amazing Small House Plan CKD Galbraith offer luxurious family country home in South Ayrshire

CKD Galbraith offer luxurious family country home in South Ayrshire

Leading independent Scottish property consultancy CKD Galbraith is offering for sale Burton Cottage, an outstanding conversion of two traditional country cottages to form a wonderful family home with an excellent level of specification.

Burton Cottage is a truly wonderful conversion of two traditional stone cottages by Dawn Developments, available at offers over £495,000. Situated within a secluded, sheltered plot on the edge of the Carrick Hills, Burton Cottage enjoys fine country views yet is within walking distance of the amenities of Doonfoot and Ayr Shore.

The property extends to approximately 213 square meters and offers generously proportioned accommodation on one level. Glazed oak doors open to a spacious reception hall with bright aspects towards the patio at the rear and stream beyond. The lounge is an equally bright room with double aspect windows. The dining kitchen is the hub of the house and is fully fitted with a range of bespoke handmade units by Alno incorporating an induction hob, central island and granite worktops. Kardean flooring runs through the kitchen to the sun room which is a wonderfully relaxing area. Bi-folding doors form a bay window around the sun room opening to the landscaped gardens and ideal for summer entertaining.

Five bedrooms and a family bathroom complete the accommodation – two bedrooms have en suite shower rooms and all sanitary ware is Porcelanosa.

Burton Cottage occupies a sheltered plot of approximately one acre entered via electric gates which opens to a gravel sweep at the front of the house and lit by low level lighting. The gardens are fully landscaped and planted with a variety of shrubs and bushes. A large decked patio is enclosed and overlooks a small stream at the rear and in addition there is an integrated double garage with electric doors.

Burton Cottage is a luxurious country home formed from traditional cottages and enjoys all the benefits of rural living within easy reach of local amenities.

About CKD Galbraith

CKD Galbraith is an independent property consultancy employing 250 staff in offices in Edinburgh, Stirling, Perth, Cupar, Inverness, Aberfeldy, Castle Douglas, Ayr, Elgin, Galashiels, Kelso, Peebles, Alyth and Aberdeen.

The partnership provides the full range of property consulting services across the residential, commercial, rural and renewable energy sectors throughout Scotland. CKD Galbraith also enjoys a successful relationship with its associate firm in London, CKD Kennedy Macpherson.

www.ckdgalbraith.co.uk

CKD Galbraith’s Ayr Office is a Founder Member of the Elite Ayrshire Business Circle.

The Elite Ayrshire Business Circle

The Elite Ayrshire Business Circle is an association founded in 2007 by some of the top companies in Ayrshire.

Its purpose is to publicise its members, and to celebrate and promote the wealth and rich diversity of entrepreneurial talent and business excellence that abounds here within the county boundaries of Ayrshire.

Members include Ayr Racecourse, Western House Hotel, Turnberry Golf Resort and South Ayrshire Council. Member company activities include broadcasting, building and construction, architectural practice, estate agency and land management, chartered accountancy, insurance broking, legal services, golf club management, marketing services and brand creation, web design and public relations consultancy.

Frazer Coogans Commercial Solicitors senior partner Norman Geddes is executive chairman of the Elite Ayrshire Business Circle, and managing director is public relations consultancy Fame Publicity Services proprietor Murdoch MacDonald.

www.frazercoogans.co.uk

For further information about The Elite Ayrshire Business Circle and to apply for membership, e-mail eliteayrshire@gmail.com

Website: www.eliteayrshire.com

Issued by:

Murdoch MacDonald
Fame Publicity Services
10 Miller Road
AYR, Ayrshire
Scotland KA7 2AY

Telephone: 01292 281498
Mobile: 07833 667322
E-mail: famepublicity@aol.com
Web: www.AyrshireScotlandBusinessNews.com

www.ayrshirescotlandbusinessnews.com/2013/11/ckd-galbrait…

Posted by Elite Ayrshire Business Circle on 2013-11-28 21:39:25

Tagged: , CKD Galbraith , Ayr , Ayrshire , family home , country , property , house , for sale , Burton Cottage , Dawn Developments , Carrick Hills , Doonfoot , Elite Ayrshire Business Circle , Frazer Coogans Commercial Solicitors , Norman Geddes , Fame Publicity Services , Murdoch MacDonald

amazing Small House Plan Brooklyn Public Library, Williamsburgh Branch

Brooklyn Public Library, Williamsburgh Branch

Williamsburg, Brooklyn, New York City, New York, United States

Opened in 1905, the Williamsburgh Branch of the Brooklyn Public Library was the second Brooklyn library building completed with funds from the large gift given by Andrew Carnegie to New York City in 1901. Of the $5.2 million given by Carnegie for the construction of new library buildings, $1.6 million was earmarked to build twenty branches in Brooklyn. The Williamsburgh site was among the first chosen because of the huge population in the district and the tremendous need for a new facility there. Richard A. Walker of the architectural firm of Walker & Morris was one of five well-known architects, all with Beaux-Arts training, chosen to design the Brooklyn branches. One of four branches Walker created, the large brick and limestone Williamsburgh Branch with its French-inspired design was called the "finest of all the branch buildings." Situated on a triangular plot of land at the intersection of three streets, its broad Y-plan which includes a rounded rear pavilion housing the book stacks, is extremely well suited to this unusual site.

DESCRIPTION AND ANALYSIS

Brooklyn Libraries

Early in the nineteenth century, a number of small libraries and library associations were started in Brooklyn. The first seems to have been a commercial circulating library which was begun in 1809 by Joseph Pierson; around that same time the Brooklyn Union Sabbath School also made books available to its students. While neither of these endured, they represent the beginning of numerous attempts to create substantial collections of reading material for Brooklyn’s growing population.

The first free library of Brooklyn was the Apprentices’ Library, founded by Augustus Graham in 1823, and incorporated in 1824 as the Brooklyn Apprentices’ Library Association. It was located in its own building on the corner of Henry and Cranberry Streets from 1825 until 1836 when it moved to the Brooklyn Lyceum. In 1843, the Brooklyn Apprentices’ Library Association broadened its scope of educational activities and changed its name to the Brooklyn Institute while the library changed its name to the Youths’ Free Library.

Near the middle of the century, two other subscription or membership libraries were opened: the Brooklyn Athenaeum Library, and the Brooklyn Mercantile Library. Before long, these two organizations merged their administrations and both were housed in the Brooklyn Athenaeum on the corner of Atlantic and Clinton Streets. In 1867, ground was broken on Montague Street for a new building designed by P.B. Wight, for the Mercantile Library Association; in 1878 its name was changed to The Brooklyn Library/ The Brooklyn Library also operated an Eastern District branch, located on Bedford Avenue.

