "La Casina" (an "o" for "casino" overlaps the "a"), "Ladyform Bras," "Swim Suits," and "Roxanne Swim Suits,” has been encased in a new aluminum sleeve with the "JBRC" initials of the Jamaica Business Resource Center in neon.
- From the 1996 NYCLPC Landmark Designation Report
Body by Lancefield Coachworks of London. "An owner-driven Saloon, suitable for long-distance touring. Fitted suitcases, lockers and tools in boot at rear".
61670 City of London under the wires at Stratford, 10th November 1956. As 2870 this loco started out as 'Manchester City', then became 'Tottenham Hotspur' and finally ended up as 'City of London'. The naming of these locos and choice of names is fascinating, and some of the football clubs have undergone some major changes through the years. Sadly the football is still with us and the locos have gone. City of London, in streamlined form would have been a fine loco for preservation.
`The large streamlined modern house with surgery rooms on the ground floor was built in 1938 for Dr Fenton-Bowen, and designed by architects Rhys Hopkins and Shannon. It was built by J A E Humphries, the well known builder who helped create the notable Golf Links Estate in Camberwell, and father of the famous Barry Humphries. Family legend has it that he designed the house, but it seems more likely that he simply admired it..
The house is constructed of special flat dark Manganese bricks, giving it a dark brooding quality, and emphasizing the horizontal lines of the design. There is a prominent semi-circular bay on the main corner, a slim projecting concrete projection over the ground floor windows, curved corners and windows, and a flat roof combining to make a most distinctive modernist design.' (VHD, NTA) .
.
From Survey of 20th Century architecture in Victoria for the Royal Australian Institute of Architects (RAIA, Vic) by architectural historian, Graeme Butler and helpers, creating data sheets for each surveyed place, at least 1 coloured transparency and B&W negative each (about 2230 negatives). Drawn from heritage studies and publications such as Robin Boyd's 1947 `Victorian Modern'.
The streamlined goosander is a handsome bird and a great fisher - its long, serrated bill helps it to catch and hold its slippery fish prey. It nests in riverbank trees, but can be seen on lakes and reservoirs in winter.
Statistics
Length: 57-69cm
Wingspan: 90cm
Weight: 1.3-1.7kg
Average lifespan: 7 years
Conservation status
Classified in the UK as Green under the Birds of Conservation Concern 4: the Red List for Birds (2021).
When to see
January to December