tag:blogger.com,1999:blog-63342224686161561042024-03-05T06:48:18.075-08:00The Preservation ExchangeA place where you can exchange new ideas about saving old buildings.The Preservation Exchangehttp://www.blogger.com/profile/04815941533151361328noreply@blogger.comBlogger165125tag:blogger.com,1999:blog-6334222468616156104.post-68709017639547949902019-10-03T08:46:00.003-07:002019-10-15T07:14:09.957-07:00Breaking Down the 2018 Historic Preservation Economic Impact Report<i>by Derek King, Principal & Director of Operations at Preservation Studios</i><br /><br />It’s that time of year again: Rutgers and the National Park Service have issued their <a href="https://www.nps.gov/tps/tax-incentives/taxdocs/economic-impact-2018.pdf">Annual Report on the Economic Impact of the Federal Historic Credit for FY 2018</a>. By clicking that link, you can get plenty of great summaries, as well as inspiring case studies, but some of the biggest things to take note of are: <br /><ul>
<li>Over 128,000 jobs created </li>
<li>$5.4 billion in income generated </li>
<li>$2 billion in taxes ($700 million of which were state and local) generated </li>
</ul>
<br />This year, rather than digest the report page by page, we’re going to draw attention to some of our favorite tidbits from the report that may get glossed over otherwise.<br /><br /><u>Job Creation</u><br /><br />While a majority of the jobs created were in construction (46K), manufacturing (28K), and “services” (21K), there are some interesting examples of how historic rehab construction has far-flung impacts on other industries as well: <br /><ul>
<li>1,150 jobs were created in mining, most likely tied to aggregate used in most materials, but possibly also in stone used in replication and restoration of lost features. </li>
<li>603 jobs were created in “Agriculture Services, Forestry, and Fish”, which we can assume is mostly lumber-related, but may also be tied to food consumption by job workforces. </li>
<li>330 jobs were created in agriculture seems pretty simple: workers have to eat! </li>
<li>5,211 jobs were created in Finance, insurance, and real estate, which underscores the complexity of any large real estate transaction, but especially a historic tax credit funded project. </li>
<li>4,866 jobs were created in “Transport and public utilities” demonstrating not only the movement of goods, but workers as well, in addition to the work-site needs (electricity, water, etc).</li>
</ul>
<u>Tax Credit Usage By State </u><br /><br /><br /><b>New York</b> still had a big year, but created 3,000 fewer jobs after total rehab costs dropped $200 million from 2017-2018. Even so, New York generated $665 million in income and $111.8 million in state and local taxes, and was still the leader in total rehabilitation costs. <br /><br /><b>Texas</b> is probably one of the best case studies for how the introduction of a matching state historic tax credit can impact total credit usage. In 2015, the state created a 25% state income historic tax credit, and went from generating only $35 million in total rehabilitation costs to $180 million last year in 2017. That $180 million was a full 35% of their total five-year usage, a huge bump likely representing the first batch of projects to complete a full-rehab using state credits in addition to federal credits. In 2018, their total rehab costs skyrocketed to $622 million (a 345% increase), creating 10,054 jobs and generating $33.8 million in state and local taxes. <br /><br />As a counterpoint (suggesting that State Credits are *not* end all, be all), <b>Tennessee</b> is one of just 15 states without any form of historic tax credit, and saw a 1000% increase in rehabilitation expenses, going from $38 million in 2017 to $346 million in 2018. Earlier this year, <a href="https://www.wmcactionnews5.com/2019/03/22/tn-lawmakers-push-historic-tax-credit/">lawmakers</a> and <a href="https://www.tennessean.com/story/opinion/2019/01/25/tennessee-should-join-35-other-states-and-adopt-historic-tax-credit/2667076002/">local leaders</a> pushed for the state to adopt a state credit and their high-usage in 2018 suggests it could help continue a rising trend of investment in their historic building stock <br /><br />Just like Tennessee, ascribing HTC usage to state credits can be tricky, as states with established HTC programs saw major swings, including <b>Ohio</b> (nearly doubling from $488 million in 2017 to $821 million in 2018), <b>Illinois</b> (shrinking from $420 million in 2017 to $266 million in 2018), <b>Minnesota </b>(going from $360 million in 2017 to $85 million in 2018) and <b>Rhode Island</b> (like Tennessee, increasing over $300 million between 2017 and 2018). <br /><br />Notably, <b>Illinois</b> expanded their historic tax credit program this year to take it from a five-city program to statewide, so it will be interesting to see if their usage increases in years to come. <br /><br />The states with the highest number of application approvals in 2018 (<b>New York, Missouri, Virginia</b>, and <b>Ohio</b> all had more than 70 Part 3 approvals, and more than 75 Part 2s) often have pretty similar total rehabilitation costs each year. <br /><br />In states with dramatic changes, there were far fewer Part 2s and Part 3s approved in 2018 (Rhode Island: 17 and 8 respectively; Illinois: 27 and 20; Minnesota: 15 and 10) suggesting major swings in total rehabilitation costs are tied to fewer but larger projects. <br /><br /><b>Alaska</b> (0.0), <b>New Hampshire</b> (0.0), <b>Nevada</b> (0.0), <b>Idaho</b> (0.4), and <b>Wyoming</b> (0.8) had the lowest usage of the historic tax credit last year, and Alaska has not had any certified rehabilitation costs in the last five years (though, to be fair, Nevada has only had $1.4 million and Wyoming $2.7 million in the last five years as well). <br /><br /><br /><u>Interesting Projects</u><br /><br />The photos in the report suggest some very interesting projects that we’d love to get our eyes on (not just their rehabilitation scope, but their National Register nomination): <br /><ul>
<li>Our very own Parkside Candy, a candy and ice cream parlor here in Buffalo NY with an Adamesque-interior, was shown on page 3. </li>
<li>Modernist architecture was front and center with the State Hotel in Dallas, Texas (also page 3) and the Jack Tar Motor Lodge in Durham, North Carolina (page 13). </li>
<li>The Miller Theatre in Augusta, Georgia (page 13) looks stunning, both on its Art Moderne facade and stunning lobby. </li>
<li>I did actually google the Kunia Camp in Hawaii since I was so intrigued-- <a href="https://historichawaii.org/2014/02/19/kunia-camp/">take a look!</a></li>
</ul>
Derek Kinghttp://www.blogger.com/profile/04913078064852467542noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-11381733768554655362019-10-03T08:44:00.001-07:002019-10-15T07:10:44.669-07:00California's New State Historic Tax Credit<i>By Derek King, principal & Director of Operations at Preservation Studios</i><br /><br />With the passing of SB-451, California is poised to become the thirty-sixth state to enact a State Historic Tax Credit program (<i>edit: it was sent to the Governor’s desk on 9/19/19 and signed last week on 10/9/19</i>). It combines many of the most successful features of other programs, as well as adds additional benefits and components that may become models for existing programs as well as future HTC programs to emulate. Though contentious (Curbed LA painted as <a href="https://la.curbed.com/2019/5/31/18647381/california-housing-homelessness-crisis-bills">“a deal to not only to preserve the state’s most expensive real estate, but to give the state’s wealthiest homeowners additional money to do so”</a>), the passage of this credit should alleviate some concerns of the affordable housing and anti-gentrification community, as well as align with many of California’s environmental goals. <br /><br /><u>Historic Preservation Incentives</u><br /><br />One of the biggest incentives available to historic rehabilitation projects is the Federal Historic Tax Credit, an income tax credit equal to 20% of qualified rehabilitation expenses (nearly all hard and soft costs associated with the rehab, minus acquisition and site work). The Federal credit has proved to be one of the most cost-effective stimulus programs; since 1978, $30.8 billion in (inflation adjusted) tax credits have created $162 billion in total investment, and generated $35.9 billion in Federal Tax receipts. <br /><br />Many states have created additional incentives to redevelop historic properties, since in addition to those $35.9 billion in Federal Taxes, historic tax credit projects carry an additional $14.4 billion in state and local taxes created since 1978. These programs are all administered differently, with various levels of incentives and requirements, but the most successful programs allow developers to access as-of-right state credits that match the Federal historic tax credit. New York, for instance, has a 20% state income tax credit capped at $5 million per project, and while there can certainly be improvements, it also stimulated nearly three-times as much usage of the Federal credit as the next closest state. <br /><br />Prior to this bill in California, the only major incentive to revitalize and maintain historic properties, outside the Federal historic tax credit, was the State’s “Mills Act.” This allowed “historic properties” (local, state, or National significance and designation) to receive a property tax freeze at the pre-rehabilitation rate for up to ten (10) years, and typically only available to properties with a value under $1-1.5 million (though some municipalities allow exceptions). While very lucrative in a state with high property taxes like California, the property tax freeze does not help developers, big and small, access other sources of capital often needed to make affordable housing or projects in riskier markets viable. <br /><br /><br /><u>The New California Historic Tax Credit</u><br /><br />The bill, which was proposed by State Senator Toni Atkins, meant to bring California in line with national trends in incentivizing the redevelopment and preservation of historic buildings. Even without a state HTC, California was 10th in the country in total usage of the Federal Historic Tax Credit from 2013-2017, but was 20th in usage in 2017, suggesting it is primarily used by fewer but larger projects generally than in other states. <br /><br />The credit itself stacks up favorably to other states, as at its base, it will will: <br /><ul>
<li>create a 20% historic tax credit allocated on a first-come-first-serve basis to applicants,</li>
<li>allocate $50 million a year, with the balance rolling over to subsequent years,</li>
<li>create a 20% homeowner credit for projects with at least $5,000 in expenses and capped at $250,000 (which would result in a $50,000 credit).</li>
<li>require that Application note job creation totals (before and after rehab), expected increase in tax revenues (local, state, and federal), and what other incentives are being utilized. </li>
</ul>
<br />From there, however the credit has several features which will not only help its success, but make it a model for other states: <br /><br />While the program does not cap the per-project allocation (something most states use to prevent all the credits being used by one or two large projects), it does set aside $10 million for two subsets of projects: <br /><ul>
<li>$8 million will be set aside for commercial projects with QREs under $1 million (surplus rolled over to subsequent years) </li>
<li>$2 million for the historic homeowner credit program (surplus rolled over to subsequent years) </li>
</ul>
<br />Commercial projects that include one of the following will be eligible for an addition 5%: <br /><ul>
<li>The project includes affordable housing for lower income households </li>
<li>The project is located in a designated census tract </li>
<li>The project is a transit-oriented development that promoted high-density, mixed use within one-half mile of a transit station </li>
<li>The project is on “Federal Surplus Property” or a part of a military base reuse</li>
</ul>
The law has the following goals: <br /><ul>
<li>Leverage the credits into $287 million in private investment </li>
<li>Create 1,300 construction jobs and an additional 2,140 ongoing jobs </li>
<li>Create $800 million in economic activity </li>
</ul>
<br /><u>Other Benefits of the State Historic Tax Credit</u><br /><br />Though its goals do not directly state as much, the credit will have a huge impact on creating additional affordable housing as well as continuing California’s legacy as a leader in the environmental sustainability movement. Lastly, by incentivizing smaller projects in low-income census tracts, the program has the potential to drive employment to sectors often left-behind by the tech-boom. <br /><br />In particular, the addition of an extra 5% for low-income housing projects is a huge incentive for developers debating whether to create affordable or market-rate projects. The ability for affordable housing projects to accumulate credits totaling 45% of their rehabilitation costs before any other incentive is counted can not only make otherwise unviable low-income projects manageable, but may even promote additional creation as well. <br /><br />This extra 5% may seem small, but when taken in the context of how low income housing tax credits (LIHTCs) are allocated, it can make all the difference. California is allowed to issue only a certain number of LIHTCs by the Federal Government, so they are allocated to projects on a competitive basis, with project scoring based on a variety of factors, including the use of other sources that minimize the demand for LIHTCs.<br /><br />In New York State, this has meant that projects that utilize historic tax credits (and thus require less LIHTCs) have become more and more common. This has the dual effect of 1) incentivizing the redevelopment of historic properties for low-income housing, but also 2) allowing more projects to utilize LIHTCs by lowering the requested amount per-project. Though many think of “historic preservation” as creating house museums and benefiting the wealthy, an adaptive reuse of an abandoned or underutilized historic warehouse, factory, or school building into affordable housing can add just as much density to a neighborhood as a high-rise, without many of the negatives (most notably displacement) associated with those new developments. <br /><br />Another important benefit to remember when considering the impact of historic tax credits <a href="http://www.dahp.wa.gov/sites/default/files/209SustainabilityStudy_ExecutiveSummary.pdf">is the environmental component. </a>Often environmental proponents advocate for new, LEED certified new construct, but this ignores that fact that not only can older buildings be updated to be more efficient, but there are other sustainability arguments to consider as well. <br /><br />First we should consider the solid waste component, as it’s estimated that the average building demolition yields 155 pounds of waste per square foot. In addition to the solid waste is the embodied energy (the energy used to harvest materials, construct, and finish a product essentially) wasted when a building is demolished: the Advisory Council on Historic Preservation noted in 1979 that there are about 80 Billion BTUs of energy embodied in a typical 50,000 square-foot building, the equivalent of 640,000 gallons of gasoline. Lastly, older commercial buildings constructed before the widespread use of air conditioning, heating, and electricity were designed specifically to take advantage of natural daylight, ventilation, and solar orientation (key criteria when evaluating environmentally sustainable buildings today), and constructed with materials that often have much longer lifespans than modern materials.<br /><br />The last important benefit we’ll consider when looking at the impact of the historic tax credit is job creation. <a href="https://www.nps.gov/tps/tax-incentives/taxdocs/economic-impact-2018.pdf">In the latest report on the impact of the Federal Historic Tax Credit</a> , it’s estimated that HTC-projects created over 129,000 jobs, with a majority of job creation in construction, manufacturing, and retail. The interesting thing to note, however, is that due to our interconnected economy, many jobs outside of directly related fields are impacted, with nearly 7,500 jobs created in the agricultural, forestry and fishing, mining, government, and transportation and public utility sectors. In California in 2018, even without a matching State Credit, 2,196 jobs were created as part of historic tax credit-funded projects, which we’d expect to increase dramatically (Texas, for instance, has seen the job creation from HTC projects skyrocket since the introduction of their credit in 2015, with 10,000 of the 17,000 jobs created since 2014 happening last year), with many of those jobs coming outside the tech-industry, and as far away from city-centers as rural farmland. <br /><br />Despite some attempts to paint the passage of the California historic tax credit as a handout to the wealthy while other housing goals were not prioritized, there is a huge potential for the credit to catalyze further affordable housing creation, contribute to California’s status as a leader in environmentally sustainability, and create much-needed jobs in sectors left behind by the tech-boom (agriculture, retail, manufacturing) as well as thousands of entry-level and specialized trade construction opportunities. The credit is not only a great first step, but many of its features may soon be replicated in other states looking to create their own historic preservation incentive, or even looking to improve their historic tax credits. <br /><br /><br /><br /><br /><br /><br /><br />Derek Kinghttp://www.blogger.com/profile/04913078064852467542noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-86768540760417490642018-10-05T09:59:00.000-07:002018-10-05T09:59:22.418-07:00Jamestown's Great Industry<i>Matthew Shoen</i><br />
<i>Associate Architectural Historian</i><br />
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Jamestown, New York is an unassuming little city in the heart of Chautauqua County. It is a city you likely never think about unless you're a local. However, if you peel back the layers of time, Jamestown's fascinating history becomes apparent. This small community of less than 50,000 once had one of the most vibrant economies in New York. Surrounded by hardwood forests and conveniently located near major markets in the Ohio River Valley and Pittsburgh, Jamestown developed into a center of furniture manufacturing. This industry sustained Jamestown for much of the 19th century and drew thousands of skilled Swedish woodworkers to the city. However, in 1873 textile manufacturing, specifically the production of worsted goods, took the city by storm, bringing with it a new group of immigrants and making several local residents extremely wealthy.<br />
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Textile manufacturing came to Jamestown largely under the influence of one man, William Broadhead. Broadhead was an English immigrant who came to Jamestown in 1843 and operated a locally successful manufacturing company with his father in-law. In 1873 Broadhead took a trip back to England to visit his hometown. In the thirty years since his departure from the Bradford area, the local economy had been transformed by the mechanization of textile production. Previously, textiles had been a cottage industry and garments had been produced by women as a means of providing extra money for their families. The invention and widespread use of mechanical looms changed this and textile companies were organized throughout the area to purchase raw wool and transform it into dressed cloth. These new companies provided employment to hundreds of people and turned out a far greater volume of cloth than the older hand weaving methods.<br />
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Broadhead saw this and recognized the economic opportunity of bringing English manufacturing methods to his adoptive hometown. So, while in England Broadhead started to purchase weaving machinery and hired experienced men to operate his proposed factory. Broadhead returned to Jamestown late in 1873 and soon after the Jamestown Worsted Mill opened and started to produce dressed goods. Within two years Broadhead had sold his claim in the Jamestown Worsted Mill and opened his own company, the Broadhead Worsted Mills. This new firm had 500 looms and by the 1880s it was consuming 400,000 pounds of raw wool annually, forcing the company to start sourcing wool from Argentina, New Zealand, and Australia. This wool came to Jamestown by way of the Erie Railroad whose tracks went past the Broadhead mill.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5zknrKm-PhoOL7T0Ku9gH7hlk0UFLynKA3ZaTMz-xmeCst0tuNCbeBpWdMYUkZmnJufCBNzdalSScCRwl8y177_swftnYj4Vl2PC3Iply1xLrBfazF7AQHSktjvRpe1_9hRFsDm1SEw/s1600/Broadhead.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="376" data-original-width="621" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5zknrKm-PhoOL7T0Ku9gH7hlk0UFLynKA3ZaTMz-xmeCst0tuNCbeBpWdMYUkZmnJufCBNzdalSScCRwl8y177_swftnYj4Vl2PC3Iply1xLrBfazF7AQHSktjvRpe1_9hRFsDm1SEw/s640/Broadhead.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Broadhead Worsted Mills industrial works</i></td></tr>
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By 1892 William Broadhead's net worth had reached $1,000,000 making him Jamestown's first millionaire; additionally the Jamestown Worsted Mill and the Broadhead Worsted Mill employed close to 2,000 people, making textile manufacturing one of the two most important industries in Jamestown. Owing to the success of the mills Broadhead founded, other textile firms like the Empire Worsted Mills and the Falconer Towel Company organized in the 1880s and 1890s. Like the older mills these new concerns employed a significant population of English immigrants who made up one of the largest immigrant groups in Jamestown by 1900.<br />