Another private library was started in 1867 by the Union for Christian Work, a relief organization founded in 1865. The private organization received part of its funds from the City of Brooklyn and thus the library was free for persons "of good character who were duly recommended." This library was given to the people of Brooklyn in 1882.

Throughout the 1880s and 1890s, The Brooklyn Library grew through gifts of money and private collections This period also witnessed the development of a number of smaller independent libraries, both reading rooms and circulating collections, in different parts of Kings County. Examples included: the Long Island

Free Library, a circulating library on Atlantic Avenue, near Flatbush Avenue, which was the largest of the local libraries; the Bay Ridge Free Circulating Library, begun in 1888 having been started as a reading room; and Fort Hamilton, another free library opened in 1889. In addition, various public school libraries, while developed for schoolchildren, came to be used by area residents as well. The school library in Brooklyn’s Eastern District was probably the largest of this type.

In 1892 the Library of the Union of Christian Work absorbed the Youths’ Free Library, thus severing the latter’s ties with the Brooklyn Institute , and clearing the way for the establishment of a genuine free public library system for Brooklyn. The Brooklyn Library, however, was not interested in becoming such a free library for fear of losing its pre-eminent position as a scholarly, research institution. Therefore, an act of the New York State Legislature, in 1892, established a new organization to be called the Brooklyn Public Library, as a department of the city government, to be administered by a board of directors. Board members were finally appointed in 1897 and the first branch of the new public library system in the City of Brooklyn was opened in December 1897, in a former public school building in the Bedford section.

Between 1898 and August 1901, Brooklyn developed an eighteen-branch library system, incorporating both new and existing private libraries, as well as an Administration Headquarters, and a Traveling Library Department. Despite the absorption of the City of Brooklyn into Greater New Yoric in 1898, the Brooklyn Public Library remained independent from the New York Public Library.

An agreement between the Brooklyn Public Library and the City of New York in 1902 arranged for the management of the Brooklyn Public Library to be handled by a new private corporation with its own Board of Trustees, also called the Brooklyn Public Library. After this, the still-private Brooklyn Library deeded all its property, including its special collections and endowment funds to the new corporation, adding considerably to the stature of the institution.

The Andrew Carnegie Gift

At the end of the nineteenth century, libraries were seen as an important means of improving the lives of poor Americans and new immigrants, and much effort was spent to make them available in working class neighborhoods, along with parks, playgrounds, and public baths. Because of the connotation of self-improvement, libraries were favored with gifts from wealthy individuals. Andrew Carnegie, who had been a poor working boy in Pennsylvania and who was the exemplar of the self-made man, attributed much of his own success to the hours he was allowed to spend in the private library of Colonel James Anderson. Carnegie spelled out his philanthropic philosophy in two articles published in 1889 in the North American Review and later reprinted as the title essay of his book, The Gospel of Wealth and Other Timely Essays . Carnegie’s aim was "to help those who would help themselves." He was thus continuing a popular charitable tradition when he decided, in 1881, to use a portion of his vast wealth to donate library buildings to some of his favorite towns. He began with towns with which he had a connection, such as Dunfermline in Scotland where he was born, and Allegheny City, Pennsylvania, where he lived after immigrating to this country.

During the last years of the nineteenth century, Carnegie expanded his grant process, donating libraries to 26 towns in 1899, reaching a total of 204 towns by 1903. Using the practical abilities he developed during his business career, Carnegie created a complete system for his library grants, demanding that the localities provide the sites and tax their populations for money for books and upkeep in return for his gift, which would be used to construct the actual buildings. Through his Carnegie Corporation, established in 1911 and one of the first such philanthropic foundations, he institutionalized his generosity, with the goal of improving the standard of living of the working poor. By 1917, Carnegie had given over $41 million to more than 1,400 communities throughout the United States for the construction of 1,680 library buildings.

By basing his gifts on specific criteria, Carnegie was able to remove the sense of paternalistic charity so often found in earlier donations. He was also able to impose certain design standards on the buildings and, after 1908, allowed his secretary to approve all library designs. As a result there is a certain harmony and continuity of design among the numerous Carnegie libraries. He insisted that they be modest rather than extravagant, with practical interior planning to get the best value for his money. Since local governments did not want to see their money spent in a wasteful manner, the contribution of public funds also dictated unpretentious structures. Nonetheless, the designers wanted these structures to be recognized as distinctive, public buildings. While each is distinct, there are similar design characteristics among the Carnegie branches. In Brooklyn, where land was less expensive than Manhattan, the twenty branches are freestanding, masonry buildings faced in red brick with limestone trim. One or two stories high, they have prominent, centrally-located entrances reached by flights of stairs. The style of the buildings was classical, with stone ornament consisting primarily of columns, pilasters, pediments, cornices, quoins, and keystones. Large windows fill much of the facade. In addition, Carnegie was concerned with the siting of the libraries and wanted them to stand out as libraries, with a central location, preferably close to other institutions such as schools or YM/YWCA’s. It was felt that it was desirable to establish the libraries

as far as possible, in conspicuous positions on well-frequented streets….The fact that a branch library is constantly before the eyes of the neighboring residents so that all are familiar with its location will undoubtedly tend to increase its usefulness.

Although Andrew Carnegie lived in New York and served for many years as a trustee of the New York Free Circulating Library, at first he considered the city’s system too wealthy for his gift. By 1901 however, he changed his mind and offered to fund the branch library system for New York City. Between 1901 and 1929, Carnegie donated $5.2 million for 67 branch library buildings in all five boroughs. Of that amount, the Brooklyn Public Library received $1.6 million.

The Brooklyn Carnegie Libraries

In 1901, an agreement was reached between the Brooklyn Public Library, the New York Public Library, and representatives of Andrew Carnegie which called for the construction of 20 branch libraries in the Borough of Brooklyn." A committee was then appointed to select the sites for these buildings and to oversee their construction. The Carnegie Committee was chaired by David A. Boody , with members Daniel W. McWilliams, John W. Devoy, and R. Ross Appleton. The Brooklyn Eagle later declared that this committee would have a very difficult job dealing with an eager and large population. "The Committee will have its judgment taxed to the utmost in deciding where to put the new libraries and give every part of the borough the benefit of the added library facilities…" By 1901, the Committee had decided 011 the general areas where the first five Carnegie libraries would be built: Williamsburgh, Fulton, Stuyvesant, Carroll Park, and Bedford.