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The influence of English laborers and factory managers is evident upon a quick perusal of old newspapers from Jamestown. English men organized cricket leagues as well as football associations. Each major worsted mill had its own association football team and there were cup competitions between the associations that culminated with the winning association receiving a silver cup and gold medals for their achievement. In addition to football clubs and cricket teams, the English organized fraternal organizations such as Lodge 107 of the Sons of St. George.<br />
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Worsted milling remained a key component of Jamestown's economy up until around 1950. By that time competition from non-unionized southern mills and a fall in the demand for worsted garments (which were typically high end suits and other items of formal wear) led to the shuttering of many of Jamestown's worsted mills. Equally tragic, many of these large industrial complexes were demolished. Only the Empire Worsted Mills' works remain intact, the last vestiges of Jamestown's once mighty textile manufacturing sector.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS4p_R7_0LRO_FmBLDCn0q2gdGzYcsIPNp9bChcrlttUuMhm5ISl8saSJFdvctRMqTm-nDV8naOzgNO5YBT7CMilchvpiwng1RIDFiY3CIaTxrDxNHvLUfdPRYtBjSKX1ozsF2_cVMF6Q/s1600/Empire+Worsted.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="363" data-original-width="668" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS4p_R7_0LRO_FmBLDCn0q2gdGzYcsIPNp9bChcrlttUuMhm5ISl8saSJFdvctRMqTm-nDV8naOzgNO5YBT7CMilchvpiwng1RIDFiY3CIaTxrDxNHvLUfdPRYtBjSKX1ozsF2_cVMF6Q/s640/Empire+Worsted.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Painting of the Empire Worsted Mill<br /><br /></i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzq97xsYeGHLchfl0LTSMPNrYVpcMR7Xqfc9mEWW_uW03bMW8unBWChdkGkYe31Ni9-SZeGOD-3oIDfJfrdkmOqa0eFK3qY707_AwyU3NjuDIw6ibdfLTOMQxvbB2I5gVYF3WyIunzNiM/s1600/empire+mill+phic.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="927" height="572" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzq97xsYeGHLchfl0LTSMPNrYVpcMR7Xqfc9mEWW_uW03bMW8unBWChdkGkYe31Ni9-SZeGOD-3oIDfJfrdkmOqa0eFK3qY707_AwyU3NjuDIw6ibdfLTOMQxvbB2I5gVYF3WyIunzNiM/s640/empire+mill+phic.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Facade of the Empire Worsted Mill</i></td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-19683986191866762772018-10-05T07:54:00.001-07:002018-10-05T07:54:10.637-07:00Before it was Record Theatre<br />
<i>Matthew Shoen</i><br />
<i>Associate Architectural Historian </i><br />
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After Record Theatre closed in 2017 people started to speculate what would happen to the old building which had served as a gathering place for music lovers in Buffalo for close to fifty years. The building, sheathed in dull yellow metal siding, seemed like a questionable candidate for historic tax however a deep dive into the permit card vault in City Hall revealed an interesting truth beneath all that metal cladding.<br />
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This is the original facade of Record Theatre, a facade that had been buried under the metal cladding which was installed in the 1970s. Prior to that renovation, the building was known as the Monroe Building and was used by a variety of businessmen to sell automobiles.<br />
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The Monroe Building was built in 1920 for local automobile dealer Charles F. Monroe, a licensed agent for the Marmon and Velie Motor Companies. Monroe had been involved in Buffalo's auto trade since 1904 and was one of the city's many prosperous dealers. Due to Buffalo's high percentage of millionaires, the city had a thriving auto trade by the 1910s with many wealthy residents purchasing vehicles to flaunt their social status. Buffalo was also located close to major metropolises in northern Pennsylvania, eastern Ohio, and Ontario and car manufacturers licensed dealerships to sell their vehicles to consumers who traveled to Buffalo in order to purchase cars.<br />
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By the time Charles Monroe commissioned architect G. Morton Wolfe to design the Monroe Building, Main Street had developed a reputation as 'Automobile Row' due to the number of dealerships, garages, and specialty stores that catered to automobile owners. Every major automobile manufacturer had a presence on Automobile Row and consumers could travel up and down Main Street and peruse the newest vehicles from Pierce-Arrow, Packard, Ford, Marmon, and others. To further promote automobile sales along, Buffalo's dealers organized yearly expositions in the city's various armories. These expos drew tens of thousands of people and were major showcases for America's car companies.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Expo in the Connecticut Street Armory</i></td></tr>
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The prosperity of the 1910s and 1920s could not last forever and the Great Depression hit many of Buffalo's automobile dealers with a fatal blow. Because many companies had based their business model around selling luxury vehicles, they were unable to survive the economic downturn that ate into the finances of their clientele.<br />
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In 1931 Charles F. Monroe filed for bankruptcy and the Monroe Building was put up for auction where the Ford Motors Company ultimately purchased it. Ford immediately renovated the Monroe Building to reflect a new model of dealership the company wanted to create. Ford wanted to create a full service center with factory trained mechanics and parts for every model of Ford vehicle on the market. Ford's plan emphasized service and offering expert repairs, an important consideration for cash strapped Americans who needed their vehicles to last longer in the Depression years.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Interior of the Monroe Building in 1932</i></td></tr>
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Ford's ownership of the Monroe Building lasted for roughly five years and after the company sold the Monroe Building to a local dealership called Birk & Bailey Incorporated, the property passed through the hands of several other automobile dealers before Leonard Silver purchased it and transformed the building into Record Theatre.<br />
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So there you have it, a building that outwardly looks like an unimpressive box store actually possesses a long and fascinating history that highlights Buffalo's early automobile history. Hopefully in the coming years something can be done to restore this beautiful piece of Buffalo's architectural and automotive legacy to its original form. Or at least maybe someone could peel off that metal siding!<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-4695761496479613152018-09-17T09:27:00.000-07:002018-09-17T09:27:17.395-07:00PresStudios Opens Long Island Office; Hires New Associate Director
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
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<br />
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PRESERVATION STUDIOS
LLC OPENS LONG ISLAND OFFICE, <o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
HIRES ASSOCIATE
DIRECTOR OF ARCHITECTURAL HISTORY<o:p></o:p></div>
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<br /></div>
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September 17, 2018—Buffalo, NY—Preservation Studios announced
Wednesday that they have finalized terms with Karen Kennedy, M.S., co-founder
and principal at TKS Historic Resources Inc, to become the company’s Associate
Director of Architectural History and run a new office for the company out of
Long Island. <o:p></o:p></div>
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This announcement formalizes nearly a decade of
collaboration between the two firms, which includes the creation of five
historic districts and<span style="mso-spacerun: yes;"> </span>two cultural
resource surveys throughout Western New York. Ms. Kennedy founded TKS Historic
Resources with architectural historian Sar<span style="background-color: white;">ah <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Apmann in 2002,</span> with projects </span>including the
National Register listing of the John Coltrane House in Long Island, and a
11,000 property survey of the City of Yonkers. <o:p></o:p></div>
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“We’re excited to bring on Karen and strengthen our ability
to provide preservation services across New York State, including historic
districts, surveys, and historic tax credit projects,” said President Jason
Yots. <o:p></o:p></div>
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Ms. Kennedy will run the company’s new Long Island office,
as well as assist Director of Architectural History Caitlin Moriarty, Ph.D in
preparing National Register nominations for historic districts and historic tax
credit projects across New York State. Dr. Moriarty, based in Preservation
Studios’ Buffalo office, has led the company’s Architectural History department
since 2016. Ms. Kennedy will also support company founder and current Director
of Municipals Services Tom Yots in providing preservation planning and cultural
resource surveys to nonprofits and communities across the state<o:p></o:p></div>
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The new Long Island office for Preservation Studios will be
located at 169 Sequams Lane Center, West Islip, New York 11795. Inquiries
related to preservation activities on Long Island and across the state can be
directed to the company’s main office, or to the new Long Island office at 631-807-3889.<o:p></o:p></div>
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Founded in 2002, Preservation Studios offers a variety of
preservation-related services, including preparation of individual and historic
district National Register nomination, tax credit financing and development
services, local preservation planning and programming, and technical services
designed to help architects and developers navigate the Secretary of Interior
Standards for Rehabilitation. The company has grown to a staff of ten, and is
working on over 150 active tax credit projects across New York State in
addition to other preservation projects.<span style="mso-spacerun: yes;">
</span><o:p></o:p></div>
<!--EndFragment--><br />Derek Kinghttp://www.blogger.com/profile/04913078064852467542noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-32086156915707384562018-08-02T10:47:00.002-07:002018-12-07T13:33:03.426-08:00Historic Tax Credit Update: The Sky is Not Falling, But Work Still Remains<!--[if gte mso 9]><xml>
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<i style="font-size: 12pt;">By: Jason Yots, President, Preservation Studios</i></div>
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<o:p></o:p></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">“This program was as good as dead”<o:p></o:p></i></div>
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<br /></div>
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I’m an historic tax credit attorney
and developer.<span style="mso-spacerun: yes;"> </span>I’m also an historic
preservation consultant.<span style="mso-spacerun: yes;"> </span>So, when
Congress proposed to eliminate the federal historic tax credit (HTC) program
last fall, let’s just say I had a few sleepless nights.<o:p></o:p></div>
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<br /></div>
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Fortunately, I had a productive
outlet for my anxious energy through the loosely knitted coalition of HTC
stakeholders and preservation advocates that made it their (second) job to
retain the HTC program.<span style="mso-spacerun: yes;"> </span>Industry groups
and agencies at the national, regional and local levels led a relentless
lobbying and advocacy campaign to save HTCs.<span style="mso-spacerun: yes;">
</span>By any measure, the advocacy response on behalf of the program was unprecedented.<span style="mso-spacerun: yes;"> </span>After all, the HTC program has performed so well,
for so long, that there had never been a meaningful attempt to eliminate it,
until the fall of 2017. <span style="mso-spacerun: yes;"> </span>And the 2017 bid
to eliminate the HTC was indeed meaningful. <span style="mso-spacerun: yes;"> </span>As a Beltway lobbyist remarked at a recent HTC
development conference: “I did not expect to be back here this year; this
program was as good as dead six months ago.”<span style="mso-spacerun: yes;">
</span><o:p></o:p></div>
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<br /></div>
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But it survived.<span style="mso-spacerun: yes;"> </span>Not entirely surprisingly, I suppose, given
what the HTC program has weathered during the last ten years alone: <span style="mso-spacerun: yes;"> </span>from an economic recession that crippled the construction
industry (2008) to an anti-industry tax case that rocked the program (2012) to IRS
regulations that countered decades of settled industry practice (2016).<span style="mso-spacerun: yes;"> </span>Each of those events damaged the value of the
federal HTC (as the 2017 changes certainly will), but none of them killed the
program.<o:p></o:p></div>
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<br /></div>
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That being said, while the federal
HTC program survived, it sustained a pruning.<span style="mso-spacerun: yes;">
</span>The House’s slash-and-burn tax bill was draconian toward the HTC:
outright repeal effective as of year-end, with a precariously short transition
period for projects already underway.<span style="mso-spacerun: yes;"> </span>In
anticipation of the tax reform bill’s quick passage in the House, the HTC
industry turned its attention, and lobbying efforts, to the Senate.<span style="mso-spacerun: yes;"> </span>After topsy-turvy deliberations that
initially included repeal, Senator Cassidy (R, Louisiana) led an effort to
retain the HTC, proposing instead to downgrade it to a “five-year” tax credit
(more on that in a minute) and to eliminate the “non-historic” 10% rehabilitation
tax credit.<span style="mso-spacerun: yes;"> </span>That proposal ultimately won
the day, and the industry immediately moved to analyze the new law and its
market impact heading into 2018.<o:p></o:p><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgjwniiRKfMVu1RLH3D-_yTfOq1KN-Wc3DPTFGOT9fPoFb1esw40ZAlCHO1ZM-AiVCqmV6_jGNGXwZRuYtQsS7lsohmodwrnC6I0kCpnxhSdv7ApVKiIfT2hNen_8sVGBK1BKFJQk_SM/s1600/S-1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgjwniiRKfMVu1RLH3D-_yTfOq1KN-Wc3DPTFGOT9fPoFb1esw40ZAlCHO1ZM-AiVCqmV6_jGNGXwZRuYtQsS7lsohmodwrnC6I0kCpnxhSdv7ApVKiIfT2hNen_8sVGBK1BKFJQk_SM/s400/S-1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Developers Jason Yots and Karl Frizlen leveraged Historic Tax Credit Investment <br />in the rehabilitation of 170 Florida Street, Buffalo NY</i></td></tr>
</tbody></table>
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<i style="mso-bidi-font-style: normal;">A Whole Lot Better Than No Credit At All</i><o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>A primary
goal during tax reform negotiations was to find sources of revenue to offset
the expensive tax cuts Congress sought.<span style="mso-spacerun: yes;">
</span>On a dynamic basis, the HTC program more than pays for itself, once all
economic activity resulting from the HTC investment is accounted for.<span style="mso-spacerun: yes;"> </span>However, on a static basis, the HTC program
looks like a give-away of taxpayer money because that method only accounts for
the cost to the government.<span style="mso-spacerun: yes;"> </span>Not
surprisingly, the tax reform “scoring” process was largely static, and the HTC
scored “high” enough to be lumped in with other budget-plugging cuts in the
House bill.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<span style="mso-tab-count: 1;"> </span>The HTC
program has always enjoyed bipartisan support, and bipartisanism ultimately
saved the program.<span style="mso-spacerun: yes;"> </span>The House’s static
valuation approach, however, ignored one of the HTC industry’s strongest
advocacy talking points: that the program is a lean government catalyst that
sparks far more economic activity than it costs taxpayers.<span style="mso-spacerun: yes;"> </span>Instead, HTC proponents emphasized more
traditional arguments in favor of the program, such as the deep community
impact afforded by many HTC projects and the fact that the program is an
effective rental housing and middle-class job creator.<span style="mso-spacerun: yes;"> </span>These more accessible grassroots arguments
caught the attention of both politicians and their constituents, and the effort
to save the HTC gained traction.<o:p></o:p></div>
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But Senator Cassidy and his
coalition still needed to reduce the HTC program’s static cost to the Treasury
to ensure its survival, leading to the five-year credit that became effective
at the end of 2017.<span style="mso-spacerun: yes;"> </span>Under the old HTC
program, a taxpayer/investor receives her HTCs in the year that her project is
“placed in service” (available for legal use).<span style="mso-spacerun: yes;">
</span>Under the new HTC program, HTCs now are available “ratably” over the
five-year period beginning with the project’s placement in service.<span style="mso-spacerun: yes;"> </span>While reducing the hit to the federal budget,
this shift also reduces the market value of federal HTCs because a
taxpayer/investor is receiving the same tax benefit over a longer period of
time.<span style="mso-spacerun: yes;"> </span>From a simple time-value
perspective, HTCs are now worth less than they were under the old HTC
program.<span style="mso-spacerun: yes;"> </span>In New York, we’re seeing this
programmatic change translate into a $.10 - $.15 decrease in gross “pricing”
for federal HTCs available under the new program.<span style="mso-spacerun: yes;"> </span>On a $10 million project, that translates
into roughly $200,000 – 300,000 in lost HTC value.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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While this lost HTC value will
require more resources from developers and economic development agencies in the
short-run, it will not kill many New York projects, in part due to proactive changes
recently made to New York’s HTC program, explained in more detail below.<span style="mso-spacerun: yes;"> </span>As a result, the general consensus among HTC
industry members is that the five-year credit will remain workable for most
deals, and certainly is a whole lot better than no credit at all.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">The Sky Is Not Falling, But Work Remains<o:p></o:p></i></div>
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<br /></div>
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The good news is that the HTC
program likely will survive for the foreseeable future; the not-as-good news is
that the less valuable five-year format likely also will.<span style="mso-spacerun: yes;"> </span>Whether or not Republicans retain control of
the House in November 2018, it is unlikely that the sweeping “tax reform” that
was accomplished in 2017 could be repeated any time soon.<span style="mso-spacerun: yes;"> </span>In reality, past tax code overhauls have
proven to be generational, at their quickest (the last was in 1986).<span style="mso-spacerun: yes;"> </span>Also, the Treasury Department still has not
issued most of the technical clarifications required to smooth over the hastily
drafted and adopted 2017 law (for example, “ratably” was not defined in the new
HTC law, but the concept is central to its operation).<span style="mso-spacerun: yes;"> </span>To the extent that we do see Tax Reform 2.0
soon, it likely will be a much narrower bill that focuses on technical
corrections to the 2017 law.<span style="mso-spacerun: yes;"> </span>And, if
Democrats gain control of the House in November, the HTC program is almost
assured of survival, if not improvement.<o:p></o:p></div>
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<br /></div>
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While the sky may not be falling,
there remains work to be done to protect and improve the HTC programs.<span style="mso-spacerun: yes;"> </span>For their part, New York lawmakers acted
proactively this year to separate and protect New York’s HTC from devaluation
as a result of the federal HTC changes. First, New York HTCs were “decoupled”
from federal HTCs so that New York HTCs will remain one-year tax credits,
rather than five-year.<span style="mso-spacerun: yes;"> </span>This change has
helped to stabilize the market value of New York HTCs, and may even increase
their value now that the federal corporate tax rate has been reduced to 21%
(state HTCs are federally taxable).<span style="mso-spacerun: yes;">
</span>Second, the New York HTC program was extended through the end of 2024,
removing investor uncertainty that was growing in anticipation of the New York
program’s prior 2019 sunset.<o:p></o:p></div>
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<br /></div>
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On the federal side, it will be an
uphill climb to restore the federal HTC program to its 2017 format, whether or
not the House flips in November.<span style="mso-spacerun: yes;"> </span>This is
due to a number of factors, including more pressing legislative priorities and
a growing consensus among some HTC industry members to leave well-enough alone
and focus on getting deals done under the new program.<span style="mso-spacerun: yes;"> </span>However, while we may not see a feasible
proposal to restore the old HTC program, we have already seen legislative
efforts to improve the program in other ways.<span style="mso-spacerun: yes;">
</span>Recently, a bipartisan group of lawmakers introduced the Historic Tax
Credit Enhancement Act (<span style="background: white; color: #222222; font-family: "arial" , sans-serif; font-size: 11.0pt;">S</span>.
3058 and H.R. 6081), which would eliminate the requirement for a taxpayer to
reduce her tax basis in an historic building by the amount of the federal
HTC.<span style="mso-spacerun: yes;"> </span>In short, that change would eliminate
complications created by the 2016 IRS regulations mentioned above, would generally
boost the net value of HTCs and would help to broaden investment options for HTC
projects.<o:p></o:p></div>
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<br /></div>
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<span style="font-size: 12pt; text-indent: 0.5in;">If we’ve learned anything from the
2017 tax reform, it’s that even a successful federal economic development
program that has enjoyed bipartisan support for nearly 40 years is vulnerable
to ideological shifts in Congress.</span><span style="font-size: 12pt; text-indent: 0.5in;"> </span><span style="font-size: 12pt; text-indent: 0.5in;">To
protect against early extinction, HTC industry members and preservation
advocates must remain battle-ready, even during apparent times of peace.</span><span style="font-size: 12pt; text-indent: 0.5in;"> </span><span style="font-size: 12pt; text-indent: 0.5in;">If we allow complacency to creep back in, we
may be doomed to repeat history.</span></div>
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<o:p></o:p></div>
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<br /></div>
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______________________<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Jason Yots is the President and a principal of Preservation
Studios (<span class="MsoHyperlink"><a href="http://www.preservationstudios.com%29/">www.preservationstudios.com)</a></span>.<span style="mso-spacerun: yes;"> </span>He also is partner in the law firm of
Borrelli & Yots PLLC (<span class="MsoHyperlink"><a href="http://www.borrelliyots.com%29/">www.borrelliyots.com)</a></span> and the
founder of Common Bond Real Estate LLC, a developer of historic properties in
Buffalo, New York.<o:p></o:p></div>
<!--EndFragment--><br />Derek Kinghttp://www.blogger.com/profile/04913078064852467542noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-31023227020591819772018-05-01T13:36:00.000-07:002018-05-01T13:36:08.070-07:00The Assassination Tour, William McKinley's Last Days<i>By Matthew Shoen</i><br />
<i><br /></i>
<i>Associate Architectural Historian at Preservation Studios</i><br />
<i><br /></i>
<br />
On September 6, 1901 a pair of gunshots rang out at the Pan-American Exposition in Buffalo. The President of the United States collapsed and Polish anarchist named Leon Czolgosz was arrested for shooting the President. Over the next eight days people waited breathlessly, praying for the President's survival. Unfortunately, the bullet wounds, coupled with complications from an operation to remove one of the bullets which had lodged itself somewhere in the President's lower abdomen killed President McKinley on September 14, 1901. That afternoon Vice President Theodore Roosevelt came to Buffalo where Judge John R. Hazel swore him into the office of President.<br />
<br />
The assassination of William McKinley led to widespread mourning as well as public outrage. On the day of McKinley's funeral the infrastructure of the entire country came to a halt for five minutes to mark the occasion. While many grieved, many more were angry at the ease with which Czolgosz carried out his crime. America had suffered its third assassination in 36 years and McKinley's death prompted Congress to authorize the Secret Service to act as full time guards to the president.<br />
<br />
In Buffalo the assassination cast a pall over the Pan-American Exposition which continued for another two months and to this day Buffalo shares a morbid bond with Dallas and Washington D.C. as the only cities where an American President has been assassinated. Many of the sites crucial to understanding the assassination and its immediate aftermath are still standing and today I decided to create a guide for anyone interested in walking through the history of William McKinley's assassination at the hands of Leon Czolgosz.<br />
<br />
<i>Part I: The Assassination</i><br />
<i><br /></i>
William McKinley was assassinated inside the Temple of Music one of the many buildings erected for the Pan-American Exposition that was later torn down.<span style="font-size: xx-small;">1 </span>After the Exposition buildings were torn down, the land was subdivided and sold to developers and prospective homeowners. The Parkside neighborhood developed over the exposition grounds and the historic tour begins in this neighborhood. Though the Temple's exact location will never be known, the Buffalo Historical Society placed a memorial rock at 30 Fordham Drive to commemorate the temple's approximate location.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCgB_ZqwyxT-GYTmm5kDF4zkRZ6Q3ypPB1QLYmqI-kmTpLpXQB10xIU6gKUB1y8TpuxSQuVnH36vnaJ5jZvr3_UZ7iEGbhKwuptZLPJkw-jh48vnFliLs7rxgN_vCZ4q0BhTFXIJLwZM/s1600/Tmeple.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="335" data-original-width="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCgB_ZqwyxT-GYTmm5kDF4zkRZ6Q3ypPB1QLYmqI-kmTpLpXQB10xIU6gKUB1y8TpuxSQuVnH36vnaJ5jZvr3_UZ7iEGbhKwuptZLPJkw-jh48vnFliLs7rxgN_vCZ4q0BhTFXIJLwZM/s1600/Tmeple.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Temple of Music</i></td></tr>
</tbody></table>
<span style="font-size: xx-small;"><br /></span>
<i>Part II: The Assassin </i><br />
<i><br /></i>
Immediately after shooting President McKinley, a mob of enraged and vengeful people piled on top of Czolgosz and started to beat him senseless. Eventually police officers pulled Czolgosz out of the Temple of Music and moved to Police Precinct 13 at 346 Austin Street in Black Rock. Czolgosz's stay at Precinct 13 was brief. Within days he was moved to police headquarters and later to Auburn State Prison where he remained during his trial and where he was executed on October 29, 1901 by way of the electric chair.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflWbN2dIiGKItzez4Jd5yNjKK-1bbxbgiKWIIz4kpVMfUAIbtbYQmLnulPlvSZ_3w3w6WZ012NC4F975Wg98CeSUv9w0FfrH8se3-VAeKq_til7Ym3S0DcHVF47eKODB5XZdiJt4_riU/s1600/Precinign.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="780" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgflWbN2dIiGKItzez4Jd5yNjKK-1bbxbgiKWIIz4kpVMfUAIbtbYQmLnulPlvSZ_3w3w6WZ012NC4F975Wg98CeSUv9w0FfrH8se3-VAeKq_til7Ym3S0DcHVF47eKODB5XZdiJt4_riU/s400/Precinign.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Police Precinct 13 </i></td></tr>
</tbody></table>
<i>Part III: The Operation, Convalescence, and Death of President McKinley </i><br />
<br />
Immediately after being shot William McKinley was guided to a chair in the Temple of Music and from there conveyed to the Exposition's hospital building. Here two locals, Dr. Herman Mynter and Dr. Matthew Mann attempted to operate and remove the bullet that had penetrated McKinley's abdomen. The doctors worked in difficult conditions and had to reflect sunlight into the operating room to better see what they were doing. Further their attempts to probe for the bullet yielded nothing aside from the discovery of entry and exit wounds in McKinley's stomach which were sewn up. Following the surgery, President McKinley was moved to the home of John Milburn, the exposition's president. The house, sadly demolished in 1957, was located on Delaware Avenue near Canisius High School. McKinley spent the last eight days of his life in the house surrounded by doctors, friends, and his wife Ida McKinley.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Milburn House</i></td></tr>
</tbody></table>
<br />
<i>Part IV: The New President </i><br />
<i><br /></i>
During President McKinley's last days, Vice President Theodore Roosevelt was kept up to date on the President's health. Because McKinley appeared to be recovering, Roosevelt took a trip into the Adirondack Mountains. When word came of McKinley's death Roosevelt hurried to Buffalo taking a special train that had been ordered for him. Arriving in Buffalo, Roosevelt went to the home of Ansley Wilcox at 641 Delaware Avenue just a few blocks away from the Milburn House where McKinley had died hours earlier.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1aOFECcRN063NUGegw74jrrGPEgu5Tf5oqj0z2NCDDUq2TibZ3t1cgnsBxnbmZVDR8SYM1KWk3Whu754ITsWMHQmyPG_YkDc4LmGjJ2L4EcuMDvY0Xlr2mjxH93bSGpCUgsALGoOsaSk/s1600/TR.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="376" data-original-width="681" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1aOFECcRN063NUGegw74jrrGPEgu5Tf5oqj0z2NCDDUq2TibZ3t1cgnsBxnbmZVDR8SYM1KWk3Whu754ITsWMHQmyPG_YkDc4LmGjJ2L4EcuMDvY0Xlr2mjxH93bSGpCUgsALGoOsaSk/s400/TR.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Theodore Roosevelt Inaugural Site</i></td></tr>
</tbody></table>
<br />
After Theodore Roosevelt's impromptu inauguration William McKinley's body was moved to Buffalo's city hall and from there to Washington D.C. Like Abraham Lincoln's body, McKinley's remains traveled by train from the capital back to his hometown, arriving in Canton, Ohio on September 19th. The country moved forward with Theodore Roosevelt as its president and though several of the critical sites related to the McKinley assassination have been lost, the event still looms large in the Queen City's history.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpYnaiPOpdg39dXF0YtM6OT1chWpjydOSVs_tkrsyfYdKpHfpOkHSq-ks-4iMEB6N7Q5M-tFe2Yd4_8Q16Slhipzip9bjqbx77CXphajbViSroOjKPvY1Z9bNmF3r_ddmUMFsSdszbYSc/s1600/McKinley+picture.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="791" data-original-width="731" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpYnaiPOpdg39dXF0YtM6OT1chWpjydOSVs_tkrsyfYdKpHfpOkHSq-ks-4iMEB6N7Q5M-tFe2Yd4_8Q16Slhipzip9bjqbx77CXphajbViSroOjKPvY1Z9bNmF3r_ddmUMFsSdszbYSc/s400/McKinley+picture.jpeg" width="369" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>McKinley entering the Hall of Martyrs following his assassination</i></td></tr>
</tbody></table>
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1. <a href="https://en.wikipedia.org/wiki/Pan-American_Exposition#/media/File:Pan-American_Exposition,_Buffalo,_1901.jpg">https://en.wikipedia.org/wiki/Pan-American_Exposition#/media/File:Pan-American_Exposition,_Buffalo,_1901.jpg</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-29436632430549784372017-12-15T07:40:00.000-08:002017-12-20T08:23:23.838-08:00Editorial: No, We Don't Drive Model Ts Anymore<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span lang="EN"><i style="background-color: white; color: #444444; font-family: times, "times new roman", serif; font-size: 13px; white-space: pre-wrap;"><br class="Apple-interchange-newline" />By Joey Duggan, Associate Historian at Preservation Studios</i></span><br />
<span lang="EN"><br /></span>
<span lang="EN">The debate over how best to address the mounting
concerns over the Scajaquada Expressway and Delaware Park invites contribution
from all sides: the satisfaction of so many interests groups depends on which
course of action the Department of Transportation decides upon. A recent
editorial posted on <a href="https://www.buffalorising.com/2017/12/scajaquada-farce-1/#disqus_thread"><span style="color: #1155cc;">Buffalo Rising</span></a> offered a summary of the arguments
voiced by some of the most active organizations involved in the discussion. The
author of the post refuted these arguments, maintaining a position shared by
many disgruntled motorists, at least partially on the grounds that efforts to
preserve the integrity of Delaware Park “promot[e] nostalgia for a bygone era.”<span style="mso-spacerun: yes;"> </span>In doing so, this author fell into a
injurious rhetorical strategy, one that damages preservation efforts and
threatens to doom bold policies to false epithets. Preservation does not simply
mean saving old things because they are old. The compelling preservationist uses
history as a reference in order to promote time-tested methods and structures
for the benefit of the greater community. Preservation and the study of history
mean looking backward, not for the sake of nostalgia, but for the sake of
understanding. Placing the argument over the fate of the Scajaquada Expressway
and Delaware Park as a moment in a series of trends enhances our understanding
of the consequences of infrastructure.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Z7w94BG6yvqeKlmEDV_6_Y86bYGxyiBWLtEr8btfryTFpzSXy2FDhJRlcqbcv5atERX9IjSwZBAlydLx2RDiRGABCAqHUyLM6875Q7Ld3wrrMiz98LH0pMrcWHT6VDkJb305M3d8TxmX/s1600/postcard.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="426" data-original-width="648" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Z7w94BG6yvqeKlmEDV_6_Y86bYGxyiBWLtEr8btfryTFpzSXy2FDhJRlcqbcv5atERX9IjSwZBAlydLx2RDiRGABCAqHUyLM6875Q7Ld3wrrMiz98LH0pMrcWHT6VDkJb305M3d8TxmX/s400/postcard.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>One last glimpse at the park before Urban Renewal...<br />Courtesy of Buffalo Architecture and History</i></td></tr>
</tbody></table>
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<span lang="EN">Advocates for a solution that promotes the
interests of motorists on the Scajaquada frame the narrative as disagreement
between obstructionists who relish in an idyllic past which they never
experienced and rationalists who live in the modern world. Yet by positing the
automobile as a pragmatic necessity, these advocates for a return to the 55 mph
speed limit and a preserved infrastructure seem blind to the false paradigm
upon which their advocacy depends. The nostalgia for the garden city of
yesterday actually embraces principles in accordance with contemporary urban
design; the fading plausibility of the city that prioritizes car traffic fails
to reconcile the reality of successful urban planning in the twenty first
century and threatens to doom Buffalo to perpetual decline. This dangerous
dependence on the status quo ignores the empirical nightmare promised by
prolonged dependance on the automobile.</span></div>
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<span lang="EN"></span><br />
<span lang="EN"></span></div>
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<span lang="EN">Yes, the population of Buffalo today still
outnumbers that of the city on which Olmsted stamped his design, but examine
the numbers from the subsequent decades: after the implementation of Olmstead’s
garden city design, the population of Buffalo skyrocketed. According to
compiled statistics from the United States Census, it increased from roughly
117,00 in 1870 to 226,000 in 1890 and 352,000 in 1900. During the decades in
which Buffalo’s population grew to equal and then surpass its present register,
speculators such as Lewis J. Bennet, August Hager, and John C. Cook embraced
Olmsted and Vaux’s plan by designing communities around the parks. The
greenspace encouraged the establishment of so many neighborhoods that developed
strong characters, such as North Park, Central Park, Parkside, and Hamlin Park.
Of course a prodigious design for a park system cannot wholly account for the
city’s massive growth in the fin de siècle, but ignoring the role that Olmsted
and Vaux’s park system played in the meteoric rise of Buffalo shies away from a
grand truth about the urban landscape. When city planners design projects to
the benefit of the neighborhoods that host them, residents (and prospective
developers and home buyers) recognize the harmony.</span></div>
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAtFC42cU63ddmvhnCsxXQ2omCeGf0enR-7vjKOoKrnRxTknA0ew3S_NlOToEzFthiWLOrqgqfVAXZjCOjG_4c9zg9slOpgyWyiWwHQ8jqMUWk16bzatSZzAslW-8LBK-5Cvrqvj4zWGF/s1600/buffalo_ny_1896.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><i><img border="0" data-original-height="1141" data-original-width="1600" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAtFC42cU63ddmvhnCsxXQ2omCeGf0enR-7vjKOoKrnRxTknA0ew3S_NlOToEzFthiWLOrqgqfVAXZjCOjG_4c9zg9slOpgyWyiWwHQ8jqMUWk16bzatSZzAslW-8LBK-5Cvrqvj4zWGF/s400/buffalo_ny_1896.jpg" width="400" /></i></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Olmsted's Garden city, c. 1896, a holistic design that allowed residents</i><br />
<i>to travel throughout the city by way of one network of unabridged greenspace.</i><br />
<i style="font-size: 12.8px;">Delaware Park was not a park within a city: Buffalo was "a city within a park." </i><br />
<i><span style="font-size: 12.8px;">Courtesy of Buffalo Architecture and History</span></i></td></tr>
</tbody></table>
<div class="normal">
<span lang="EN">During the middle of the twentieth century,
Buffalo’s population collapsed. Urban Renewal and the Federal-Aid Highway Act
of 1956 encouraged the construction of the Kensington and Scajaquada
Expressways, and the city promised downtown accessibility for suburbanites and
easier transportation between the city and the airport. Using the greenspaces
created by Olmsted’s garden city plan as a skeleton, the designers of these
expressways superimposed their structures onto tree-lined boulevards and cut
through a number of neighborhoods. The structural integrity of some of these
neighborhoods mostly survived this period of Urban Renewal, but for
neighborhoods to the southeast of the park like Hamlin Park, the intrusion of the
expressway system threatened to drive property values down and limit mobility
and access to greenspace for homeowners. The residents of Hamlin Park
demonstrated resilience, not complacency, in the face of Urban Renewal. They
had purchased their homes in Hamlin Park before the destruction of Humboldt
Parkway; their interests do not fall into the category of selfish speculation,
for they have experienced the very real effects of the Expressway System on
property values. While the residents of Hamlin Park were able to take advantage
of the <a href="http://preservationexchange.blogspot.com/2014/01/the-history-of-hamlin-park-finale.html"><span style="color: #1155cc;">Model Cities Program</span></a> in order to avoid deterioration
and maintain property values, other neighborhoods on the East Side fared much
worse during the Urban Renewal period. Naturally, the Parkside Community
Association is not the only interest group voicing concerns about the adverse
effects of the Expressway System on their community: Hamlin Park Taxpayers
Association and the affiliated Restore our Community Coalition <a href="http://www.buffalospree.com/Buffalo-Spree/April-2015/Developing-Bringing-back-an-Olmsted-parkway/"><span style="color: #1155cc;">advocate for a rethinking of the Expressway System</span></a>.</span></div>
<!--EndFragment--><br />
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<br /></div>
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<span lang="EN">No, we no longer drive Model Ts. We have power steering
and V-8 engines. We also have an unfortunate addiction to the fossil fuel
lifestyle, and the symptoms of our ailment include profuse <a href="https://www.theguardian.com/environment/2017/oct/30/global-atmospheric-co2-levels-hit-record-high"><span style="color: #1155cc;">carbon dioxide emissions</span></a>, <a href="http://time.com/9912/10-things-your-commute-does-to-your-body/"><span style="color: #1155cc;">a degradation of general well-being</span></a>, and
rampant proliferation of automobile accidents, which remain one of <a href="https://www.cdc.gov/nchs/fastats/deaths.htm"><span style="color: #1155cc;">leading
causes of death</span></a> in the United States. Encouraging residents to enjoy
the park system on foot or on a bicycle while discouraging the overuse of the
automobile for short commutes is just another one of the small steps we
continue to turn up our collective nose at, but the untenable attachment to
gasoline and convenience threatens to topple our quality of life. If we cannot
commit the time and effort to walk through and enjoy the scenery of the park on
our way to our important destinations, how will we stand up to the looming
catastrophe of global climate change? Of course, reality dictates that
commuters continue to have the option to drive to work, but it does not dictate
that our authorities engineer our city’s infrastructure to accommodate an
unwillingness to adapt to the realities of the looming century.</span></div>
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<span lang="EN"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHBQtND5iqXQ5jdEK8L2rcIggXm-OvGeLhJSNs4MtAoexrqPpP1HtCHiL6IDmxT4X2hQQyLs4ELSVD-yReulCefAUyX4g-D5xJP5ZKBhipBA5kAcAYgBzzQ0h-Ga1XkGRc8yh1T4mxLL6/s1600/Model+T.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="527" data-original-width="670" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHBQtND5iqXQ5jdEK8L2rcIggXm-OvGeLhJSNs4MtAoexrqPpP1HtCHiL6IDmxT4X2hQQyLs4ELSVD-yReulCefAUyX4g-D5xJP5ZKBhipBA5kAcAYgBzzQ0h-Ga1XkGRc8yh1T4mxLL6/s320/Model+T.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ford's Model T, the first ubiquitous automobile, hit the streets </i><br />
<i>in 1908, years after Olmsted planned Delaware Park. </i><br />
<i>Commuters still made it to work on time.<br />Courtesy of Wikipedia</i></td></tr>
</tbody></table>
<div class="normal">
<span lang="EN">Advocates for a return to the 55 mph severely
overestimate the efficiency of the high-speed commute. According to the
department of transportation, the Scajaquada Expressway measures about 3.59
miles in its current form. Applying the basic equation for speed as a function
of distance over time, the amount of time it takes to drive from one end of the
Scajaquada to the other at a speed of 55 mph is about 3 minutes and 55 seconds.
Given the current 30 mph speed limit, the travel time is about 7 minutes and 11
seconds. That means that the original speed limit saves motorists about 6
minutes for a round trip commute, provided they travel the length of the
Scajaquada and encounter no traffic. By privileging 6 minutes worth of an
individual's time over the shared benefit of a more accessible and
accommodating greenspace, these advocates demonstrate an underappreciation for
the physical and economic wellbeing of citizens, the vitality of the city of
Buffalo, and the concerns of future generation threatened by carbon emissions.</span></div>
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<span lang="EN">And no, Buffalo’s winter conditions do not
encourage commuters to walk or bike to work year-round, but they also pose a
major risk for commuters hurdling down an expressway at white-knuckle speeds.