For the designs of these branches, the Carnegie Committee first hired Professor A.D.F. Hamlin of Columbia University as consulting architect. Hamlin established an Architects’ Advisory Commission consisting of the following individuals or firms: Lord & Hewlett, W. B. Tubby, R. L. Daus of Daus & Otto, Richard A. Walker of Walker & Morris, and R. F. Almirall. Hamlin’s goal was to create a "unity of general type and character . . . without the sacrifice of that individuality which gives interest to a design." The established procedure called for each of the five architects on the advisory commission to create a preliminary design for one of the first five sites, in consultation with the entire commission, a librarian, and Hamlin himself, thus gaining the collective wisdom and judgment of the entire group. These preliminary designs would then go to the Carnegie Committee to help them reach conclusions about what features and requirements would be needed at all the libraries. The Committee would then frame final instructions for the architects who would prepare the working drawings. After this, the rest of the fifteen branches would be assigned to the architects. Since most of the members of the commission were trained at the Ecole des Beaux-Arts in Paris, the designs had distinctive, classical French tendencies.

Raymond F. Almirall was selected secretary of the Architects’ Advisory Commission. In a 1904 interview, Almirall compared the plans for Brooklyn’s Carnegie branches with those for Manhattan which, he felt, were too much alike.

In Brooklyn we are working to fit each building to its environment, to make each serve the needs of its individual neighborhood and surroundings. While we have sought originality of design externally, our chief concern has been the internal arrangement. This varies in details widely in the different buildings according to their ground plans.

In July 1906, Almirall was the featured speaker at the meeting of the American Library Association in Narragansett Pier, Rhode Island. In his talk, Almirall called for, "a common basis of design and of construction with a proper discrimination between essentials and non-essentials, as they may appear in the various applications."

Richard A. Walker/ Walker & Morris

Richard A. Walker Charles Morris

Richard Amerman Walker, a native New Yorker, studied at the Polytechnic Institute before traveling to Paris where he trained at the Ecole des Beaux-Arts for five years. Upon his return to the United States, he worked for a time in the offices of Warren & Wetmore, Carrere & Hastings, and Richard Morris Hunt, before forming his own firm, in 1896, with Charles Morris, who had also been a student at the Ecole. With offices in lower Manhattan, these architects gained a variety of commissions throughout the metropolitan area, including large suburban homes in Long Island and New Jersey, and school buildings in Hasbrouck Heights and Metuchen , New Jersey.

Other institutional designs included the small Children’s Hospital for St. John’s Guild in New Dorp, Staten Island , the Whitehall Ferry Terminal at the lower tip of Manhattan, and a private school, The Berkeley Institute in Brooklyn . In addition to the four Brooklyn Carnegie libraries, this firm was also responsible for the Ogden Free Library in Walton, New York . The partnership continued until 1912, after which Walker remained in practice by himself. Among his later works were the ambulatory gates in the Cathedral of St. John the Divine in New York.

Although Walker & Morris did not maintain Brooklyn offices, Walker lived in Brooklyn and their Berkeley Institute must have given them a certain renown in Park Slope. They were chosen as one of the five architectural firms to serve on the Architects’ Advisory Committee for the Brooklyn Carnegie Libraries, perhaps because of their Beaux- Arts connections. In addition to this Williamsburgh branch, Walker created the Red Hook Branch , the Arlington Branch, and the Macon Branch Libraries.

Development of Williamsburgh, Brooklyn

The area now known as Williamsburgh, known locally as the Strand, was originally part of Bushwick, one of the first six towns comprising King’s County. Originally settled by the Dutch, the area ran from Wallabout Bay to Bushwick Creek, remaining primarily rural in character until well after the Revolutionary War. In 1802, Richard M. Woodhull, a prosperous Manhattan merchant, purchased a thirteen-acre tract at the foot of present- day North 2nd Street. After having it surveyed by his friend Colonel Jonathan Williams, Woodhull named the area in his honor and began to sell lots there. He also started a ferry service to Rivington Street in New York from the foot of North 2nd Street, which he called the Williamsburgh Ferry. Although Woodhull ran into financial difficulties, his development plans were continued by Thomas Morrell and others, so that, in 1827, the area was incorporated as the village of Williamsburgh with a population of 1,007. Although the village was comprised of 23 farms at the time, the first map, dated 1833 shows a rectangular grid similar to that which exists today, with a few houses and a ferry pier along the waterfront. Growth was rapid, and in 1835 the town’s limits were extended. By 1840, Williamsburgh could claim six churches, several schools, two shipyards, and numerous factories, supported by a population of 5,094 people. Several ferry lines ran between this part of Brooklyn and Manhattan, providing convenient connections for workers and commercial opportunities for small businesses, and helping the industries which, in the 1850s, were being established along the East River waterfront. The population of Williamsburgh more than doubled between 1840 and 1845, and grew at an even greater rate during the late 1840s and early 1850s when there was an influx of German immigrants to the area. When Williamsburgh became a city on January 1, 1852, its population was 35,000 and it was the twentieth largest city in America. It remained an independent municipality for only a few years however, before consolidating with the City of Brooklyn on January 1, 1855. After this, the area became known as Brooklyn’s Eastern District, referring to that area of Brooklyn lying north and east of the Naval Hospital and Flushing Avenue. A further impetus to growth came with the opening of the Williamsburgh Bridge in 1903, enabling both surface cars and trains to transport people over the river more easily. Considerable population growth had already occurred before the end of the century since plans for the bridge had begun to be discussed in 1883, with construction starting in 1896.

The Williamsburgh Branch Library

As the town of Williamsburgh grew, so did interest in educational and cultural activities among its inhabitants. The first school was established in 1820 and by 1852, the City of Williamsburgh counted 6,700 students on its rolls, distributed among numerous school buildings. The Williamsburgh Lyceum, founded in 1838 was a location for lectures and debates. The Brooklyn Library, in addition to its Montague Street building, maintained an Eastern District Branch on Bedford Avenue, near South Ninth Street. School libraries were started in Williamsburgh in 1848, and were available free to anyone who lived in the district. In 1866, Public School No. 16 vacated its building at the corner of South Third Street and Driggs Avenue which was re-employed for the consolidated libraries of Public Schools 16, 17, 18, 19, 20, 21, and 23. With 18,000 volumes in 1892, this library, known as the Eastern District School Library, was one of the largest and most well-used of this local type. Among the numerous branch libraries added to the Brooklyn Public Library system during the first years of its development, was the Williamsburgh Branch, established in October 1899. Its first home was at 380 Bedford Avenue. Immediately, it was the recipient of more than 7,000 books from the Eastern District School Library, which had been donated to the Brooklyn Public Library the previous spring. By 1900 this site was already too small to accommodate the heavy use it received, and the branch was moved to a larger building at 474 Bedford Avenue. In April 1904, a local newspaper noted that this branch had broken all Brooklyn records for the highest number of books in circulation, and it was 25 percent higher than it had been the previous year.

The site for the Williamsburgh Branch was among the first four planned in 1901, due to the neighborhood’s large population and heavy library usage. After Hamlin’s architectural committee began to work on designs, bids were received for the first sites in the summer of 1903. The cornerstone for the Willliamsburgh Branch was laid with great ceremony on November 28, 1903.

The location chosen for the Williamsbugh branch was highly praised. Set between three streets, Division, Marcy and Rodney Avenues, the site was centrally located and easily accessible by public transportation. In addition, the open space on all sides would allow the library to be seen at its best advantage and may have been a consideration in the scale of the building which was somewhat grander than the other branches. Although the library replaced numerous small shops and dwellings, this section was in the process of converting to more institutional uses. The Brooklyn Bureau of Charities was located nearby and the Eastern District High School and a YMCA were being planned.

The design of the Williamsbugh Branch is in keeping with the French Beaux-Arts training and orientation of most of the chosen architects. Clad in red brick with limestone trim, the expansive, two- story building is symmetrically arranged around a bold, projecting central pavilion defined by stone quoins which emphasize the round-arched entry. Like Brooklyn’s other Carnegie buildings, it is freestanding on its lot, and its shape is particularly well adapted to its unusual triangular site. Bowed, one-story projecting wings at each side reflect the rounded rear extension which provides a practical space solution for the two stories of book stacks needed for the library. Double-height, round- arched windows on both wings and grouped windows at each projecting end provide necessary lighting to the interior spaces and reading rooms, and are given distinction on the outside by stone keystones and caps. A broad stone watertable above the basement and a stone cornice and entablature below a brick parapet provide a visual enframement for the entire composition. The building’s contrasting materials, strongly horizontal lines, and symmetrical arrangement contrast with its graceful curves and delicate ornament to create a distinctive building with great presence in the bustling neighborhood.

Description

The Williamsburgh Branch of the Brooklyn Public Library fills the entire triangular lot formed by the intersection of Division, Marcy, and Rodney Avenues. It is sited on a raised, grassy lot surrounded by an original iron fence. Faced in brick with limestone trim, the building sits on a raised basement and is two stories high, with smaller, one-story wings to each side. It is shaped in a wide "Y" plan, with the rear section of the building projecting in a semi-circular arrangement. Wide, paved areaways, set off by concrete walls, are located in the front and in the rear of the building. Most of the windows have been covered by one- over-one metal storm sash and the windows underneath cannot be clearly seen. On the basement and first story levels, the window openings are also covered by plain metal grates.

The Division Avenue facade is symmetrically arranged with a three-bay wide center section, parallel to the street, flanked by wings which angle in slightly. Within this center section, the middle bay projects, forming a pavilion where the building’s main entrance leads to a small lobby. To each side is a three-bay wide, two story wing with single-story extensions on each end. The expansive windows on the main story of each wing indicate the presence of large interior reading rooms.

The main approach to the library , is located in the center of the Division Avenue street front. It is marked by three steps up to a concrete plaza with low, rounded end walls topped by a low iron fence. Another stairway, flanked by a continuation of the low walls leads up to the building’s main entrance. To each side of this stairway, other stairs lead down to the wide areaway and another entrance which is located under the stoop. The areaway has both paved and grassy areas. It is set off by a high concrete wall topped by a plain iron railing. The basement windows follow the same arrangement as those of the upper stories and are covered with projecting grates. The window openings are topped by flat arches in brick. A wide stone water table separates the basement from the upper stories.

The entrance pavilion is defined by stone quoins along each edge. Windowless, metal doors are located within a wide, stone-trimmed round archway crowned by a fluted keystone and embellished with a paneled Gibbs surround. Separating the doors and the transom is a stone panel engraved with the word "Williamsburgh," while the transom itself is covered by a two-part storm sash. Large, squared copper and glass lanterns hang on each side of the main entrance.

At the second story is a tripartite window set on a continuous projecting stone sill with modillion blocks. Another stone panel is set into the wall below the center section of the window, while a flagpole projects at an angle just above this. The windows, which are covered by storm sash, have double-hung, eight-over-one sash in the center section and four-over-one sash on each side. Above the second story is a stone frieze and cornice carried on modillion blocks, topped by a stone parapet bearing the engraving "Brooklyn Public Library."

Recessed to each side of this central pavilion is a narrow bay with a single, square-headed, window with double-hung storm sash in each story. At the first story the window is covered by grating and is topped by a small transom. Above this the lintel is formed of stone at the keystone and corners, with brick voussoirs between them. A stone block marks the impost level on each side of the window. On the second story, a window with double-hung sash is set on a plain stone sill with a plain stone lintel.

Original drainpipes mark the change of angle of the walls. Each side is marked by three bays, with those on the ground story having round-arched openings and paired, rectangular ones above. Each arched opening is edged by a brick archivolt with a stone keystone and impost blocks. The windows within the arches are tripartite with tripartite transoms, again covered by storm sash and metal grilles. Flat stone panels are centered and inset in the recessed brick below each window. At the second story, the paired windows are linked by a narrow wooden pilaster and share a plain stone sill and lintel. These windows have storm sash but no grilles.

Above the second story is a wide stone frieze and stone cornice. A brick parapet rises above this, interrupted at each bay by paired panels of corbelled brick, joined by a plain stone sill.

At each end of these wings is a single-stoiy extension. Each is one bay wide, with paired, rectangular windows with transoms and stone and brick lintels. At each end of these extensions is a bowed bay with three windows, each of which have stone and brick lintels. A flat stone panel is inset beneath the larger, central window. A similar stone frieze and cornice with a brick parapet top this wing. The second story, recessed behind this lower wing, has two bays with paired, rectangular windows in a similar style to those on the front of the building.