Sacrificing some time out of the day to strap on the winter boots and get some
fresh air and exercise might sound laborious, but it pales in comparison to
tragedy. The Scajaquada WKBW reported on the recessed rate of accidents
following the speed limit recourse, I encourage the skeptic to <a href="http://www.wkbw.com/news/accidents-drop-in-months-after-deadly-198-crash"><span style="color: #1155cc;">take a look</span></a>. The top comment on the
aforementioned Buffalo Rising article also provides more general statistics
regarding speed limits and safety. Although the prospect of trudging through
snow in the early morning might make it harder to get out of bed, the <a href="https://www.cdc.gov/physicalactivity/basics/pa-health/index.htm"><span style="color: #1155cc;">side-effects</span></a> of a daily commute on foot or on
a bicycle outweigh the convenience offered by the automobile. A decision to
promote alternative commuting methods by creating the favorable infrastructure
encourages residents to make decisions informed by a breadth of factors, not
just convenience alone.<span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span lang="EN"><br /></span></div>
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<span lang="EN">Back in 2000, Michael Lewyn published, <i style="mso-bidi-font-style: normal;">Car-Free in Buffalo</i>, a guide to getting
around Buffalo without an automobile. Seventeen years ago, Lewyn proved that it
is possible to live in Buffalo, execute the duties of a professional job, and
enjoy yourself, all without a car throughout the entire year. Moreover, he argued
that mitigating congestion did not play a role in the economic vitality of
American cities. Based on a comparison between the cost of congestion per
motorist in specific cities and the rate of population growth or decline in
these cities, Lewyn drew a conclusion with resonant ties to our current debate:
congestion did not prevent people from moving to growing cities. Seventeen
years later, Lewyn’s anecdotal observation still holds true:</span></div>
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<span lang="EN">“Indeed, common sense
suggests that a smooth drive and a smooth economy do not go together. When a
metro area grows, new residents flood the existing infrastructure, causing
congestion. But when a city withers, the few remaining residents can enjoy a
fast ride through deserted streets.”</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The NFTA transit system might not be perfect, <br />but it delivers over twelve percent of the city's <br />residents to their places of work everyday.<br />Courtesy of NYCSubway.org</i></td></tr>
</tbody></table>
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<span lang="EN">If authorities devoted taxpayer dollars to <a href="http://www.buffalospree.com/Buffalo-Spree/May-2016/On-the-road-to-sustainable-transitfinally/"><span style="color: #1155cc;">revamping our mercurial public transportation system</span></a>
rather than to maintaining and revamping high-speed expressways, and if we
could muster the energy to encourage a culture of collectivist transport, we
might not have to come to blows over the fate of a highway through the heart of
our crowning park. The preservation and restoration of greenspace would come as
a no-brainer.</span></div>
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<span lang="EN">Yes, Delaware Park has its flaws. Urban Renewal
severed its tree-lined connection with Martin Luther King, Jr. Park. Most
residents would sooner give up their hat than retrieve it from Hoyt Lake or
Scajaquada Creek. The golf course dominating the meadow limits use of that
space for the occupants of a number of tax brackets. The twentieth century
undoubtedly took its toll on Olmsted’s design, but these changes cannot dampen
the benefits of accessible greenspace for residents. The fact is, <a href="http://ced.berkeley.edu/downloads/research/LUP.parks.pdf"><span style="color: #1155cc;">greenspace improves the quality of life for those who
have access to it</span></a> in innumerable ways. Olmsted recognized this
reality and strung his greenspaces through not just the most well-to-do
neighborhoods in the city, but also emergent middle class neighborhoods like
those mentioned above. Adding insult to infrastructural injury, the destruction
of Humboldt Parkway failed to recognize the democracy of Olmsted’s placement
and tore the most proximate greenspace away from the residents of these middle
class neighborhoods. Any decision to further detract from the park or its
accessibility threatens to further damage the welfare of residents of all of
the neighborhoods bordering the park. Privileging motorists at the expense of
residents whose access to greenspace suffocates as a result of the expressway
system’s stranglehold on Delaware Park, especially residents to the southeast,
asks authorities to perpetuate the “business as usual” methodology that
promises the further stagnation of the city’s economy. People do not choose
cities based on how quickly they can drive their cars from one end of them to
the other; they choose where they want to call home based on the quality of
life offered by the places they envision.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitbTJFOiTApkaGMpLrycI1dBvka0I9IZpjLQgZbrUL5kGaRWFjKNMFVSZeMhSuFo3wJMVbX0z0YFmWLwxMdKy4FUu_Hnlydpty92oNmpYn4jva3jKt3lKj8G4OhpbvK8wMBkWLCmc_imgo/s1600/Central+Park.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="629" data-original-width="1234" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitbTJFOiTApkaGMpLrycI1dBvka0I9IZpjLQgZbrUL5kGaRWFjKNMFVSZeMhSuFo3wJMVbX0z0YFmWLwxMdKy4FUu_Hnlydpty92oNmpYn4jva3jKt3lKj8G4OhpbvK8wMBkWLCmc_imgo/s320/Central+Park.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Olmsted's Central Park, still expressway-free.<br />Courtesy of http://www.centralparktoursnyc.com/</i></td></tr>
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<span lang="EN">How do other cities do it? So many of the most
successful cities never opted for expressways through their greenspaces in the
first place. Instead, urban planners in cities like London and New York opted
for less intrusive beltline expressways and intra-neighborhood public
transportation systems in order to ensure accessibility. In many cases, other
cities faced equally difficult decisions during the Urban Renewal period, and
even cities with economies that survived the twentieth century faced
devastating policies and the placement of expressways which detract from their
greenspaces. But in all of the cases worth imitating, greenspaces and the value
of immediate properties survived. The grandeur of places like Olmstead’s Central
Park might never have survived the intrusion of a multi-lane highway through
their cores. The preservation of the holistic integrity of successful
greenspaces promotes economic growth by ensuring residential stability.</span></div>
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<span lang="EN"></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglE8QZYcPPTymsKMV_rgVE18RjKL-A51ay5lcQeszopsLMh6F3E246Bh86nMMYc37Vo1w2hNoAf6A8d7IkruxIMau86hqSaQhZGEY2vh71u-PHYLTfgESoGMhjms_0KMe0mlK8pLUzYLVt/s1600/Olmsted.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="331" data-original-width="200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglE8QZYcPPTymsKMV_rgVE18RjKL-A51ay5lcQeszopsLMh6F3E246Bh86nMMYc37Vo1w2hNoAf6A8d7IkruxIMau86hqSaQhZGEY2vh71u-PHYLTfgESoGMhjms_0KMe0mlK8pLUzYLVt/s320/Olmsted.jpg" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A painting of Frederick Law Olmsted.<br />Courtesy of Wikipedia</i></td></tr>
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<span lang="EN">I am not a member of any of the organizations
which officially oppose the Department of Transportation’s plans or those who
endorse any of the proposed quick-fix solutions. It is hard to imagine that
changing the value of any number or any of the words scrawled across any of the
signs by the side of the road will solve a problem that has festered for
decades. I do not fully endorse any single agenda, but I do live here. I love
provident design. I love the park system, I love Buffalo, and I love the planet
that we all have to share. It pains me to see the discourse surrounding the
issue plagued by a false paradigm. Conserving greenspace is not an attempt to
live in the past, it is an effort to embrace progress. Calls to curb the
selfishness of advocates for a restored park atmosphere lack self-awareness:
reaching for a return to high-speed normalcy and sacrificing the wellbeing of
the city itself to shave a few minutes off your commute ignores the best
interest of Buffalonians in the future and falls into the category of
obstructionist romanticization of outdated ideology. It would be foolhardy to
return to heating our houses with coal simply because that is how it was done
in the past, just as it would be foolhardy to return to the Scajaquada
Expressway of yesterday for the sake of the very same sentiment.</span></div>
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<span lang="EN">We talk about resurgence these days as if it is a
given, but unfortunately, the numbers disagree: our population still shrinks
every year, and the only things standing in the way of Buffalo’s deterioration
are deliberate decisions and hard work. Let’s stop designing a city for people
who do not live here. Let’s embrace our own historic legacy and engineer a city
for Buffalonians to come.</span></div>
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</style>Anonymoushttp://www.blogger.com/profile/01828633770242942308noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-21431022358711117362017-11-30T11:54:00.001-08:002017-12-02T09:12:49.654-08:00American Made: The Story of Buffalo's contribution to the first All American Research Telescope<i>By Matthew Shoen</i><br />
<i><br /></i>
<i>Associate Architectural Historian at Preservation Studios</i><br />
<br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">American Made is one of the phrases many people latch onto with pride. Those two words helped fuel the financial stability and economic growth my parents remember and they instilled in people a sense of possibility. There was a time however when certain products were impossible to produce in America. In the early twentieth century many technological processes were controlled by European scientists and firms that ferociously guarded their patents and scientific innovations. One under appreciated but significant product Americans could only get from Europe was optical glass. Optical glass is a special type of glass utilized in microscopes, telescopes, binoculars, and other specialized lenses. During the early twentieth century most of the world's optical glass was produced in German and optics firms like Bausch and Lomb had to go through European intermediaries in order to make their products.</span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">This situation changed after drastically 1914 and the onset of World War I. With American optical firms cut off from their European glass suppliers, they began to experiment with optical glass production. At the same time, the Wilson administration started to grow acutely worried about America's limited supply of optical glass. Unlike nineteenth century artillery that was sited with rudimentary instruments and by eyeballing a target, the artillery pieces of World War I required advanced targeting and fire control mechanisms. Naval vessels were particularly vulnerable without quality optical sights, the days of broadsiding enemy ships from a few hundred yards away having been put to bed. America needed to become self sufficient in the event the Great War pulled the country in. With this in mind, scientists from the Geophysics Library of the Carnegie Institute and three optical firms: Bausch & Lomb of Rochester, the Pittsburg Plate Glass Company of Pittsburg, and the Spencer Lens Company from Buffalo came together to produce the first American made optical glass. Today we will be focusing on the Spencer Lens Company, their contributions to early optical glass manufacturing, and their application of optical glass manufacturing techniques to one crucial civilian project.</span></span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The Spencer Lens Company was one of the earliest microscope manufacturers
in America. Charles Spencer founded the company in 1852 in
Canisteo, New York, and in 1895 the firm incorporated in Buffalo with Spencer’s
son, Herbert, and Dr. Roswell Park as chief officers. Park’s influence and position as a Professor of
Surgery at the University at Buffalo helped sustain the company during the
early 1900s and Park promoted the company’s optical devices to laboratories,
hospitals, and schools.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br />After the Spencer Lens Company lost its German optical glass suppliers in 1914, the company estimated its optical glass supply would only until 1916. Afraid of losing its business, the company started to research optical glass production and in 1916, built a large glass production factory in Hamburg. Located away from the smoke and grime of downtown Buffalo, the factory experimented with producing different types of optical glass. Despite setbacks and a number of technical challenges, the firm was producing high quality optical glass by the time America entered World War I. </span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br />
During the war, the Spencer Lens Company produced roughly 75,000 pounds of optical glass,
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<!--StartFragment-->around twelve percent of the country’s wartime
glass production.<!--EndFragment--> The company sold much of its glass to Bausch
& Lomb and the Pittsburg Plate Glass Company, where it was used to make
range finding instruments and other supplies for the American Expeditionary
Forces.<!--EndFragment--> </span> <span style="font-family: "times new roman";"> </span></span><br />
<span style="font-family: "times new roman";"><br /></span><span style="font-family: "times new roman";"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj68skj8Imp8oHXj4zMPBjQqCZ-XBVS-DK_fkIip31kLKmzh42UCVvkNSktrhb_RWf8fHm6QdQpTty2fOO8qvNPhr7GZpWanXfLhN_ozeM2RUZA_iPermpkGoTIxZqQwDDJGhIAaSlDeV4/s1600/Spencer+Lens+Factory.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="303" data-original-width="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj68skj8Imp8oHXj4zMPBjQqCZ-XBVS-DK_fkIip31kLKmzh42UCVvkNSktrhb_RWf8fHm6QdQpTty2fOO8qvNPhr7GZpWanXfLhN_ozeM2RUZA_iPermpkGoTIxZqQwDDJGhIAaSlDeV4/s1600/Spencer+Lens+Factory.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Spencer Lens Company Plant in Hamburg </i>L.M. Potter, “Optical Glass Manufacture in
America,” <i>School Science and Mathematics</i>
19, no. 1 (1919): 181. </td></tr>
</tbody></table>
</span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">The Spencer Lens Company's ability to manufacture optical glass opened a brand new avenue of business for the company. The company started producing lenses of a size never </span><span style="font-family: "times" , "times new roman" , serif;">before </span><span style="font-family: "times" , "times new roman" , serif;">attempted in the United States and in 1922 these experimentations put the firm in the crosshairs of Andrew Elliott Douglass, an astronomy professor at the University of Arizona who was attempting to build a dark sky observatory on the outskirts of Tucson. </span></span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Andrew Elliott Douglass was an astronomer who attended Trinity College in Hartford and worked at Harvard University before moving to Arizona in 1906. After joining the University of Arizona's staff, Douglass began petitioning the university to build a research observatory outside Tucson where dark sky conditions made for it possible to observe many parts of the night sky. Douglass petitioned unsuccessfully until 1916 the university received an anonymous donation of $60,000. The donor, later revealed to be Lavinia Steward,</span><span style="font-family: "times" , "times new roman" , serif;"> expressly</span><span style="font-family: "times" , "times new roman" , serif;"> gifted the money for the purpose of creating an observatory. Douglass set to work immediately and started looking for contractors to create the research telescope that would center the new observatory. He initially sought help from the European glass firms that had designed lenses for America's other observatories. However, because these firms were entrenched in World War I, they could not manufacture the lenses Douglass needed. Because of this, Douglass was forced to seek out an American optics firm willing to attempt to produce the huge reflector discs that would act as the beating heart to his telescope. After much deliberation, Douglass selected the Spencer Lens Company. </span></span><br />
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Douglass needed a reflector discs that measured forty inches in diameter and at first it was impossible for the Spencer Lens Company to produce lenses greater than twenty-three inches in diameter, about half as large as Douglass specified. The temperature of the molten glass proved difficult to control and lenses greater than twenty-three inches developed flaws. After a number of experiments and failed castings, the firm finally manufactured a flawless disc. The forty inch reflector disc [pictured below] took nine months to cast, grind, and cool and weighed 900 pounds.</span></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvvLS7wCgZL0U5K0URDhWvw9bQHKRZYOFBdZL-ltVEHs70NZq2dESMlp5dMVOs993UAzm5qz1ZWDaePCr7ZTndyMrqjhIQUSjDF7_j2H0NBRMCzLtY945_n_0b1P5WDkJbxXQkXBmqKkQ/s1600/Spencer+Lens+Dist.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="531" data-original-width="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvvLS7wCgZL0U5K0URDhWvw9bQHKRZYOFBdZL-ltVEHs70NZq2dESMlp5dMVOs993UAzm5qz1ZWDaePCr7ZTndyMrqjhIQUSjDF7_j2H0NBRMCzLtY945_n_0b1P5WDkJbxXQkXBmqKkQ/s1600/Spencer+Lens+Dist.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: small;">The Spencer Lens Company's Reflector Disc</span></i></td></tr>
</tbody></table>
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<!--StartFragment--><span style="font-family: "times" , "times new roman" , serif;">The
creation of the Spencer Lens Company’s reflector disc marked an important
moment in American astronomical history, as the Steward Observatory’s telescope
was the first research telescope built with parts exclusively manufactured in
America. The telescope was dedicated in 1923 and the Steward Observatory
remained an important dark sky observatory until 1963, when light pollution
from Tucson undermined the observatory’s capabilities. Despite no longer operating as an active observatory, the Steward Observatory coordinates astronomical data with a number of other American observatories and the observatory's telescope remains an important example of American innovation, and manufacturing. </span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: small;">The Steward Observatory Telescope after its installation. Standing beside the telescope is Andrew Elliott Douglass.<br />Photo taken from Wikipedia.</span></i></td></tr>
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</style>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-17157347807856826822017-11-21T06:37:00.004-08:002017-11-27T07:17:58.813-08:00Turkey Day<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBDu3vwBTlGKryZC8EgCaRnVbbbBdmfTXmrViHdLyV74rARyb-yhD-w4Asd0jRD2hEW06Mmb17frpLiR0XXAJ9gQEf4xQ7pqQkSbuQWJcPo2H1YRpitBZTjt-6bQLREXohKbKHkeDxqM/s1600/turneky.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBDu3vwBTlGKryZC8EgCaRnVbbbBdmfTXmrViHdLyV74rARyb-yhD-w4Asd0jRD2hEW06Mmb17frpLiR0XXAJ9gQEf4xQ7pqQkSbuQWJcPo2H1YRpitBZTjt-6bQLREXohKbKHkeDxqM/s1600/turneky.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBDu3vwBTlGKryZC8EgCaRnVbbbBdmfTXmrViHdLyV74rARyb-yhD-w4Asd0jRD2hEW06Mmb17frpLiR0XXAJ9gQEf4xQ7pqQkSbuQWJcPo2H1YRpitBZTjt-6bQLREXohKbKHkeDxqM/s1600/turneky.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBDu3vwBTlGKryZC8EgCaRnVbbbBdmfTXmrViHdLyV74rARyb-yhD-w4Asd0jRD2hEW06Mmb17frpLiR0XXAJ9gQEf4xQ7pqQkSbuQWJcPo2H1YRpitBZTjt-6bQLREXohKbKHkeDxqM/s1600/turneky.tiff" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="235" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCBDu3vwBTlGKryZC8EgCaRnVbbbBdmfTXmrViHdLyV74rARyb-yhD-w4Asd0jRD2hEW06Mmb17frpLiR0XXAJ9gQEf4xQ7pqQkSbuQWJcPo2H1YRpitBZTjt-6bQLREXohKbKHkeDxqM/s400/turneky.tiff" width="334" /></a><br />
<br />
<i>by Matthew Shoen</i><br />
<br />
<i>Associate Architectural Historian at Preservation Studios</i><br />
<i><br /></i>
Thanksgiving is among the best holidays on the calendar. Every year I drive home, sit down with my family and eat. I watch the first 20-50 minutes of the Godfather, while my father falls asleep on the couch (Usually I wait out the wedding scene and then change the channel). We watch football and I endure an avalanche of texts from my friends reminding me of the ButtFumble (the joys of rooting for the JETS). After supper there is pecan pie and for the next week there is turkey for every meal.<br />
<br />
Colloquially, Thanksgiving is referred to as Turkey Day, however in St. Lawrence County Turkey Day refers to something much different. Historically, Turkey Day denoted two very important days, the first about a week before Thanksgiving, and the second a week before Christmas. On Turkey Days farmers from across the county drove flocks of turkeys into the towns of Lisbon, Heuvelton, and Madrid. These three towns had depots for the Rutland Railroad and farmers would drive their flocks right to the railroad tracks where poultry dealers would purchase the birds and ship them to major cities like Boston, Montreal, and New York City where they'd be eaten for holiday supper. This was big business for well over fifty years and Heuvelton was home to the world's largest dressed turkey market for over forty years. Nearby, in my hometown of Lisbon, the Turkey Day of November 23, 1933 saw around eighty farmers haggling over, and eventually selling, twelve tons of turkey to downstate poultry dealers. Madrid's Turkey Day frequently saw between twenty and thirty tons of turkey sold and individual farmers, such as Allen Wears and John Haig sometimes sold upwards of 8,000 pounds of turkey in a single day.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHog0A16btxJAI4mI2k6kU5rHZcPCLdGA6X-HbpbIYCErCp4oFF9GJNlDTZtwVGgpM0IMzZQF1eyQhYtndVf_oeCbxcijAgDsmPij5GQ4nn_liNcvghY3KiyfvtfU2c53o4yJPaQEQuQM/s1600/turkey+day.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="306" data-original-width="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHog0A16btxJAI4mI2k6kU5rHZcPCLdGA6X-HbpbIYCErCp4oFF9GJNlDTZtwVGgpM0IMzZQF1eyQhYtndVf_oeCbxcijAgDsmPij5GQ4nn_liNcvghY3KiyfvtfU2c53o4yJPaQEQuQM/s1600/turkey+day.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A flock of turkeys awaiting their train.</i><br />
<i> Photo taken from Northcountrynow.com</i></td></tr>
</tbody></table>
<br />
While dedicated farmers like Wears and Haig often recorded massive hauls, most farmers grew far smaller flocks and used Turkey Days to generate supplemental income. These smaller turkey flocks were most frequently managed by farmwomen who would purchase a tom and two hens, from which they could expect around fifty poults in the spring. Over the summer and early fall these poults were raised, fattened on seed, and protected from marauding foxes and raccoons. Once fall arrived farmers began to eye the newspapers and put an ear to the ground to try and glean information about how much turkeys were going for in the much smaller downstate turkey markets. At their lowest, Grade A dressed turkeys sold for twenty-three cents in 1933 while the birds had peaked at sixty-three cents a pound just eight years earlier in 1925. With these sorts of wild swings local farmers had to be incredibly cagey and would shop their birds at different Turkey Days, if they didn't like the prices at Thanksgiving, they would pack up their birds and wait until Christmas.<br />
<br />
Turkey Day could also be a festive event, so long as the buyers were fair and the birds heavy. Starting in the 1930s Ogdensburg started to promote Turkey Day like a minor holiday, promoting the sale throughout New York in order to attract poultry dealers and offering dressed hogs in addition to turkeys. In 1933 Ogdensburg's merchants association offered $15 dollars to whoever brought the largest dressed turkey to the farmers market and promised to send the bird to Washington where it would sit President Roosevelt's holiday table.<br />
<br />
Turkey Day even had local experts who advised farmers in the proper rearing and management of their flocks. In 1939 Professor E.L. Smith of Cornell University, ran a series of discussions with local farmers, educating them on the best ways to dress their birds, how mature a bird should be before being killed, and even describing the physical characteristics of a Grade A dressed turkey<br />
<br />
Turkey Day remained an important part of life in St. Lawrence County until the 1960s when the Rutland Railroad shut down and all the local train stations were shuttered. Without an effective method to deliver turkeys to downstate markets the industry faded and turkeys ceased to be a major cash crop in St. Lawrence County. After the 1960s, farmers raised turkeys for their own consumption and the streets of Heuvelton, Lisbon, and Madrid no longer echoed with the cackling of thousands of turkeys and the haggling of poultry dealers and local farmers.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>Heuvelton in 1905 during Turkey Day. <br />Photo from North Country Public Radio</i></td></tr>
</tbody></table>
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<br />
<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-33589351186406657252017-11-15T08:49:00.002-08:002017-11-27T08:52:04.461-08:00It Sounded like a Good Idea at the Time: Niagara Falls and the Utopian Impulse<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="white-space: pre-wrap;"><i>By Joey Duggan, Associate Historian at Preservation Studios</i></span></span><br />
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<br />
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<tr><td style="text-align: center;"><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiHUp3gZ0zX4Vdr16tf1aDMr3KJ3TbtqeQBNXoTBRUhFIFWXcVrpJf6JXHt-aP3uBmsH71Z_0G8HExeYzzvWyivg5dx_TNxK91-PuAI6ZgmLoHCuojQdQjzGIn8ALpwV2O_bde7nzL4AT4/s1600/Frederic_Edwin_Church_-_Niagara_Falls_-_courtesy+of+wikipedia.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="1280" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiHUp3gZ0zX4Vdr16tf1aDMr3KJ3TbtqeQBNXoTBRUhFIFWXcVrpJf6JXHt-aP3uBmsH71Z_0G8HExeYzzvWyivg5dx_TNxK91-PuAI6ZgmLoHCuojQdQjzGIn8ALpwV2O_bde7nzL4AT4/s640/Frederic_Edwin_Church_-_Niagara_Falls_-_courtesy+of+wikipedia.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Frederick Edward Church's landmark painting, </i>Niagara Falls<br />
<i>Courtesy of Wikipedia</i></td></tr>
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<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The world quivers and Niagara keeps falling. Nothing short of a cataclysm or a well-coördinated hydraulic endeavor interrupts the flow of the Niagara River over the edge of the Escarpment. Gravity’s work here is twofold: expect it to pull water toward the earth’s zero in a torrent, and with the same certainty, expect the voluminous descent to attract tens of millions of visitors from around the world. </span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b id="docs-internal-guid-1afabc69-926e-9cb0-1742-f0668deefb80" style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The natural wonder straddles an amalgam of fronts. It teases the edge of the modern built environment and the autochthonous wilderness, defines the geopolitical border between two nations, and beckons an examination of the semantic boundary between beauty and sublimity. In the manner of a mirror, the cataract inspires an attitude of reflection, inviting beholders to weigh fundamental questions close to the core of their being. After this rapturous seizure, modern convenience offers onlookers the chance to enjoy an ice cream or a hot dog. Meditation, after all, can arouse quite the appetite.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisj9G7hsPfHfhyphenhyphenlMXDuKd4h6Rhd3vpK9VAG9Ke4FmZgm7CSDzMecNiYdAaDsyceK6j-SjMmMdCaPsA8f7oHOghsWzDOiM7H6sgZ-E6Tld_X4CF3U3GUEO8RJyz6NeM4kv9HEkoZXt9z_V0/s1600/Father+Hennepin+-+Courtesy+of+Lehigh+University+Library.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1112" data-original-width="1461" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisj9G7hsPfHfhyphenhyphenlMXDuKd4h6Rhd3vpK9VAG9Ke4FmZgm7CSDzMecNiYdAaDsyceK6j-SjMmMdCaPsA8f7oHOghsWzDOiM7H6sgZ-E6Tld_X4CF3U3GUEO8RJyz6NeM4kv9HEkoZXt9z_V0/s400/Father+Hennepin+-+Courtesy+of+Lehigh+University+Library.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "times" , "times new roman" , serif;">Father Hennepin's Niagara Falls<br />Courtesy of Lehigh University Library</span></i></td></tr>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In a time before roadside vendors lined the banks of the Niagara River, however, the great thinkers taken by Niagara Falls were left with nothing but their thoughts to chew on. The enormity of the falls has inspired postulation of equal proportion, precipitating endeavors that range from the practical and profitable to the hypothetical and hyperbolic. This tendency dominates even the earliest firsthand records of the falls in Western discourse, beginning with Father Louis Hennepin's many descriptions of his single visit to Niagara Falls in the 1670s. Hennepin took a few liberties in his description: captured by his hyperbole, readers likely imagined a cataract almost four times the size of Niagara in a distant corner of terra incognita. Bolstered by his embellishments, Hennepin’s account cast an enduring spell on the Western world.</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The natural phenomenon never shed its allure, not even after the railroad arrived in Western New York almost two centuries later. During the nineteenth century, travelers itched for a chance to stare into the falls and participate in the invention of a national symbolism. The unlimited potential of the torrent signified the beneficence of the nation’s project, manifest destiny and the acquisition of all the resources and land between the Atlantic and the Pacific. Peering into the mist at the falls and the very soul of the country inspired productive meditation, and the banks of the Niagara River soon hosted an abundance of revolutionary advances: Frederick Church of the Hudson School captured the falls in a foundational painting in the American canon, Tesla and Westinghouse wielded alternating current and transported electricity unprecedented distances, and Henry Perky manufactured his groundbreaking foodstuff, Shredded Wheat. The architecture firm McKim, Mead, and White designed an idealized factory town, called Echota, in which workers from the Adams Power Plant, which produced Tesla and Westinghouse’s electricity, raised families in the finest middle-class environment. The fin de siècle was quite the time to be alive in Niagara Falls.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbsNp53M1u0LQDZuIBUTdSoSrcfeMVTbXfVe34EPVFEYU9f_MDtrDB-wQvD3sXWXJF4yDEIP9sGZ9LYkJpOQwl0UMNGK5zXxhlmOhkZioP8w4dVmA3ryZhu4YCn8m2lPuX6rUNFYJVken/s1600/Adams+Power+Plant+Wikipedia.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="692" data-original-width="901" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbsNp53M1u0LQDZuIBUTdSoSrcfeMVTbXfVe34EPVFEYU9f_MDtrDB-wQvD3sXWXJF4yDEIP9sGZ9LYkJpOQwl0UMNGK5zXxhlmOhkZioP8w4dVmA3ryZhu4YCn8m2lPuX6rUNFYJVken/s320/Adams+Power+Plant+Wikipedia.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "times" , "times new roman" , serif;">The Adams Power Plant<br />Courtesy of Wikipedia</span></i></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><b style="font-weight: normal;"></b><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><b style="font-weight: normal;"></b>
</span><br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The modernity of the moment inspired movers and shakers who realized their aspirations, but it also gave rise to a school of dreamers who failed to launch their lofty ideas. An optimism that transcended application infected the minds of so many idealists at the height of the Victorian Epoch, and quite a few made Niagara Falls their muse. The progeny of ideas that grew like weeds in an era of manufacture and science fueled Technological Utopianism, the belief in the potential of human innovation in the employ of the righteous to put a lid on all forms of suffering, from the mundane to the existential. Utopianism assumed an air of religiosity amongst its subscribers, who coveted an alternative to the iniquitous conditions of industrial dominance in the Western World. These idealists gazed into Niagara Falls and saw an eternal source of energy, an answer to the limiting factor in the swirling equations governing the scientific revolution. The projects they drafted, though never brought to fruition, testify to the cogent symbolism of the falls and its command on the local built environment.</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Before the Adams Power Plant successfully shipped electricity to Buffalo almost twenty miles away, electrical power only ensured utility for on-site endeavors. Factories clumped alongside the banks of the Niagara River, drawing power from the torrent and crowding the City of Niagara Falls. As an alternative to the perceived overgrowth of industry, entrepreneur William T. Love initiated a momentous endeavor in the 1890s. With backing from a number of investors, he drafted a plan to construct a vast canal that would redirect water from the Niagara River above the falls to a new community north of the City of Niagara Falls. </span><span style="font-size: 16px; white-space: pre-wrap;">In the utopia he imagined, one million people lived and worked in a garden city, free of smog and the perils of urban overcrowding. Hydroelectric power from the canal would fuel unprecedented industrial growth while proper urban planning ensured flawless living conditions. </span><span style="font-size: 12pt; white-space: pre-wrap;">Love called this planned industrial paradise "Model City."</span></span></div>
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<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Circumstance interwove a tragic irony with Love’s legacy. Love had only paved the first few streets in Model City by 1895, when the development of alternating current at the Adams Plant rendered the canal obsolete: factories no longer required on-site power generation. Model City failed. Love went bankrupt after completing less than a mile of his canal, and the township itself withered in the spring of its life. As the twentieth century progressed, Love's former landholdings changed hands, and the Hooker Chemical Company disposed of many tons of their industrial byproducts by dumping them into the incomplete canal. Following a mid-century population boom in the City of Niagara Falls, the Hooker Chemical Company sealed the dumping site and sold it to the city authorities. A hamlet, known as "Love Canal" in recognition of its heritage, grew alongside the failed canal and the contaminated tonnage.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVd8nIInSmBqLTO8MO8a3OEYjPDlpaw-VL0JkO5Ip2jsyq4hG7EeokL9Yr89Y9jQ3i5xPLV0x4vR8o3pXiHgmxpzDSpFcVqAxgg6sYAWTG3TbBMMijMEwd36d2V1sR2DFSyqQFuhEOuqLw/s1600/Love+Canal+Newsweek.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1439" data-original-width="961" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVd8nIInSmBqLTO8MO8a3OEYjPDlpaw-VL0JkO5Ip2jsyq4hG7EeokL9Yr89Y9jQ3i5xPLV0x4vR8o3pXiHgmxpzDSpFcVqAxgg6sYAWTG3TbBMMijMEwd36d2V1sR2DFSyqQFuhEOuqLw/s400/Love+Canal+Newsweek.jpg" width="266" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "times" , "times new roman" , serif;">Courtesy of Newsweek</span></i></td></tr>
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<span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; white-space: pre-wrap;">A well-known story follows. During the 1950s, the people of Love Canal built a community and founded their livelihoods in the area without a full understanding of the hazards that lay beneath the soil. The Niagara Falls School Board built two schools, the 99th St. School and the 93rd St. School, on land previously owned by the Hooker Chemical Company. Most accounts suggest that the City of Niagara Falls did not seriously consider the potential disaster awaiting the blue-collar families that </span></span><br />
<span style="font-family: "times new roman";"><span style="font-family: "times" , "times new roman" , serif; white-space: pre-wrap;">populated the neighborhood and sent their children to the schools nearby. Decades elapsed before the gravity of the situation dawned on the residents of Love Canal. By the late-1970s, studies of public health in the community reported unprecedented rates of complications with pregnancy and symptoms of serious childhood illnesses, including severe birth defects. The community banded together in protest, and in 1980, President Jimmy Carter issued an order to evacuate Love Canal and initiated the first ever Superfund program to relocate residents and palliate the environmental catastrophe. The name Love, once reminiscent of a grand vision of the ideal community, degenerated into a reminder of one of the most profound environmental tragedies in American history.</span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><b style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The collapse of William T. Love's utopian project set the stage for a disaster, leaving behind by far the least fortunate legacy of any contrivance of its kind. Other schemes of equal scale never made the leap from page to landscape, and the names of the architects behind them do not share the same inauspicious eponymy as Love. Leonard Henkle, an entrepreneur and inventor, imagined a project that, if completed, would have represented the first step on the path to total international harmony. In 1895, decades before Wilson devised the League of Nations, Henkle proposed the construction of "the International Hall," a grand structure straddling Niagara Falls. The lower portion of the building would house a massive hydroelectric plant, while the upper hall provided a hallowed space for representatives of all the nations of the world to congregate and conduct discourse and diplomacy. In order to accommodate travelers on their way to the International Hall, Henkle devised an infrastructural scheme that included a series of transcontinental railways and a flotilla of steamships connecting all the nations of the world with a central hub in Niagara Falls.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span>
<span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In an age of unbridled nationalism, this utopian impulse seemed contrarian: an irenic endeavor, drafted not in favor of a single nation, but with the hope of unifying people across political boundaries. Yet the sheer optimism of such a project captured the concurrent humanist sentiment. </span><span style="font-size: 16px; white-space: pre-wrap;">Henkle's project suggested that b</span><span style="font-size: 12pt; white-space: pre-wrap;">y wedding the momentum of the Niagara and the </span><span style="font-size: 16px; white-space: pre-wrap;">collective</span><span style="font-size: 12pt; white-space: pre-wrap;"> effort of a global society, humankind could </span><span style="font-size: 16px; white-space: pre-wrap;">overcome all petty hostilities</span><span style="font-size: 12pt; white-space: pre-wrap;"> and redefine the limits of possibility. The project itself never came to fruition; the cost of such an endeavor was enormous, and investors shied away from Henkle and his International Hall. But one draft of a more successful and well known global project alluded to Henkle's plan. When the United Nations solicited proposals for the design and location of their headquarters in 1945, a delegation posited Navy Island on the Niagara River as the future site of "the World Peace Capital." The coordinated efforts of influential New Yorkers including Robert Moses and Nelson Rockefeller overshadowed those of the advocates for Niagara Falls and ultimately secured the commission for Le Corbusier, who designed the headquarters in Manhattan that is synonymous with global enterprise today. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGkgaRHvin2N9FGhMh2sC2X5PsM7w0ERswb66TeHuFCSkp83txx-cEL2Cxnp1KccqXSIT9lsmTG_AEXa0JI-6ImYzKDnEQvxbgTMLTw5cp336iLmXs0cJDnU8pCOGM3CIK47TvY6KFa_ZN/s1600/Navy+Island+United+Nations.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="656" data-original-width="1600" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGkgaRHvin2N9FGhMh2sC2X5PsM7w0ERswb66TeHuFCSkp83txx-cEL2Cxnp1KccqXSIT9lsmTG_AEXa0JI-6ImYzKDnEQvxbgTMLTw5cp336iLmXs0cJDnU8pCOGM3CIK47TvY6KFa_ZN/s400/Navy+Island+United+Nations.JPG" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "times" , "times new roman" , serif;">The imagined Headquarters of the United Nations on Navy Island<br />Courtesy of Niagara Falls Public Library</span></i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrdtyXrskP2PmAlFOnQg4FbVx8JuGBI-8f9Qb1ojFja8QEdT6Yk9VDEl4ZSYkTokJzo5Mqgs3DvhGkQgyxKQo19KGm8Oj8eih_uVDF7NLT4VdfSZnm9XSLzPcVumzEYql7Os7FMiPIw05U/s1600/Gillette_razor_patent+courtesy+of+wikipedia.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1146" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrdtyXrskP2PmAlFOnQg4FbVx8JuGBI-8f9Qb1ojFja8QEdT6Yk9VDEl4ZSYkTokJzo5Mqgs3DvhGkQgyxKQo19KGm8Oj8eih_uVDF7NLT4VdfSZnm9XSLzPcVumzEYql7Os7FMiPIw05U/s200/Gillette_razor_patent+courtesy+of+wikipedia.png" width="143" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "times" , "times new roman" , serif;">A patent for King Gillette's Razor<br />Courtesy of Wikipedia</span></i></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Historical memory has spoiled Love's name and sequestered Henkle's to its back pages, but one of the most eccentric dreamers from the golden days of the utopian impulse managed to escape both damnation and obscurity. The bold invention for which he is most well known once proliferated a new and modern regard for personal hygiene. It is unlikely to draw much attention today. With his </span><span style="font-size: 16px; white-space: pre-wrap;">design for a successful disposable shaving razor, </span><span style="font-size: 12pt; white-space: pre-wrap;">King Camp Gillette revolutionized social standards for body hair. For the first time in human history, shaving was an activity that could be performed with ease within the privacy of the home. The clean-shaven face became the enduring image of the well-kempt man for most of the twentieth century. Gillette's later advertising campaigns targeted women, promoting standards of beauty for women that still pervade in contemporary society. Gillette's company, the Gillette Safety Razor Company (now owned by Procter and Gamble), created and dominated its own market during the patent period for Gillette's model, and secured for him a fortune and a legacy. That fortune all but evaporated by the end of the Great Depression, but his name still holds a time-honored office on the labels of shaving products across the world.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: black; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">Gillette was a ruthless businessman. In order to sell their groundbreaking product, the Gillette Safety Razor Company promoted the infamous "freebie" model, where a firm sells one product at a reduced price based on the guaranteed profits from a cheap and disposable accessory upon which the use of the original product depends. Yet Gillette's personal publications reveal a social philosopher in stark contrast with the eager entrepreneur. Although he lined his pockets with the spoils of consumer capitalism, Gillette identified himself as a utopian socialist and devised a full-scale plan to curtail the inequality and inefficiency of the capitalist system. He published his cornerstone treatise, <i>Th</i></span><span style="font-size: 12pt; font-style: italic; white-space: pre-wrap;">e Human Drift, </span><span style="font-size: 12pt; white-space: pre-wrap;">in 1894, in which he</span><span style="font-size: 12pt; white-space: pre-wrap;"> detailed his vision for a socialist utopia. Gillette called the capital of his utopia "Metropolis" and situated it in Niagara Falls.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9JdZnxaO8iBnUzVW4jNy4NDKGJJIt5OmnlVl7bt7Fr6hvezLznzLdqokEzQD_jPLhnWL9Q1OizQVbou7pBL9olamqCM6QSrQLQnQLOhMsEblRA-Tn3E7VSMQJQhu7aZI9YoxhFZRdPqZ/s1600/Gillette+-+the+Human+Drift+-+Courtesy+of+the+Cornell+University+Library.gif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1112" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9JdZnxaO8iBnUzVW4jNy4NDKGJJIt5OmnlVl7bt7Fr6hvezLznzLdqokEzQD_jPLhnWL9Q1OizQVbou7pBL9olamqCM6QSrQLQnQLOhMsEblRA-Tn3E7VSMQJQhu7aZI9YoxhFZRdPqZ/s400/Gillette+-+the+Human+Drift+-+Courtesy+of+the+Cornell+University+Library.gif" width="277" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><i>Gillette's imagined utopia in </i>The Human Drift</span><br />
<i><span style="font-family: "times" , "times new roman" , serif;">Courtesy of Cornell Library</span></i></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12pt; white-space: pre-wrap;"></span>
<span style="font-family: "times new roman";"><span style="white-space: pre-wrap;">Gillette reimagined order in the United States altogether: most of the country's population would reside in Metropolis, living and working in support of a universally owned trust. "The United Company," as Gillette termed it, would eliminate corporate competition and centralize every facet of the economy, evenly distributing all goods and services. Technological progress would incrementally improve living conditions for everyone, and class distinctions and gender inequality would expire as the United Company curbed all social ills in Metropolis.</span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times new roman";"><span style="white-space: pre-wrap;"><br /></span></span>
<span style="font-family: "times new roman";"><span style="white-space: pre-wrap;">The city itself exceeded the fantasies of urban planners in both scope and applicability. Gillette's Metropolis consisted of a perfect rectangle in which a network of high-rise apartment complexes constructed entirely of porcelain stretched for miles. He laid out his buildings on a hexagonal grid and situated an underground transit system for the transfer of goods and energy. Hydroelectricity from Niagara Falls powered the entire city, allowing all of the country outside of Metropolis to flourish as a sylvan paradise (with exception given to the small subset allocated for farming and mining).</span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">After publishing <i>The Human Drift</i>, Gillette composed several follow-ups which tweaked his plan, but his revolution failed to launch. He was met with little support for his plan. Not a single inch of Metropolis realized, and Gillette left his legacy in steel, not porcelain.</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times" , "times new roman" , serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Mimesis governs the built environment: designers draw upon the grandeur of the natural world when composing the plans that shape everyday life. In a cascade of hyperbole, Niagara Falls, with its improbable intensity, inspired a movement to break down the Gates of Eden. The unlikely scale of these proposed utopian projects prohibited their application, and this mode of thinking fell out of fashion almost entirely. As paradigms shifted, the probability of a single individual's capacity for palliating all social ills proved ever more unlikely in a complex world with so many interests and actors. Many feet will tread the path forward, however uncoordinated their efforts. Still, it is tempting to imagine that the answer to perfection exists, and that it awaits discovery just behind the fog.</span></div>