Many of the same design motifs are carried out on the rear of the building, where the two angled bays meet at a projecting, semi-circular section which houses the library’s stacks of books. The same materials and fenestration continue around the entire building, as does the cornice and brick parapet. The one-story wing extensions carry paired windows as on the front, and each angled wing has three bays with arched openings on the first story and rectangular ones above. On each side the arched opening in the center bay of the first story has been filled in with bricks. The second story center bays are also different. On the side facing Marcy Avenue, the center bay is comprised of two narrow windows, with brick between them, set on separate sills but with a continuous lintel. On the Rodney Avenue facade, the squared window of this center bay has been bricked in, but maintains its stone sill and lintel.

On each side, between the wings and the rounded center section is a single bay which projects out from the wings. A plain door at the basement level, below the water table, with a small, rectangular window has a flat stone sill and lintel above it. Above this, at a level between the first and second stories, is a narrow, rounded window, similar to those on the first story, set within a brick archivolt, with a stone keystone and impost blocks.

Beyond this is a semicircular extension which has thirteen window openings around it. Set on a raised basement with windows aligned with those above, this section has a series of two rectangular windows linked vertically by a paneled copper spandrel. The lower one sits directly on the stone water table while the upper one is topped by a stone and brick lintel. Above this section is a shallow conical roof covered in standing seam copper. This leads to a smaller circular section set back at the third story. A single bay with a pair of rectangular windows joins this round section to the rest of the building at this level. This small rounded section has three bays with three windows in each. These window openings are squared, with original wood sash, pivoting windows, set between a plain stone sill and lintel. A broad stone frieze and cornice crown these windows, with a plain brick parapet above.

On the rear, the area way is in two parts, extending from one end of the two-stoiy wing to the other, except for several bays near the middle of the rounded section. Set off by a concrete retaining wall, each section of the broad areaway is reached by a set of stairs leading down near the beginning of the rounded section. Much of the small yard behind the building is covered with vegetation and it is completely enclosed by the iron fence.

– From the 1999 NYCLPC Landmark Designation Report

Posted by Emilio Guerra on 2013-07-07 23:10:06

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awesome Small House Plan Grace Episcopal Church Memorial Hall

Grace Episcopal Church Memorial Hall

Jamaica, Queens, New York City, New York, United States

Grace Episcopal Church Memorial Hall is part of one of the most historic church complexes in New York City. Grace Episcopal Church was founded in 1702 and the present English Gothic Revival style church building, designed by Dudley Field, was built in 1861-62 and enlarged in 1901-02 by Cady, Berg & See. Surrounding the church is a graveyard in which are buried members of many families important to the history of the city, including Rufus King. (The church and graveyard were designated a New York City Landmark in 1967).

Northeast of the church building, behind the graveyard, is the Memorial Hall, constructed in 1912 to meet the needs of the growing congregation for a meeting place and social center. The Memorial Hall included a gymnasium, an auditorium, meeting rooms and offices. These facilities were needed as the role of the church expanded from solely providing religious services to include educational and social services. On the 250th anniversary of the founding of the church, the Memorial Hall was being used by 21 different organizations. Designed by the prominent architectural firm of Upjohn and Conable in Tudor Gothic Revival style to complement the church building, the brick building’s symmetrical massing and flanking wings add a picturesque element to the church complex

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 southern part of the area was inhabited by a Native American tribe called Jameco (or Jemaco) when the first Europeans arrived there in 1655. In 1656, Robert Jackson applied to Governor Stuyvesant for a patent and “purchased” ten acres of land from the native tribe and called the settlement 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 Episcopal Church; the present structure is a designated New York City Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle.

A 1698 Census of Queens County showed a total population of 3,355 whites and 199 blacks. Although early records indicate the existence of slaves in Jamaica, throughout its history Jamaica also had a free black population. One of its most well-known African-American residents was Wilson Rantus who was born in Jamaica in 1807. Well-educated, he started a school for black children and became involved in the effort, along with African-Americans Samuel V. Berry of Jamaica and Henry Amberman of Flushing to achieve the right to vote for African-Americans.

New York State incorporated Jamaica as a village in 1814. Jamaica’s central location in Queens County and the extensive transportation network that developed in the town during the 19th 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 style Jamaica Savings Bank, 161-02 Jamaica Avenue (Hough & Deuell, 1897-98, a designated New York City Landmark). 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. Grace Episcopal Church built its Memorial Hall during this time.

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, 89-31 161st Street (George W. Conable, 1928-29, a designated New York City Landmark); the Suffolk Title Guarantee Company Building, 90-04 161st Street (Dennison & Hirons, 1929, a designated New York City Landmark); and the J. Kurtz & Sons Store, 162-25 Jamaica Avenue (Allmendinger & Schlendorf, 1931, a designated New York City Landmark). 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 60 restaurants, bars and clubs, ranging from small ethnic taverns to elegant restaurants.

History of Grace Episcopal Church

Grace Church dates its founding from 1702 when a missionary minister was sent out by the English organization, Society for the Propagation of the Gospel in Foreign Parts, in response to a request from a group of Jamaica residents. It is one of the country’s earliest Anglican (now Episcopal) parishes, the oldest parish on Long Island and, in New York State, second in age only to Trinity Church in Manhattan. In 1699 a stone church was built in Jamaica pursuant to the Assembly Church Building Act and was supported by compulsory payment, but by the time an Anglican missionary minister arrived a Presbyterian congregation occupied the church building. A dispute ensued between the “established” Anglican congregation and the “dissenting” Presbyterian congregation over the use of the church building and parsonage.

At the time the congregation built its first church building in 1734 they had been meeting for several years in the county courthouse. In 1733 “Martha Heathcote of City of New York, widow of Colonel Caleb Heathcote” (and other heirs) deeded half an acre of land to “Rev. Mr. Thomas Colgan, present rector” for the purpose of erecting a church. Caleb Heathcote was made a member of the Society for the Propagation of the Gospel in Foreign Parts in 1704 and was mayor of New York City from 1711 to 1714.

A frame church building was completed in 1734 and named Grace Church. In 1822, the first church building was demolished and replaced by larger frame church building. The church land was enlarged by gifts and purchases throughout the 19th century. On the morning of New Years Day in 1861, the second church building was destroyed by a fire that was believed to have originated in the flues of the furnace. The present English Gothic Revival style sandstone church building is the third on the site and was constructed 1861-62 to the designs of architect Dudley Field, and enlarged in 1901-02 by the architectural firm of Cady, Berg & See.

Farmers in Jamaica relied on enslaved African-Americans as agricultural laborers until the first decades of the 19th century, and several members of Grace Episcopal Church owned slaves. The register of the Reverend John Poyer records the baptism of African-American slaves as early as May 1714. There were also free African-Americans living in Jamaica in the early 18th century; one of the church’s communicants in 1723-27 is noted to be “Judith, the negress.” The Reverend Poyer baptized a free African-American woman and her three daughters in September 1731. Onderdonk, in his history of the church, notes that four new pews were put in the belfry for black worshippers in about 1803. A “Sunday school for colored children” was established as a week-day school as early as 1837 with a student body of 25 boys and 35 girls.

The Reverend Samuel Seabury, Jr. succeeded the Reverend Colgan and was rector of Grace Church from 1757 to 1766. Seabury was a loyalist during the American Revolution and in 1783 was consecrated in Scotland as the first bishop of the Episcopalian Church in America.

A large part of the church property is occupied by a burial ground. Some of the tombstones date from the 18th century. Burials represent many families important to the history of the city, including Van Rensselaer, Gracie, Delafield and Van Cortland. Rufus King, whose home is preserved in nearby Kings Park (a designated New York City Landmark), is buried in Grace Church Graveyard. He and members of his family in two succeeding generations were parishioners and active supporters of Grace Church. Rufus King was elected by New York State in 1789 to the first United States Senate. In 1796 he became minister to England by appointment of President Washington. His sons, Charles King, president of Columbia College (now Columbia University) from 1849 to 1864, and John Alsop King, governor of New York from 1857 to 1859, are also buried in the graveyard. A Sunday School was established in 1840 and in 1856 a Sunday School building was built on Parsons Boulevard on land deeded by John Alsop King. In 1873, after his death, his executors and heirs deeded additional land that included part of the graveyard. The Sunday School building was used until the Memorial Hall was built.

Grace Church established six mission churches in Queens between 1874 and 1926. In 1902, the Diocese of Long Island erected “St. Stephen’s Chapel for the colored” on the corner of Grand and North First Streets (now 168th Street and 90th Avenue) in Jamaica. The efforts to build St. Stephen’s were aided by the vestry of Grace Church. It was under the care of the Reverend H. S. McDuffy, “superintendent of colored missions” in the diocese.

Memorial Hall

The congregation of Grace Episcopal Church grew as the population of Jamaica grew, and the need for a parish house became apparent. Several attempts were made to build a parish house before the present structure was constructed. The Reverend Dr. Horatio Oliver Ladd, rector of Grace Church, wrote an article entitled “The Uses of a Parish House” in the church’s newsletter, Grace Church Chimes, in October 1899. He notes that the church is no longer simply an organization of religious services but its sphere now includes local missionaries, Sunday school instruction, guilds to clothe and feed the needy, industrial schools, youth activities, exercise, recreation and mental and moral instruction. He states that a parish house would include a large assembly room, gymnasium, guild rooms, library, reading room, rector’s room and reception room, and kitchen. Prominent Brooklyn architect Albert Parfitt was engaged to draw plans for a parish house. The building cost was estimated to be $25,000 and the vestry voted against the proposal because of the cost.

In 1903-04 a renewed effort was made to build a memorial parish house with rooms named for deceased friends and citizens, and memorial tablets in the front hall with the names of donors. Although some funds were collected, the Reverend Ladd resigned as rector and the vestry refused to authorize the use of parish funds or credit for the purpose of building a parish house. Efforts continued to build a parish house and Parfitt’s floor plans were printed in the Grace Church Chimes in February 1905 and February 1906. It was noted that the location of the parish hall was to be decided by the vestry.

In 1911 under the rectorship of the Reverend Rockland Tyng Homans another attempt was made to construct a memorial parish house. A small booklet was published stating that the proposed Memorial House was “intended to stand for the present and future generations, expressing the lives and characters of those who in the past were connected with the town of Jamaica.” Proposed floor plans that were drawn by architect Harry E. Oborne were included and the cost was estimated to be $40,000. In the following year, the Reverend Homans was successful in getting a parish hall designed by Upjohn and Conable built.

Architects Upjohn and Conable

Hobart B. Upjohn (1876-1949), son of Richard M. Upjohn and grandson of Richard Upjohn, attended Brooklyn Polytechnic Institute and the Stevens Institute of Technology. After graduating from Stevens with a degree in mechanical engineering in 1899 he worked as engineer. In 1905 while working in the architectural office of Eidlitz & McKenzie, he received a letter addressed to his father (who had died in 1903) from the All Souls’ Universalist Church in Watertown, New York asking for a design for a new church. Upjohn designed a Gothic Revival style church, went to Watertown with his plans and received the commission.

He left the engineering profession to become an architect at this time and opened an office. He is best known for his many designs of distinguished residences, churches and college buildings. These include the All Souls’ Unitarian Church at Lexington Avenue and 80th Street and buildings on the North Carolina State University campus. The first churches he designed were in the Gothic Revival style but later in his career he also designed churches in the Colonial Revival style. He was president of the New York Chapter of the American Institute of Architects, and the author of many textbooks and monographs on architecture.

George W. Conable (1866-1933) graduated from the Cortland State Normal School and Cornell University. Prior to establishing his own practice, he worked in the offices of C. P. H. Gilbert, Barney & Chapman and Ernest Flagg. While working for Flagg, he was in charge of the plans and working drawings for the Singer Building. He is particularly well known his designs of churches and hospitals, including Trinity Lutheran of Long Island City, St. Paul’s Lutheran in the Bronx, and Kingston Avenue Hospital in Brooklyn. Among the other notable structures designed by Conable is the Jamaica Chamber of Commerce Building in Queens.

Upjohn and Conable were partners from about 1908 to 1914 and maintained an office in Manhattan. One of their best known works is the bathing pavilions and other related buildings at Oakland Beach, Rye Park, Rye, New York.

Memorial Hall Design and Construction

The Grace Episcopal Church Memorial Hall was built in 1912. It was designed by the architectural firm of Upjohn and Conable in the Tudor Gothic Revival style to complement the design of the existing church building, and was built at the far end of the graveyard in the northeast corner of the block at 90th Avenue and Parsons Boulevard. The hall provided a meeting place and social center for the congregation, including a gymnasium, an auditorium, meeting rooms and offices. The estimated cost of construction was $35,500.