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Anonymoushttp://www.blogger.com/profile/01828633770242942308noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-75609096858266482532017-10-25T10:53:00.000-07:002017-11-27T07:17:07.708-08:00Spoiler Alert: The Secrets of the Freemasons and the Birth of Third Party Politics<b style="font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;"><i style="font-family: times, "times new roman", serif; font-size: medium;">By Joey Duggan, Associate Historian at Preservation Studios</i></span></b><br />
<b style="font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;"><br /></span></b>
<b id="docs-internal-guid-94d27ea1-4f55-8a9a-b900-e3583b6f0c63" style="font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">After witnessing the birth of the</span></b><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;"> status quo</span><span style="font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;"> during his presidential tenure, George Washington predicted a grave outcome for the nation based on the</span></span><span style="font-family: "times new roman"; font-size: 16px; white-space: pre-wrap;"> emerging system of </span><span style="font-family: "times new roman"; font-size: 16px; white-space: pre-wrap;">political parties</span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;"> in his farewell address: </span><br />
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<br />
<blockquote class="tr_bq" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 36pt; margin-right: 36pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">... they are likely in the course of time and things, to become potent engines, by which cunning, ambitious, and unprincipled men will be enabled to subvert the power of the people and to usurp for themselves the reins of government, destroying afterwards the very engines which have lifted them to unjust dominion.1</span></blockquote>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Foregoing his advice, American politicians have cast their lot with one political party or another ever since. Through many iterations, voters have almost unilaterally accepted the political party system, and the restrictied options it presents. Binaries in which two parties dominate the democracy have, for the most part, defined American elections since Washington’s unheeded warning, with a few more complex exceptions throughout the nineteenth century. The Federalist/Democratic-Republican split, the Whig/Democrat split, and most recently, the Republican/Democrat split have all offered voters a choice between “this” and “that.”</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“But what if ‘this’ just doesn’t do it for me, and I really can’t get down to ‘that’?” This age old question arose again last fall as voters weighed their options for the presidential election. Americans more in line with establishment party politics criticized this inclination, citing their belief that the “spoiler effect,” or the splitting of votes between a major-party candidate and a third-party candidate with similar values, could tip the balance in favor of another major-party candidate with antithetical values. The most notorious example of the spoiler effect in recent history occurred during the presidential election of 2000, in which Green Party candidate Ralph Nader allegedly drew sympathetic votes away from Democrat Al Gore and delivered the election to Republican George W. Bush. Hoping to avoid the same fate for their candidates, major-party supporters on both sides of the aisle cautioned their less committal peers against “throwing their votes away” on third-party candidates with minimal chances of securing America’s highest elected office.</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Nevertheless, estimates place the percentage of the popular vote in favor of third-party candidates in the 2016 Presidential Election somewhere between four and five percent.2</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> While third parties like the Green Party and the Libertarian Party are not necessarily leading America’s march into the future, they’re still marching to their own beat, and a few million Americans decided to dance along. Despite accusations of spoilage, these third-party voters actually participated in a long-standing tradition of dissent in American politics. It just so happens that the roots of this tradition lie here in Western New York.</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The history of third-party politics in the United States stretches back to the life of a single man and his rivalry with a well-established fraternal organization. When William Morgan, a black sheep amongst the ranks of the Freemasons in Western New York, threatened to reveal the secrets of said organization’s initiation rites in 1826, he sparked a series of events with ramifications on a national scale. Morgan and his family settled in Batavia, New York sometime in the 1820s, where he worked as a bricklayer. Hoping to join the Freemason lodge in Batavia, Morgan claimed that he had belonged to lodges in several of the other places in which he had spent time throughout his life. The Freemasons of Batavia did not accept his claims and refused to allow him entrance into their chapter of the society. In an act of retribution, Morgan threatened to publish an exposé detailing the clandestine undertakings of the Freemasons.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVn-4t3cJn6rviAyzgTwJWSUyAZXFQpwpqteIk6VNpRL_caMYevwmOt-9Zb5cRVJsNfsIXXQsqtsQbFpp8aLMMjH7KbDBdwPEmsD_g2npGBgrdJDbZz4dylffI4Ig2Tam7yYP-iXDNkhSn/s1600/the+assassination+of+morgan.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="286" data-original-width="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVn-4t3cJn6rviAyzgTwJWSUyAZXFQpwpqteIk6VNpRL_caMYevwmOt-9Zb5cRVJsNfsIXXQsqtsQbFpp8aLMMjH7KbDBdwPEmsD_g2npGBgrdJDbZz4dylffI4Ig2Tam7yYP-iXDNkhSn/s1600/the+assassination+of+morgan.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Assassination of William Morgan <i>by Pierre <br />Méjanel. Courtesy of Wikipedia.</i></td></tr>
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<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Several conflicting accounts muddle the events that followed Morgan’s transgression: even today, different interest groups offer their own version of the story. In 1826, Morgan was arrested for an alleged failure to repay a loan and jailed in Canandaigua. Morgan made bail, but his freedom did not last him very long. The final reports of Morgan’s whereabouts placed him in Niagara County, where a group of agitated masons may have kidnapped him. The haze of history obscures the details of his life after his disappearance, which may have ended thereafter in the Niagara River, or years later in one of the many places across the world where later eyewitnesses claim to have spotted him. In Lewiston, New York, stories still persist that Morgan spent the night in the historic Frontier House on his way to his fate, and the echoes of his possible footsteps through the town still resonate in the historical memory of the area. The ambiguity of his fate encouraged the spread of rumors that often pointed to the wretchedness of the masons.</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Word of the drama spread, and the sensational events fractured associations on every level of society. Incensed members of the public, already wary of the ill-understood organization, demanded retribution for the murder of Morgan, while community leaders took varying positions on Masonic activity. The ensuing uproar split social organizations in places like Lewiston, where the dissenting voices within First Presbyterian congregation delayed the construction of the community's first church building and nearly dissolved the organization entirely. Some masons from high society renounced their alignment with the Freemasons in order to wield this dissent, creating a populist movement that coalesced in the Anti-Masonic Party. It was the first established third party in the United States, and in a flurry of grassroots support, candidates who took up this anti-elitist cross won positions in the elections of 1828, including several seats in the House of Representatives. After the unexpected success of its single-issue politicking, the Anti-Masonic Party filled out its platform with nativist policies.</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<br /></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The political saliency of the Anti-Masonic Party culminated in the Presidential Election of 1832. The waxing of third-party politics determined the outcome of this election in more ways than one. The The Nullifier Party, </span><span style="font-family: "times new roman"; font-size: 16px; white-space: pre-wrap;">a third party that formed shortly after the Anti-Masonic Party, </span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">ran John Floyd as their candidate and carried South Carolina. Meanwhile, in a show of third-party force, Vermont voted Anti-Mason, contributing to incumbent Andrew Jackson's landslide victory over Henry Clay. Irony tinged Jackson's successful reelection campaign: the President of the United States was himself a Freemason. The party's activity waned following the 1832 elections, and the newly formed Whig Party absorbed most of its members by the end of the decade.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhglyaJ60KGC50TfUl6bZNU8oF4Iotql5f33hgdu2XeqNWhmbSiFdkhgIV-NPx1EEXAQFS5EfZmHbuIMyvV0GaUE2fUQiEh1AmY2ieNHddl3F4SSFEl1EE-B177u3eQ1lzWgUdzZOue8MAQ/s1600/victor_belong_spoils.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="682" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhglyaJ60KGC50TfUl6bZNU8oF4Iotql5f33hgdu2XeqNWhmbSiFdkhgIV-NPx1EEXAQFS5EfZmHbuIMyvV0GaUE2fUQiEh1AmY2ieNHddl3F4SSFEl1EE-B177u3eQ1lzWgUdzZOue8MAQ/s400/victor_belong_spoils.gif" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Cartoonist Thomas Nast portrays Jacksonian Democracy<br />Image courtesy of Mercury Academic</i></td></tr>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br />The Anti-Masonic Party and their efforts to dismantle the establishment might seem dated and frivolous to the modern wit, but the pattern of third-party dissent they inaugurated still persists today. More established third parties, such as the Green Party and the Libertarian Party as mentioned above, maintain a degree of political saliency, while lesser known single-issue parties, such as the Prohibition Party (opposed to the sale and consumption of alcohol) and the Humane Party (devoted to the protection of the rights of animals), continue to endorse major-party candidates, and even on rare occasions, run their own candidates. </span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">There’s nothing quite like a single-issue party, so g</span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">et in touch with your inner blacksheep, and vote Preservation in this year’s election.</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></div>
<a name='more'></a><span style="font-family: "times new roman"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">1. Lillian Goldman Law Library, “Washington’s Farewell Address 1796,” </span><span style="font-family: "times new roman"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Avalon Project</span><span style="font-family: "times new roman"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">, http://avalon.law.yale.edu/18th_century/washing.asp (Accessed October 13, 2017).</span><br />
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<span style="font-family: "times new roman"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">2. </span><span style="font-family: "times new roman"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">Dan Arel, “After 2016 drubbing, what’s next for third parties?,” </span><span style="font-family: "times new roman"; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Hill</span><span style="font-family: "times new roman"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">, http://thehill.com/blogs/pundits-blog/campaign/309400-after-2016-drubbing-whats-next-for-third-parties (Accessed October 13, 2017).</span></div>
Anonymoushttp://www.blogger.com/profile/01828633770242942308noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-23832575572263429232017-10-11T16:23:00.000-07:002017-11-27T07:17:16.786-08:00Hoist a Piece of History: Louis Greenstein and the Buffalo Flag<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><i style="font-family: times, "times new roman", serif; font-size: medium;">By Joey Duggan, Associate Historian at Preservation Studios</i></span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Last December, I was at a loss for want of a great gift for my father. What to get the man who, as they say, has everything? After all, he can only use so many fountain pens before his fingers cramp up, and I didn’t want to be on the opposite end of his vindictive grin as he ripped the wrapping paper from a book and said, “too bad, I’ve already read this.” I challenge anyone to try the New York Times Bestseller List when picking out a gift for Jim Duggan. Go ahead, see what happens.</span></div>
<b id="docs-internal-guid-69bb3355-0c71-82a9-1023-5cc3b9752bf1" style="font-weight: normal;"><br /></b>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwejTJqtAT2lnmfOtsHLuxWvUBeA01i-fckP6wmR2xjCfEY-onQODUER_GqveB2ZP0JDpQfOL4TK-UYXfC9yE417FjMuTGa_OLVXoxZz-fQRetBTxasZFJigq8cTHEC5XvONHLJ0VE6-AN/s1600/Buffalo+Flag.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwejTJqtAT2lnmfOtsHLuxWvUBeA01i-fckP6wmR2xjCfEY-onQODUER_GqveB2ZP0JDpQfOL4TK-UYXfC9yE417FjMuTGa_OLVXoxZz-fQRetBTxasZFJigq8cTHEC5XvONHLJ0VE6-AN/s320/Buffalo+Flag.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Buffalo Flag from Wikipedia.org</i></td></tr>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">After some anxiety and some failed attempts at purveying his bookshelf, I acquiesced to window shopping. Trudging along Elmwood, I resigned to getting him another old hat trinket. Yet what I found hanging in the window of a postershop piqued a recent infatuation of mine. My search ended right then, on the corner of Elmwood and Bird, where I put two and two together and bagged the Buffalo Flag for my father. I came across the design for the banner for the first time a few years ago, and I was enamored with it from the start: an instance of good design ordained with the sole purpose of representing the place where I grew up. As soon as I saw it, with a cog of thirteen white lightning bolts arranged around an image of the harbor, I knew it would look proud hanging from our flagpole at home. The holidays provided the excuse I needed to turn my own armchair historical fascination into an appreciated gift. When I handed it off to my father, I received no snarky remarks. He hung it up that afternoon.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Preservation Studios has given me the opportunity to rise from the armchair, and recently we’ve been working alongside the Faith Missionary Baptist congregation to nominate their church building on Humboldt Parkway to the National Register of Historic Places. The Beaux-Arts building testifies to the cohesive spirit of the congregation, which has thrived throughout the years of uncertainty surrounding the Parkway. It’s a monument to their society’s faith and integrity, and a mainstay in the Hamlin Park community. The building dates back to 1924, when the Temple Beth David congregation solicited a design from architect Louis Greenstein for a house of worship in the neighborhood which they then called home. After the demographics of the East Side shifted around the middle of the century, they sold the building to the Faith Missionary Baptist congregation.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgveNhk2HXiWvhEy-bT5ILWBGF1lKRkv-FTqXtDPGh7OEgJTmyn1BQI3nLYNVB4pDsBADlgTxXuq9eTT8Gi7Cxr8FE-5iX2zxov3sRFPaiVUUViLz3D51NvQL354TfBOJ3RCiWziKsQlgn/s1600/Faith+Baptist.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="487" data-original-width="658" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgveNhk2HXiWvhEy-bT5ILWBGF1lKRkv-FTqXtDPGh7OEgJTmyn1BQI3nLYNVB4pDsBADlgTxXuq9eTT8Gi7Cxr8FE-5iX2zxov3sRFPaiVUUViLz3D51NvQL354TfBOJ3RCiWziKsQlgn/s320/Faith+Baptist.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Faith Missionary Church on Humboldt Parkway<br />Photo courtesy of the Black Churches Network<br />http://theblackchurches.org/churches/ny/buffalo/faith-missionary-baptist/</i></td></tr>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">While researching the building’s history, the compelling details of the architect’s biography caught my attention. Louis Greenstein was one of the first Jewish architects in the city of Buffalo. He spent most of his life in here in Western New York, designing buildings and working to preserve the architectural legacy of the city through rehabilitation projects. He studied Beaux-Arts architecture and applied his livelihood to designing buildings such as the Bryant & Stratton building at 40 North Street and the Coplon Mansion on the Daemen College Campus.</span><span style="font-family: "times new roman"; font-size: 16px; white-space: pre-wrap;"> Greenstein participated in major municipal projects with other architectsas well, notably the Memorial Auditorium. </span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">The Beth David congregation solicited Greenstein's designs for multiple synagogues, including the former synagogue that the Faith Missionary Baptist congregation now calls home. He also worked as an educator, training architecture students who couldn’t afford to leave Western New York </span><span style="font-family: "times new roman"; font-size: 16px; white-space: pre-wrap;">at the Buffalo Rectagon Atelier</span><span style="font-family: "times new roman"; font-size: 12pt; white-space: pre-wrap;">. We may have lost the old Aud, but Greenstein left his lasting imprimatur on Buffalo. The informed eye notices his legacy hiding all around the city: the Buffalo Flag, a reclaimed semiotic nod to our hometown, owes its composition to Greenstein.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCcxYlwAccLR8mwRbyuNKbci5uwxP06NkmLgBdHddmInSiPBUs_OoBwimxYlOE1HpeQYNdESDcRXMJtL9Cj_BtuqxzZogJ4J_tYoiAF3rwSn-TtKhcjJibkF-YRn2HTfaFiUWsGmIhlJhX/s1600/IMG_1026.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCcxYlwAccLR8mwRbyuNKbci5uwxP06NkmLgBdHddmInSiPBUs_OoBwimxYlOE1HpeQYNdESDcRXMJtL9Cj_BtuqxzZogJ4J_tYoiAF3rwSn-TtKhcjJibkF-YRn2HTfaFiUWsGmIhlJhX/s320/IMG_1026.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Buffalo Flag flying on West Delavan Avenue</i></td></tr>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The blue and white banner flies in front of some municipal buildings downtown, and recently I’ve stumbled across my vexillological muse in so many new and exciting places: adorning black t-shirts, hanging from flagpoles across the neighborhoods, and of course, tucked onto the label of Lockhouse and the Public’s Revolution Espresso Liqueur (mix one part with two parts chocolate cashew milk over ice: perfect for when you’re snowed in). Maybe it’s an alternative to the complications of overt nationalism, maybe it’s the result of pride for the Queen City’s recent revival, and maybe it’s the answer to an appetite for evocative locally-sourced design. Quite possibly, it’s a response to all of these urges. By brandishing Greenstein’s flag, Buffalonians clarify their belief in a powerful local tradition. Our city is thick with a history of aesthetic innovation and a legacy of local actors bent on making our corner of the world look good while building it from the ground up.</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Buffalo Flag looks good on a flagpole, for sure. But when Greenstein beat out seventy two other submissions in the 1924 competition to design the new Buffalo flag, he didn’t simply win a beauty contest. He laced his design with signifiers of Buffalo’s enterprise, from the lightning bolts, pointing to the early distribution of electricity in the city, to the image of the city harbor, representative of Buffalo’s near-forgotten office as the “gateway to the West.” The design offers onlookers a condensed mythology of the city, a mythology that now bolsters the local identity after years of flux.</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A designer striving to shape our city of today from his office in the Guaranty Building gave us a banner to rally around as we carry Buffalo into the future. His legacy lives across the pages of history books and the wares of new businesses, along streets in Amherst and streets Downtown, and on cornerstones and flagpoles all across the city.</span></div>
<br />Anonymoushttp://www.blogger.com/profile/01828633770242942308noreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-78865750215914754062017-10-05T06:46:00.000-07:002017-11-27T07:18:15.271-08:00Legsweeps, Headlocks, and Bears, OH My!<i>By Matthew Shoen, Associate Architectural Historian at Preservation Studios</i><br />
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In our last blog post I discussed my love of candy and how that love as intersected with a few of our projects over the last couple years. Today I wanted to bring up another of my passions, though unfortunately this has little to do with our work at Preservation Studios. Today I want to look at the history of professional wrestling in Buffalo.<br />
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Professional wrestling is a (sport, athletic display, entertainment spectacle) that dates back to the early nineteenth century with European circus troupes. Many troupes featured a strongman whose athletic feats were meant to awe the crowds. Some strongmen took things a step further, challenging audience members to knock them down for fixed sums.<br />
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In America the athletic displays presented in carnival wrestling tournaments were enlivened by carnival workers who created fictional back stories for the wrestlers often attributing great feats of strength and endurance to them. Many were also billed from exotic locals and grappling sheiks, hussars, and Cossacks toured the country after the Civil War.<br />
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In the 1920s professional wrestling underwent a major evolution with the development of the first wrestling promotions. Whereas earlier wrestling cards featured traveling carnival shows that pitted local grapplers against renowned traveling wrestlers like Frank Gotch and Martin Burns, the new promotions featured a roster of wrestlers who would stay in a territory for months and years, allowing for longer feuds between wrestlers and bigger payoffs for the fanbase.<br />
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By the 1950s the territory system was an engrained part of wrestling and the United States was divided up like fiefs by different major wrestling federations that were broadly governed under the National Wrestling Alliance (N.W.A.). The territory system thrived until the early 1980s when Vince McMahon and the World Wrestling Federation (WWF now the WWE) started to spend heavily, drawing top wrestlers away from other promotions. In 1985 McMahon launched Wrestlemania, a massive closed circuit television extravaganza that featured a mix of nationally known wrestlers like Hulk Hogan, Andre the Giant, and Tito Santana and celebrities like Mr. T who wrestled with Hulk Hogan against Roddy Piper and Paul Orndorff and Cindi Lauper who served as a cornerwoman for Wendi Richter in her fight for the WWF Woman's Championship. The event proved to be a major success and became a cornerstone in WWE's sustained dominance of professional wrestling.<br />
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Given professional wrestling's long history in America, of which I've only sketched a brief outline, it is unsurprising that Buffalo had an enthusiastic wrestling scene. During the 1910s and 1920s East Side residents packed the Broadway Auditorium to watch Polish grapplers like Wladek Zbyszko square off against wrestlers like George Sanders the Bavarian Tiger.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Wladek Zbyszko from Wikipedia.com</i></td></tr>