The Memorial Hall was designed with architectural features from two variants of the Medieval Revival style: the Tudor and Gothic Revivals. Both styles were popular during the early 20th century but the Gothic Revival style was employed mostly in religious and educational buildings, while the Tudor Revival style was most often used for residential buildings. Architects during this period frequently employed an eclectic mix of different historical styles. During the middle of the 19th century, Alexander Jackson Davis and Andrew Jackson Downing promoted Gothic Revival style residential buildings. The Memorial Hall, although an institutional building, has many characteristics of residential buildings built in the Gothic and Tudor Revival styles, especially at the flanking wings with its intersecting gables. Hobart Upjohn used the Tudor Revival style several other times for parish houses associated with churches built in the English Gothic Revival style, including the West Side Presbyterian Church (192527) in Englewood, New Jersey, and Christ Church (1927-30) in Fitchburg, Mass.

Some of the features of the Memorial Hall that are found in both Gothic and Tudor Revival styles buildings include steeply pitched gable roofs with intersecting gables and bargeboard, and bay window with crenulated parapet. Tudor Revival style features of the Memorial Hall include Tudor-arched window and door openings, grouped leaded-glass and casement windows, some with transoms, paneled wood doors, materials with different colors and textures (red brick, limestone, wood and mock half-timbering), and large brick chimneys with decorative brickwork and multiple chimney pots.

The label moldings above the windows are characteristic of the Gothic Revival style (although they are usually only hood moldings and do not form continuous bands in Gothic Revival style buildings), as are the buttresses and entrance portico with its characteristic pendant and quatrefoils. The symmetry of the facades of the Memorial Hall is not typically characteristic of the picturesque Gothic or Tudor Revival styles; but symmetrical facades are often found on Gothic Revival style buildings. The interior layout of the building may have influenced the symmetry, with the center portion of building containing the large auditorium/ gymnasium and the flanking wings containing the smaller meeting spaces and offices; although a 1924 article by Upjohn about Sunday school buildings and parish houses showed asymmetrical floor plans.

Subsequent History

In 1952, on the 250th anniversary of the founding of Grace Episcopal Church, the Memorial Hall was being used by 21 different organizations. The church remains an active congregation whose demographics have changed as the surrounding neighborhood has changed. The Reverend Joseph H. Titus, upon his retirement after 33 years as rector of Grace Church in 1963, noted that when he came to Grace Church in 1930 there were only two or three black families but at the time of his retirement almost 500 of the 650 families in the congregation were black. He noted that they were primarily Anglicans from the West Indies. The Memorial Hall still functions as a parish hall for Grace Episcopal Church. The building is largely intact except for the replacement of some of the window sash, which were arch-headed and square-headed multi-pane leaded-glass casement sash, with transoms at the first and second stories.

Description The Grace Church Memorial Hall is a two story and basement building with gable roofs and has two flanking wings at the north and south facades containing two and one-half stories and basement and intersecting gable roofs. The building is constructed of red brick laid in common bond and has slate gable roofs with bargeboard and brackets. There is a continuous stone course around the building between the basement and first story. The windows (except at the basement, the bay at the east facade, and the west facade) are recessed with brick surrounds. All the arch-headed windows and doors have Tudor arches.

North Facade (90th Avenue): The center portion of the facade has a side facing gable with wings at either end that have front facing intersecting gables. The basement has multi-pane wood casement windows at the east wing, wood casement windows at the center portion, and frosted, wire-glass wood casement windows at the west wing, all with stone lintels and stills. The east wing and center portion basement windows have non-historic metal security grilles. There is an entrance portico at the western end of the center portion. The portico is set on a brick-and-stone base and is constructed of wood with brick infill and has a slate gable roof. It has a Tudor-arch-headed entry with a pendant and carved quatrefoils. The roof has bargeboard and is topped by a wooden cross. The entrance has arch-headed wood-paneled double-leaf doors with leaded-glass windows with mock half-timbering above the door.

A stoop with three bluestone steps (second step also has non-historic red clay tile) and metal railings lead up to the entrance portico. The steps are painted gray and yellow. Above the door within the portico is a modern light fixture. Behind the portico is a pitched slate roof. Above the portico is an arch-headed window opening with a brick header surround, continuous stone band in the shape of label moldings above, a stone sill and four leaded-glass windows. The center portion of the facade has four two-story windows that are similar to the window above the portico but each one has three leaded-glass windows and all are covered with non-historic acrylic glass. The windows are separated by stepped brick buttresses that have stone coping.

The flanking intersecting wings have arch-headed window openings at the first, second and attic stories with brick header lintels (with stone imposts at the first and second stories), stone sills and replacement metal window sash. There is a multi-pane wood casement window with stone lintel and sill at the basement and an arch-headed window opening with double-hung metal sash, brick header lintel and stone sill at the second story of the return wall of the projecting west wing. There are five metal leaders. At the easternmost end of the facade there is a stone cornerstone with the inscription “Memorial House Grace Parish” at the basement and a plaque with the inscription “Grace Church Memorial House” above. South Facade (rear facade): This facade is similar to the 90th Avenue facade except that there is no entrance portico and the second story windows in the wings do not have stone imposts. The entrance is located in the lower half of the westernmost two-story window opening in the center recessed portion of the facade and consists of double-leaf wood doors with small windows and a metal landing and stairs with metal railings. The pickets in the railings form Tudor arches.

The basement windows are multi-pane wood casement in the western wing (the two westernmost windows appear to have replacement sash), single-pane wood casement with metal grilles in the center portion, and multi-pane wood casement with metal grilles in the eastern wing. The windows in the projecting wings above the basement have metal replacement sash. The four two-story stained-glass windows in the center portion of the facade are covered with non-historic acrylic glass. There is a metal vent/alarm at the eastern end of the center portion of the facade, a white electrical box, light fixture and exposed conduit at the first story windows in the western projecting wing, metal grilles at the first story windows in the eastern wing, wires attached across the facade in the center portion and eastern wing above the basement windows, and two metal leaders.

East Facade (Parsons Boulevard): There is an intersecting gable at the center with an angular bay window at the basement, first and second stories. The bay has four multi-pane windows at the basement with stone lintels that form a continuous band and stone sills and two single and a triple window at the first and second stories. The second and third stories of the bay are constructed of wood with panels between the two stories. The bay has a crenulated wood parapet. Above the bay window in the intersecting gable is a triple window in an arch-headed opening with brick header lintel and stone sill. There are windows with stone lintels and sills flanking the bay at the basement and arch-headed window openings with brick header lintels (with stone impost at the first story) and stone sills at the first and second stories. On either side of these windows are large brick chimneys that are capped by three chimney pots.

The chimneys had stone coping between the first and second stories and decorative brickwork in the shaft. All the windows have metal replacement sash except the southernmost basement window, which is a multi-pane wood casement. The facade has a metal alarm box below the northernmost second story window in the bay, four metal leaders and metal window grilles at the basement and first story. West Facade: The northern portion of the facade is recessed with a Tudor-arched entrance door and one concrete step. The door has a stone lintel that forms a continuous band across the facade. There is a metal door and three square-headed multi-pane wood windows, all in arch-headed openings with brick header lintels, at the basement. The southern portion of the facade has a double front-facing gable roof and asymmetrical placement of arch-headed window openings with brick header lintels and stone sills except for a square-headed window opening with stone lintel and sill at the first story below the stone course.

All of the windows have replacement metal sash except the square-headed window opening, which has a twelve-pane wood casement window and the other first story window, which has square-headed multi-pane wood casement sash in an arch-headed opening. There are two small window openings in the gables with vents. The facade has two metal leaders, a metal fire escape from the southernmost attic window, and exposed conduit with light fixtures above the second story windows. There is a brick chimney and an antenna at the southernmost end of the facade. Site Features: There is a chain link fence at the north (90th Avenue) facade with a metal gate at the westernmost end and a historic wrought iron fence at the east (Parsons Boulevard) facade that continues around the cemetery. There are two metal fences (about three feet deep) perpendicular to the facade on either side of the entrance and a chain link fence perpendicular to the building at the west facade between the two southernmost bays. The south (rear) facade of the Memorial Hall is adjacent to the church cemetery and the west facade is adjacent to a parking lot of the neighboring building. There is landscaping at the front and eastern facades and a concrete areaway with one slab of bluestone and a concrete well at the west facade.

– From the 2010 NYCLPC Landmark Designation Report

Posted by Emilio Guerra on 2010-11-09 03:49:12

Tagged: , 10/23/2010 , 23 de octubre de 2010 , 23-X-2010 , 2010 , 2010 walk , Borough of Queens , EE.UU. , Emilio Guerra photo , Estados Unidos , Etats-Unis , Grace Episcopal Church Memorial Hall , Jamaica , Landmark , LP- 2394 , New York , New York City , New York City Landmarks Preservation Commission , Novjorko , Nueva York , NY , NYC , NYCLPC , October 23 , Paseo del 23 de octubre de 2010 , Queens , United States , USA

Great Small House Design 50 and 52 Newhall Street and 54 Newhall Street, Birmingham

50 and 52 Newhall Street and 54 Newhall Street, Birmingham

Old buildings on Newhall Street between Cornwall Street and Great Charles Street Queensway.

This is 50, 52 and 54 Newhall Street.

On the left is 54 Newhall Street.

No. 54 is of 1897 by Henman & Cooper for F.W. Richards, dentist. A quietly three-dimentional design in restrained Jacobean. Brick with dark stone dressings. Porch with banded columns and Cape-style pediment. Ground and first floors with canted bays recessed behind brick pilasters, almost the architects’ signature. The top-floor window sit behind full Doric columns.

From Pevsner Architectural Guides: Birmingham by Andy Foster

54 Newhall Street is Grade II listed.

Circa 1900. Brick with stone dressings; tile roof. Three storeys plus basement
and attic; 2 bays. Ground floor with central porch with blocked Tuscan columns
and segmental pediment and 2 triplets of narrow arched window. First floor
with 2 canted bay windows. Pilasters left and right of ground and first floors
and at centre of first moor support a thin entablature eo that ground and
first floors seem set back within the wall surface. Second floor with 2 tripartite
windows. Boldly bracketted eaves cornice. In the roof two 4-light pedimented
dormer windows.

54 Newhall Street – Heritage Gateway

The corners of Cornwall Street, guarded by a pair of balancing but not identical brick and terracotta corner turrets with domed tops, a delightful piece of townscape. Both are by Essex, Nicol & Goodman, in a Flemish-cum-Jacobean Renaissance style. The smaller circular turret on the west corner belongs to Nos. 50-52, doctors’ consulting rooms of 1896-7. Picturesque functionalism, the wide bays with large windows lighting the consulting rooms. Shaped gables link the design to the larger Nos 43-51 of 1898-1900, opposite on the north corner.

From Pevsner Architectural Guides: Birmingham by Andy Foster

50 and 52 Newhall Street is Grade II listed.

Late C19. Brick and terracotta; tile roof. Three storeys plus basement and
attic; each house 2 bays. No 50 with an additional bay with a polygonal bay
window through first and second floors to mark the corner. Ground floor
windows with depressed arches. Canted bay windows running through first and
second floors. Listed for group value only.

50 and 52 Newhall Street – Heritage Gateway

Posted by ell brown on 2011-01-03 22:39:35

Tagged: , newhall st , cornwall st , great charles st queensway , birmingham , west midlands , england , united kingdom , great britain , 50, 52 and 54 newhall st , 54 newhall st , henman & cooper , f.w. richards, dentist , restrained jacobean , brick with dark stone dressings , porch , banded columns , cape-style pediment , canted bays , brick pilasters , doric columns , grade ii listed , Grade II listed building , brick with stone dressings , central porch , pedimented dormer windows , brick and terracotta corner turrets , domed tops , delightful piece of townscape , essex, nicol & goodman , flemish-cum-jacobean renaissance style , smaller circular turret , doctors’ consulting rooms , picturesque functionalism , consulting rooms , shaped gables , 43 – 51 newhall st , brick and terracotta , tile roof , basement and attic , polygonal bay window , depressed arches , canted windows

amazing Small House Plan Gracy House, 1906

Gracy House, 1906

Built by Luther C. Gracy, a major turpentine dealer, lumberman and civic leader, this magnificent Colonial Revival mansion was constructed of lumber handpicked from Gracy’s own mills. An ardent prohibitionist, Gracy enter-tained Carry Nation here and she gave his children gifts of small wooden axes, the emblems of her work. The home remained in the Gracy family for over sixty years and was the site of three Gracy weddings and seven bridal receptions with as many as 350 people attending. Now converted to apartments, the house has many special architectural features: an asymmetrical design, leaded glass windows, an imposing semicircular portico and colonnaded and balustraded verandas. The interior displays marble fireplaces, coffered entry ceiling and paneling cut from a single native cherry tree.
growth-management.alachua.fl.us/historic/historic_commiss…

Posted by Black.Doll on 2010-05-13 15:55:39

Tagged: , Alachua County , Gainesville , Florida , 1906 , Colonial Revival , George Barber

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