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Polish wrestlers unsurprisingly drew heavy crowds in the Broadway Auditorium and ethnic champions dominated many professional wrestling territories. In one show from 1929 two-thousand people watched Wladek Zbyszko battle Nino Darnoldi who was reputed as a former Italian cavalry officer. In the thirty minute match Zbyszko twice pinned Darnoldi utilizing a pair of flying snapmares to win the bout (read the full match breakdown below).<br />
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Other matches on the card featured Cowboy Jack Rodgers of Powder River, Montana battling Ned McGuire of Ireland and Renato Gardini, Champion of Italy against Karol Zahorski of Poland. The ethnic nature of many of these names reflects the period as each wrestler's mysterious origins were masterfully hyped before the show.<br />
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Wladek Zbyszko and his brother Stanislaus were both particularly beloved in Buffalo and their appearances packed houses. In addition to the Zbyszko brothers, wrestler Ed Don George dominated Buffalo in the 1930s and 1940s, proving to be the city's most popular draw as he battled the likes of Bulgarian Don Koloff, and Joe Malcewicz.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Stanislaus Zbyszko from Wikipedia.com</i></td></tr>
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The most interesting wrestling event I ran across in my search for Buffalo's professional wrestling history is a match between Gene Dubois and Terrible Ted. Gene Dubois was a French Canadian wrestler and Terrible Ted was a 600 pound black bear that Dubois had trained to wrestle. The match, as well as some useful commentary by wrestling experts Dave Meltzer and Jim Cornette is linked below and is worth watching.<br />
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The history of bears in wrestling is its own interesting topic, though wrestling bears were a sideshow attraction and never a regular part of the shows in Buffalo, the bout between Dubois and Terrible Ted shows the size of the crowds in Buffalo, though the audio is muted due to the commentary. Still you can see and hear enough to realize the popularity of professional wrestling in Buffalo.<br />
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https://youtu.be/3EH-fV9szTs<br />
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Though professional wrestling has lost much of the mainstream appeal it had in the 1980s and late 1990s it remains a fascinating historical subject matter for me. While Buffalo doesn't have the wrestling history of cities like Detroit, Memphis, or New York City, the Queen City did have a vibrant wrestling scene dominated by Polish strongmen and the occasional hardworking bear.<br />
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If you have any wrestling stories that you'd like to share, feel free to leave a comment on our Facebook page and thanks for reading.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Account of the Match between Zbyszko and Darnoldi</i></td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-58974046655198525292017-10-02T13:49:00.000-07:002017-10-02T14:43:55.086-07:00A Few of our Sweeter Projects<i style="background-color: white; color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px;">by Matthew Shoen, </i><i style="color: #444444; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px;">Associate Architectural Historian at Preservation Studios</i><br />
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I love candy.<br />
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In fact, if you told me the Parkside Candy Shoppe funded its rehabilitation through my patronage I could believe it. Dark chocolate is my weakness and I'm a very weak person.<br />
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The recent press around Parkside Candy's rehab has gotten me in the mood for a deep dive into some of Preservation Studios more sugary projects as well as a quick look at the history of chocolateering.<br />
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The consumption of chocolate has been part of the human experience since Central and South American Indians like the Maya, Inca, and Aztecs discovered how to brew chocolaty beverages. After European explorers made landfall in the Americas cocoa was sent back across the ocean and became a favorite treat of the wealthy and refined. This early cocoa was extremely different from the chocolate we consume today. First, chocolate was almost exclusively served in a liquid form and was quite bitter (cacao beans themselves are bitter, the skins hold the sweetness). In Europe, honey was added to counteract this bitterness and hot and cold chocolate drinks were popular treats for nobles.<br />
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In 1847 Joseph Fry, an English chocolateer, discovered that by mixing cacao butter back into liquid chocolate he could make the mixture solidify. Further, he could mold his chocolates into different shapes, such as turtles, doves, and turtledoves. Fry's innovation of a solid chocolate bar allowed for new chocolate forms, however it didn't counteract the bitterness of chocolate. In 1875 Daniel Peter of Switzerland discovered that by mixing condensed milk with chocolate he improved the product's flavor immensely. Milk chocolate quickly became a favorite desert and treat for members of the middle class and children as chocolate had by this time been made affordable.<br />
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In Buffalo the popularity of chocolate skyrocketed after the introduction of milk chocolate. In 1857 the city had only 10 confectioners, by 1888 136 groups were producing chocolate and confectionary goods in the city. During the Pan-American Exposition, two buildings were dedicated to the display and sale of chocolates and the confectionary goods proved a major hit at the Exposition.<br />
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In 1921 one of the city's larger chocolate producers began operations at a former malt house at 520 7th Street. Merckens Chocolates specialized in chocolate bars as well as baking chocolate and the company became a powerhouse in the American confectionary scene. From their headquarters at 520 7th Street the company branched out and opened offices in Boston, Chicago, and Los Angeles among other cities. Merckens Chocolates remained in Buffalo until the 1950s, producing its much loved chocolate and employing over 100 people. Though the company closed its Buffalo offices in the late 1950s another important Buffalo based chocolate firm is still in business.<br />
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The Parkside Candy Company opened its first store in 1917; owned and operated by George, Molly, and Edward Kaiser. The company specialized in confectionary goods and serving light meals, operating in the vein of tea houses and public parlors. Ten years later the family opened a second location at the corner of Main Street and Winspear, possibly anticipating my arrival in 2015. In the meantime the University Heights neighborhood was growing quickly and this growth likely encouraged the family to build their second store. The family also added a sizable candy factory at the rear of the store wherein they produced chocolate, lollipops, sponge candy, and other confectionary treats.<br />
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In terms of its architecture the Parkside Candy Shoppe is one of my favorite buildings in Buffalo. The plastered ceiling and the walls with their beautiful reliefs always catch my eye, as does the rich dark woodwork around the doors and alcoves. Architect G. Morton Wolfe drew influence for the building from Robert Adam and the Adam Style of architecture. This style of interior design was popular in the colonial period and emphasized plasterwork and pastel color schemes like we see in the candy store. This beautiful architecture helped draw customers to the Parkside Candy Shoppe and allowed the company to thrive from 1927 when the building opened all the way to the present day.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Before the Rehab<br /></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>After the Rehab<br />Photo from the Buffalo News<br />http://buffalonews.com/2017/09/26/parkside-candy-reopens-renovations/</i></td></tr>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-81818325875650224122017-09-22T08:02:00.000-07:002017-09-22T08:02:50.740-07:00 Buffalo's Historic Branch Libraries<span style="font-family: inherit;">In our last blog post we looked at the career of Isaac Perry, one of New York State's most important architects and the designer of everybody's favorite armory on Connecticut Street. Isaac Perry's buildings can be related back to important historical trends and movements. America's fear of anarchism and revolt among working class peoples encouraged the construction of the armories, and a desire to treat the mentally ill led to the construction of asylums like the St. Lawrence State Hospital.</span><br />
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<span style="font-family: inherit;">In this week's blog we'll be focusing on a local historical building campaign undertaken by the Buffalo Public Library between 1901 and 1928. Between these years the public library created fourteen branch libraries in the city of which eight still exist. These branch libraries were critical to the Buffalo Public Library as they allowed residents in outlying neighborhoods access to library services and reduced pressure on the Central Library. Many of the libraries built during this period are still standing and a few remain active libraries. Before getting into the history of Buffalo's branch libraries it's important to take a brief look at the history of Buffalo's library system starting in 1836 when the Young Men's Association formed the Library.</span><br />
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<span style="font-family: inherit;">The Young Men's Association was a collection of wealthy young businessmen and entrepreneurs with a similar spirit and affinity towards boosterism. The association was particularly concerned with Buffalo's meager literary scene. The organization's first act was to form a library subscription service. For fifty dollars a year members of the Young Men's Association could access the Buffalo Library's collection of 2,700 books.</span><br />
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<span style="font-family: inherit;">The Young Men's Association controlled the Buffalo Library from 1836 until 1897, a period of sixty-one years. During this period the Association grew the library's collection to 84,000 pieces of literature and built the majestic Central Library in downtown. Despite its expanded collection, the Buffalo Library only had 2,900 subscribers by 1897. This amounted to around 1% of Buffalo's population in 1897. The Buffalo Library's reach was limited because the fifty dollar subscription fee remained prohibitive for all but the wealthiest and most literally inclined individuals. Further, the Central Library's location in downtown meant that residents on the East Side, in South Buffalo, and in certain parts of the West Side faced a long walk or trolley ride to the library. For many people the distance proved prohibitive.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">By 1897 the Buffalo Library's low subscription base became untenable. The library's budget was $5,000 a year, nowhere near enough to pay for building maintenance and book purchases. Facing a slide into irrelevance the Buffalo Library made a deal with the city to transform the Buffalo Library into a tax supported public library service.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The Buffalo Public Library officially opened in September of 1897 and throngs of people soon inundated the Central Library on a daily basis. Almost from its inception, the library's Board of Managers recognized the need for branch
libraries. In 1899 the library’s superintendent H. L. Elmendorf argued,</span><br />
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<span style="font-family: inherit;">In other
large cities a great proportion of the circulation is done through small
libraries, located at convenient places in different parts of the city. If we
had such collections of books, with commodious, well-stocked reading rooms –
say, one in Black Rock, one in Cold Spring and two or three on the East side,
each in charge of regular library assistants – we could, I think, double our
usefulness.1 <o:p></o:p></span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">The Buffalo Public Library set about erecting branch libraries soon after Elmendorf's proclamation. The first branch library, the William Ives Branch at 746 Broadway, was opened in 1901. Within two years the J.P Dudley Branch Library at 503 South Park Avenue and the Lafayette Branch Library inside the Lafayette High School had opened. These early branch libraries all occupied rented rooms inside commercial buildings or fraternal halls. Because of this, none of the libraries were considered up to the Buffalo Public Library's standards. The libraries were small and like the Central Library, became easily overcrowded, especially after school. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">Throughout the 1910s the Buffalo Public Library lobbied Common Council for the funds to build branch libraries. One particular focus of the public library was the former Buffalo Waterworks Building at 1936 Niagara Street. Almost from the public library's inception an agreement had been in place to allow the Buffalo Public Library to turn the waterworks building into a branch library. However Common Council continually frustrated the library's leadership, refusing to release the vital funds necessary to renovate the waterworks. Finally in 1915 the funds were released and the Jubilee Branch Library was opened.</span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">The new library possessed two important features repeated in all
future branch libraries. First, the building had a basement auditorium open to
public organizations. Additionally, on the first floor the library was divided
so that adults and children had separate reading rooms. The division of space
between adult readers and children was considered important to the function of
the branch library and future branches partitioned adult and child spaces, often employing two wings with a central
librarian’s desk to do so. After the construction of the Jubilee Branch Library, branch library constriction stopped in Buffalo for nine years, though the Buffalo Public Library continued lobbying for funds. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: Times New Roman;"><span style="font-family: inherit;">In 1923 the library received its much needed funds in the form of a $200,000 grant from Common Council. With the exception of the Jubilee Branch Library, all Buffalo's early branch libraries were built with money from this grant. The first libraries, the Cazenovia, Kensington, and Fairfield Branches were built in 1924. These were followed in 1927 by the Genesee Branch Library and in 1928 by the North Park Branch Library. Howard L. Beck, Buffalo's city architect, designed each building and employed popular revival styles such as Colonial, Tudor, and Renaissance Revival in his designs</span><span style="font-family: inherit;">.</span></span><br />
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<span style="font-family: Times New Roman;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TdmnU34Kak5Rm60WvLdBZhkK3_odeKLOmb3n91hzkzwRDfnNfBFpEHR_ZE8-oxvIB2UxRXj-0ddmpZBzUZ-b3-kFEgQ-GmzMNBPbyYU4pAplHuO8Zub_Zqv67OfFNM_ti-KqwbKIYI0/s1600/Caz+Branch.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="531" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TdmnU34Kak5Rm60WvLdBZhkK3_odeKLOmb3n91hzkzwRDfnNfBFpEHR_ZE8-oxvIB2UxRXj-0ddmpZBzUZ-b3-kFEgQ-GmzMNBPbyYU4pAplHuO8Zub_Zqv67OfFNM_ti-KqwbKIYI0/s1600/Caz+Branch.tiff" /></a></span></div>
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<span style="font-family: "times new roman";"><span style="font-size: 12pt;"><br /></span></span>
<span style="font-family: inherit;">By 1930 Buffalo had fourteen branch libraries scattered throughout the city. The libraries circulated an average of 80,000 books a year and helped reduce overcrowding at the Central Library. More importantly however they gave children and adults in Buffalo access to literature and entertainment. A number of the city's branch libraries were placed in large immigrant communities where English was a second language. The branch libraries became a crucial meeting place for children and adults from Buffalo's different immigrant communities. The branches had foreign language books and newspapers catered to the demographic they served and librarians were attentive to the needs of small children as they attempted to learn English. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Surprisingly the branch libraries erected between 1923 and 1928 are all still standing, though with the exception of the Cazenovia Branch Library, none of the branches are still active. The spaces inside these libraries have thankfully however been used since each library has closed and at least one is in the process of being rehabilitated. Though some branches sit empty, those that have been maintained, such as the Kensington Branch Library continue to provide tangible benefits to the community. One can only hope that the rest of the branches are brought back to life and put to use in the city.</span></div>
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<span style="font-family: "times new roman";"><span style="font-size: 12pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxyUWTPiXbAo_oPVxtZl8xRjOo-NkLaOcep-YhLNkTPtEBqgb9fdoQ0Q1_njNsNXAlrmJctXYen1BTxosh9tfjsjFnnR2X288fyieuS8gOc2VPdcX57NuVliL69gqs3js6OAxjUCtSTU/s1600/Buff+Lib+Map.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="794" data-original-width="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxyUWTPiXbAo_oPVxtZl8xRjOo-NkLaOcep-YhLNkTPtEBqgb9fdoQ0Q1_njNsNXAlrmJctXYen1BTxosh9tfjsjFnnR2X288fyieuS8gOc2VPdcX57NuVliL69gqs3js6OAxjUCtSTU/s1600/Buff+Lib+Map.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Map of the Buffalo Public Library System in 1930<br />
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<!--StartFragment--><span style="font-size: 10pt;">The Buffalo Public Library, <i>Thirty-Fourth Annual Report of the Buffalo Public Library: 1930,</i>
(Buffalo: 1930), 26.</span><!--EndFragment--> </td></tr>
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</style>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-40267322856452080732017-05-25T06:48:00.000-07:002017-11-27T07:17:37.070-08:00Architect Spotlight: Isaac Perry<i>by Matthew Shoen</i><br />
<i>Associate Architectural Historian at Preservation Studios</i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Isaac Perry from findagrave.com</i></td></tr>
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New York State is dotted with buildings and cities designed brilliant architects. Buffalo owes much of its shape to landscape architect Frederick Law Olmstead, and much of its iconic skyline to H.H. Richardson, Alfred T. Fellheimer, and Frank Lloyd Wright. These nationally known architects are always present in our minds, and tourists coming to Buffalo make sure to visit their buildings. There is however another architect whose works are important not only to Buffalo but to the entire state of New York. That architect will be the subject of our latest blog. Today we'll be profiling Isaac Perry.<br />
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Isaac Perry was born in Vermont in 1822, but grew up in Keeseville in the Adirondack Mountains. Perry worked in the mountains with his father Seneca Perry as a carpenter and mason. Perry and his father worked throughout Clinton and Essex Counties for at least a decade, building homes and hotels in the small mountain towns that dotted the landscape. In 1852 Perry left the Adirondacks and moved south, establishing himself in Binghamton where he interned under the architect Thomas R. Jackson, a former protege of Richard Upjohn.<br />
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While in Binghamton, Perry got a breakthrough contract when, in 1856, he was selected to design the New York State Inebriate Asylum, the first alcohol treatment center ever built. The Inebriate Asylum occupied Perry until 1866, but the scale of the project made him a highly sought architect in Binghamton where he built a number of religious, commercial, and residential buildings, including the Phelps Mansion a beautiful three-story brick and stone mansion with a steep mansard roof.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Binghamton Inebriate Asylum from wikipedia.com</i></td></tr>
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Perry's success in Binghamton was a decisive factor in his appointment as Commissioner of the New Capitol in Albany, a project to rebuilt New York's Capitol Building into a larger and more grandiose structure. The Capitol Building was constructed under the oversight of three teams of architects, the first led by Thomas Fuller between 1867-1875, the second by Leopold Eidlitz and H.H. Richardson between 1875-1883 and the final team by Isaac Perry between 1883-1899. Perry's creative input saved the project, which was decades behind schedule. While initially tasked with overseeing the work begun by his predecessors, Perry reworked their designs and shaped the capital building into its present form. His most notable contribution, came in the creation of the Eastern Approach, the monumental exterior staircase that leads up to the Capitol Building's entrance.<br />
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Monumental scale defines many of Isaac Perry's most memorable projects. While the Capitol Building was being constructed, Perry also built forty armories throughout the state, including the massive Connecticut Street Armory in Buffalo, the Ogdensburg Armory, Niagara Falls Armory, and the Oswego Armory among many others. Perry also worked on the state's asylum system, building the St. Lawrence Asylum in Ogdensburg, and the Matteawan Asylum for Insane Criminals near Fishkill. </div>
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In 1895 New York created the position of State Architect, a position Perry inherited since he'd been the lead architect on every major state building project for the preceding twenty years. Perry retired soon after getting his position however due to his advancing age. He returned to Binghamton where he died in 1904 at the age of 82. </div>
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The monumental works of Isaac Perry, coupled with his position as the State Architect, means that almost every significant community in New York State is tied to Isaac Perry in some way. His architecture, though not stunningly original like his contemporary H.H. Richardson, is extremely beautiful and his perchance for the monumental make visiting his buildings an awesome experience (with an emphasis on the awe). Perry's buildings, particularly in smaller communities, are sources of pride and represent a level of grandeur not often seen due to financial restrictions. With his emphasis on turrets, towers, and beautiful stone arches, Perry captured our collective desire for powerful architecture and brought it to life throughout New York State.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Administration Building of the Ogdensburg State Hospital from Opacity.com</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Ogdensburg Armory from Flickr.com</i></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-27422436227317900372017-05-24T11:21:00.007-07:002017-05-24T11:25:42.308-07:00Neighborhood Destruction<i>Matthew Shoen</i><br />
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<i>May 24, 2017</i></div>
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<span style="background-color: white;"><span style="background-color: white;"><span style="background-color: white;"><span style="background-color: white;">A few weeks ago Preservation Studios, along with the Fruit Belt/McCarley Gardens Housing Task Force, came together to discuss the history of the Fruit Belt neighborhood. </span></span><span style="background-color: white;">T</span></span><span style="background-color: white;">his old resi</span></span>dential part of the city has been settled since the 1840s and was an important part of the Great German East Side, Buffalo's second major ethnic neighborhood (Following the Irish Old First Ward). The Fruit Belt was improved in the 1870s with the completion of the Parade and the Humboldt Parkway. These beautifully landscaped spaces were created by Frederic Law Olmstead and Calvert Vaux two of America's premier landscape architects. The presence of such nice amenities and the Fruit Belt's proximity to work opportunities in the East Side or Downtown Buffalo helped Germans living in the Fruit Belt resist the call of the suburbs that swept through the rest of the city. Unfortunately, Urban Renewal programs instituted by the city caused significant harm to the Fruit Belt and its residents. Like our last piece, this blog will be heavy on photography. The destruction of the Fruit Belt was well documented as a sign of progress for the city, despite the fact that this progress came at the cost of homes, businesses, thousands of residents, and the much beloved Humboldt Parkway. </div>
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The destruction of the Fruit Belt affected the German residents who were the area's historic population, however it had a more dramatic impact on African Americans who moved into the neighborhood after they were forcibly evicted from their homes during the destruction of the Ellicott District in the early 1950s.1 Thousands of African Americans were rendered homeless by Urban Renewal that demolished their homes in the Ellicott District and replaced the buildings with low income housing projects. With no other option, African Americans sought out housing in neighborhoods like Hamlin Park, Masten Park, and the Fruit Belt. Here they were greeted by predatory landlords and the city's attempt to modernize itself and make downtown more accessible, the Kensington Expressway. </div>
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People have written at length about the Kensington Expressway and the catastrophic impact it had on Buffalo's East Side. Organizations like the Restore Our Community Coalition (http://roccbuffalo.org/) have done a fantastic job documenting the destruction of Humboldt Parkway, but I want to draw your attention south to the Fruit Belt where much of the residential destruction necessary to build the Kensington Expressway occurred. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGrf9h7YXz0_BIFBHBR4MVre4r_V2nKBDzgSuw6ts3eF_C421FChSS59jhFDXJqkEDZjrI6XcK8c1BHjqx-9MQZKgBdnPArcDAVgzYbnLjRMfOhYTvyZEINGoENNQ1gR0KGPt9akZVguI/s1600/Destruction.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGrf9h7YXz0_BIFBHBR4MVre4r_V2nKBDzgSuw6ts3eF_C421FChSS59jhFDXJqkEDZjrI6XcK8c1BHjqx-9MQZKgBdnPArcDAVgzYbnLjRMfOhYTvyZEINGoENNQ1gR0KGPt9akZVguI/s1600/Destruction.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Property destruction between Rose and Mulberry Streets.<br />
<i>From Fultonhistory.com</i></td></tr>
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To build the Kensington Expressway, over 500 buildings were destroyed, many of which were demolished in a 1.8 mile section of Buffalo between Michigan Avenue and Utica Street. The majority of the buildings destroyed were homes, however German saloons, brick factories, and a sheet metal factory were also destroyed, depriving the neighborhood of local industry, commerce, and recreation. </div>
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The Kensington Expressway was announced in 1954 and work on the expressway began in 1957. In those three years properties around Cherry Street deteriorated as owners stopped investing in their upkeep, knowing the buildings were doomed. Rats also began to multiply in abandoned buildings, and became a prevalent issue in the community. </div>
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The Kensington Expressway encouraged Germans to leave the Fruit Belt and became a major eyesore for the African Americans who moved into the newly vacated homes of the F<span style="background-color: white;">ruit</span><span style="background-color: white;"><span style="background-color: white;"> Belt's German resident</span><span style="background-color: white;"><span style="background-color: white;">s. </span><span style="background-color: yellow;"><span style="background-color: white;">The expressway soon became more than an aesthetic issue. After its completion, the Kensington Expressway became a moat </span></span><span style="background-color: white;">separating the Fruit Belt from the East Side, and the East Side from the rest of Buffalo. </span></span></span></div>
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<span style="background-color: white;"><span style="background-color: white;">During its construction however the expressway was a morass</span><span style="background-color: white;"> </span><span style="background-color: white;"><span style="background-color: white;">o</span></span><span style="background-color: white;">f construction equipment, mud, and closed streets. Residents who drove to work were never sure if their streets would b</span></span>e open when they came back or if construction equipment had ripped up the road surface. Parents had to be vigilant with small children around the construction site and at least one man died (from cardiac arrest) after he fell down the banks of the expressway construction site. The mud, noise, and traffic issues made the Kensington Expressway one of of the worst aspects of living in the Fruit Belt in the 1950s and the expressway has continued to be an eyesore and a major health hazard. </div>
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The destruction of so many beautiful buildings in the Fruit Belt was seen as progress for the city of Buffalo. The loss was viewed as necessary, a step forward by a community trying to remain vibrant in the modern world. We should take the Kensington Expressway as a warning from the past, and never engage in destructive programs like this ever again. Collectively we need to lay a critical eye across all projects that ask us to demolish the buildings that give our city character. While the Fruit Belt continues to be an active neighborhood, there is no way to ignore the Expressway's presence and the ghosts of all the properties and families who were pushed out to build it. </div>
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<tr><td class="tr-caption" style="text-align: center;">Inspector at the temporary bridge across Lemon Street.<br />
<i>Fultonhistory.com</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Early work on the Kensington Expressway's below grade sections near the Fruit Belt.<br />
<i>Fultonhistory.com</i></td></tr>
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1. The destruction of the Ellicott District will be covered further in future blog posts. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-23319664223583530532017-05-03T12:35:00.001-07:002017-05-03T12:35:52.563-07:00Artist Spotlight: Harry James Horwood<i>By Matthew Shoen </i><br />
<i>Associate Architectural Historian </i><br />
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Occasionally we've taken time to blog about the architects we've encountered in our research. Today I want to change things up a little and discuss briefly discuss a stained glass artist whose works form a critical component of our next nomination. Today's blog is about Harry James Horwood a resident of Ogdensburg, New York, who along with his father Harry Horwood, was one of the most accomplished stained glass artists in the United States during the early twentieth century. (For clarity Harry James Horwood will always be addressed by his full name)<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>From the First Baptist Church of Ogdensburg<br />Photos taken by David Martin of the Horwood Stained Glass Museum</i></td></tr>
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Harry James Horwood was born in England in 1864 though he soon moved to Prescott, Ontario Canada where his father had set up a stained glass studio. During the 1870s and 1880s Ottawa was experiencing a massive construction boom. Large churches and government buildings were built during this period and Harry Horwood took advantage of the construction boom and earned multiple contracts installing windows in buildings like Ottawa's Parliament Building, Ottawa's Carnegie Library, and Notre Dame Cathedral.<br />
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In 1880 Harry Horwood opened a branch studio in Ogdensburg, New York. Ogdensburg is just across the St. Lawrence River from Prescott and Harry Horwood's artistry had attracted the city's attention. In 1880, city leaders commissioned Horwood to install stained glass windows in the Ogdensburg Opera House. The massive circular rose colored window Horwood created was widely considered the opera house's most beautiful element, though it was sadly lost in 1926 due to a fire. </div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Ogdensburg Opera House after the fire. </i><br />
<i>The space occupied by Harry Horwood's rose window is clearly visible.</i><br />
<i>From Julie Madlin's Ogdensburg History Blog. http://ogdensburghistory.blogspot.com/</i></td></tr>
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The Ogdensburg Opera House's rose colored window made the Horwood name universally known in Upstate New York and numerous orders for stained glass windows came to Harry Horwood's Ogdensburg studio from area churches. Horwood remained active in Upstate New York until 1917 when he died. After Harry Horwood died, Harry James Horwood took over the Ogdensburg studio and continued providing beautiful stained glass windows to the residents of Upstate New York. </div>
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While his father was better known, Harry James Horwood was arguably more important to Upstate New York. After taking over his father's business Harry James Horwood moved the business to a different part of the Ogdensburg. After completing the move, Harry James Horwood began taking orders from churches and private individuals from around the region. His work displayed a high level of artistry, but crucially his windows were inexpensive. Harry James Horwood retailed some of his windows for as little as thirty-five dollars and churches eagerly bought them. </div>
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One church that patronized Horwood repeatedly was the First Baptist Church in Ogdensburg. This church contains eleven Horwood stained glass windows, eight of which are visible and in beautiful condition. The windows were installed between 1931 and 1944 and memorialize various church members and former pastors. The windows display scenes from the bible such as the Last Supper, the Resurrection, and the Coming of the Three Wise Men. Additionally, the church had a special relationship with Harry James Horwood, as he was the church's choirmaster.</div>
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These stained glass windows and the many hundreds made by Harry James Horwood and his father Harry Horwood beautify churches across New York and Canada. The beauty of these windows make visits to any of the churches in Upstate New York a treat and an excellent reason to stop by and go inside. So if you're every traveling to Ottawa, take 81 north and stop by some of the churches in Ogdensburg or the other local communities and ask to see the stained glass artistry of Harry James Horwood. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg9v5Tp1pk4GFr36bc50ZVfNEOC5XIqcsVmHArUuHnKzs4rhbvGm3aupW7wt-gupEXDiBK-pqGE-QbrOr212qiyZ6YHTEo0zIsj7StLEsxgSmo-SReP1puC4smL1GG6iUaxwUxrX5IykQ/s1600/Jesus+and+lambs.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg9v5Tp1pk4GFr36bc50ZVfNEOC5XIqcsVmHArUuHnKzs4rhbvGm3aupW7wt-gupEXDiBK-pqGE-QbrOr212qiyZ6YHTEo0zIsj7StLEsxgSmo-SReP1puC4smL1GG6iUaxwUxrX5IykQ/s1600/Jesus+and+lambs.tiff" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Christ the Good Shepard from the First Baptist Church of Ogdensburg<br />Photo by David Martin<br /></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Last Supper from the First Baptist Church<br />Photo by David Martin</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The transom above the First Baptist Church's front door is Harry James Horwood's simplest piece of art in the church.<br />Photo by David Martin</i></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-81986156152278818252017-04-10T08:00:00.003-07:002017-04-10T08:00:58.979-07:00Live and Outdoors its NHL Hockey!!Well.... Last night was certainly depressing. After tying the game late it looked like the Sabres MIGHT give us a few more minutes of hockey to enjoy as we try to forget this season of misery. Instead, Tampa scored with a minute twenty-four to go and added an empty netter to salt the wounds. <div>
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The Sabres managed to somehow do worse this year than they did last year and expectations were pretty brutally dashed by the way March and April played out. Still, there is always next year, and 2018 offers Sabres fans something especially fantastic in the form of a second Winter Classic game, this time against the New York Rangers. <div>
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The first Winter Classic was a major spectacle and came as the Sabres were performing like the most dominant team in the NHL. Buffalo was flying high with players like Danny Briere, Chris Drury, and Ryan Miller and collectively we were all sensing the Stanley Cup. Unfortunately the President's Trophy winning season would be Buffalo's last taste of playoff glory and the team has struggled mightily in the last decade to gain any sort of traction. </div>
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Regardless of how the Sabres do next season I'm excited for another Winter Classic game. The prospect of Buffalo playing in another Winter Classic got me interested in the history of outdoor hockey and I did a little research to find out a bit more on the history of outdoor hockey games. </div>
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Originally hockey was played outdoors as there was no way to cool ice inside a building. Games were played on rivers, lakes, or in my case in a swamp by the train tracks. In 1875 the first indoor hockey game was held in Montreal at the Victoria Skating Rink. The game was a novelty act, more of an exhibition of the ice freezing technology. The game's announcement in the newspapers is particularly memorable. It reads:</div>
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A game of Hockey will be played at the Victoria Skating Rink this evening, between two nines chosen from among the members. Good fun may be expected, as some of the players are reputed to be exceedingly expert at the game. Some fears have been expressed on the part of intending spectators that accidents were likely to occur through the ball flying about in too lively a manner, to the imminent danger of lookers on, but we understand that the game will be played with a flat circular piece of wood, thus preventing all danger of its leaving the surface of the ice. Subscribers will be admitted on presentation of their tickets. </div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Painting of the Victoria Skating Rink in Montreal. Image taken from Wikipedia.</i></td></tr>
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<br />Right away I have to wonder which hurts more a wooden puck or a rubber puck? Obviously a Shea Weber shot is going to make any wood puck disintegrate into splinters, but even if the puck wasn't atomized by a one-timer how bad would a wooden puck to the leg feel? </div>
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Following the first exhibition at the Victoria Skating Rink indoor hockey grew in popularity until it was the most common method of playing the game. Outdoor hockey made a revival in 1924 at the Olympic Games in Chamonix, France where the Canadians unsurprisingly dominated the competition. Surprisingly, while America took the silver it was Great Britain that won the bronze medal beating Sweden of all countries. Even stranger the 1936 Winter Olympics saw the British take gold in hockey. </div>
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The next major outdoor hockey game directly involved the NHL and occurred between 1953 and 1954. Late in 1953 Jack Adams, coach of the Detroit Red Wings, took some of his players into Michigan's Upper Peninsula on a goodwill tour. One of the stops the Wings made was at the Marquette Branch Prison. Dubbed the Alcatraz of the North, Marquette was an isolated and harsh prison, reserved for Michigan's most dangerous criminals. During the visit Emery Jaques the prison warden propositioned Jack Adams, asking if the coach would bring the Red Wings north to play an exhibition game at the prison. Initially Adams scoffed and told Jaques that if he could foot the bill for air-fare and accommodations that the Wings would come. To his surprise the warden came up with the money and on February 2nd, 1954 the Detroit Red Wings lined up against the Marquette Prison Pirates. </div>
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With legends like Gordie Howe, Ted Lindsay, and Terry Sawchuk playing the their prime the Wings quickly ran away with the game, establishing an 18-0 lead at the end of the first period. After that, several Red Wings, including Sawchuk were traded to the Pirates and an inmate centered the line of Howe and Lindsay. For the rest of the game nobody kept score and the players had fun with each other. Many of the prisoners were awed by the Red Wings as they'd only ever listened to the radio announcers describe the players and their abilities. To see them in the flesh was a spectacle most of the inmates likely carried until their deaths. </div>
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Hopefully in 2018 fans of Buffalo Sabres hockey can see something spectacular when the Sabres play the Rangers. Hopefully the team has a breakthrough and makes the playoffs next year. Regardless of how things play out, the Sabres are certain to put on a show when hockey goes outdoors and the puck drops in New York City. </div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Red Wings at Marquette. Image from NHL.com</i></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-81907016841776853882017-03-30T11:18:00.001-07:002017-03-30T11:18:31.040-07:00Architect Spotlight: Charles Day Swan<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>Charles Day Swan taken from http://buffaloah.com/a/plymouth/cb/129.pdf</i></td></tr>
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Its been awhile since our last Architect Spotlight post and I felt now was a good time to dive back in and look at another one of Buffalo's unheralded architects. This time we'll be focusing on Charles Day Swan<br />
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Architect Charles Day Swan was born in Buffalo in 1855 the son of ship captain Augustus Swan. Swan lived at 290 Jersey Street near Allentown and from this residence he commuted to the office of architect Richard Waite. Between 1873 and 1881 Swan worked as a draftsman for Waite, following the traditional path of most architects in the nineteenth century.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcb94QISpbMJfcjL_ciLT7opAlAR1rEjTV_3nKAvFLFEjTTsxACl6GxUO8TMuGKVoMXc5ht3CE88pScWsIVKF_DDRzpPRsmQfxOSY7p5qJXQ7bCr8hzT4FAhNDEBFOk_rYINO8iQaJtDU/s1600/Zink+Block.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcb94QISpbMJfcjL_ciLT7opAlAR1rEjTV_3nKAvFLFEjTTsxACl6GxUO8TMuGKVoMXc5ht3CE88pScWsIVKF_DDRzpPRsmQfxOSY7p5qJXQ7bCr8hzT4FAhNDEBFOk_rYINO8iQaJtDU/s400/Zink+Block.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Zink Block</i><br />
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After leaving Waite's office Swan enjoyed a long and successful career, contributing a number of beautiful buildings to Buffalo, several of which have been listed on the National Register of Historic Places. Swan primarily built private homes, but he also was responsible for building the Zink Block on Connecticut Street and Public School 24 near Martin Luther King Park. These two buildings represent Swan's most impressive extant contributions to the architecture of Buffalo. The Zink Block is a beautiful Renaissance Revival commercial building composed of sandstone and brick and highlighted by a series of arched windows that give the building a really unique look. Public School 24 is a bit less showy than the Zink Block, however certain features are carried over from the Zink Block such as the heavy sandstone windowsills and projecting brick columns that divide the window bays. Like the Zink Block, Public School 24 was executed in the Renaissance Revival Style. The application of this architectural style to an educational building makes School 24 one of the more interesting historic school buildings in Buffalo.<br />
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While the Zink Block and Public School 24 remain two of Swan's most attractive extant buildings his finest building was likely the United Presbyterian Church at the corner of Richmond and Summer Streets. Built in 1889 the beautiful church has sadly been demolished. The lot has since been repurposed as a senior citizen home.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Taken from Buffaloah.com</i></td></tr>
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Charles Day Swan was most active in the 1880s and 1890s and saw is career taper off after 1900. In 1911 Swan moved to Cambridge Massachusetts with his family where he died in 1914 at the age of fifty-nine.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-86592756470729275472017-03-20T12:59:00.001-07:002017-03-21T12:08:13.977-07:00The Case for a Museum Dedicated to Francis Folsom<br />
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A couple weeks ago one of my friends from Washington D.C. came up to visit and tour Buffalo. On the last day of his visit we were on our way to Founding Fathers when we passed the house where First Lady Francis Folsom grew up. Like me, he's a history buff so we stopped to read the plaque outside the house at which point he remarked that cities like Buffalo needed more museums, little educational centers capable of highlighting the connections our towns and cities have to the broad tapestry of American history. I gave his words some thought as we walked around the rest of Allentown and my mind was continually drawn back to Francis Folsom who I see as one of our more interesting and significant First Ladies our country has ever had. In the annals of American presidential history she is wholly unique. She is the youngest woman to become First Lady doing so at 21(For comparison Jackie Kennedy was 31 and Michelle Obama 45 when they became First Lady). She is also the only woman to be married in the White House, as well as the only woman to give birth while First Lady. However, all these facts, while interesting, amount to little more than trivia. Francis Folsom's significance lies in her portrayal through the newspapers. She was a sensational figure whose actions were heavily scrutinized and whose image was monetized by fashion magazines and hundreds of other strange outlets such as playing cards and smoking pipes. In many ways Francis Folsom was the first celebrity First Lady, a woman whose actions carried intrigue and whose persona captivated much of America.<br />
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Francis Folsom was born on July 24th 1864 to Oscar and Emma Folsom. Oscar Folsom was a lawyer partnered with New Jersey born Grover Cleveland. Oscar Folsom was also a wild man who enjoyed racing his carriage, a hobby that cost him his life in 1873 when he crashed his carriage just before Francis's 11th birthday. Despite the loss of her father, Francis Folsom was well cared for by her mother's family and by Grover Cleveland who acted as a guardian for the young woman. In 1882 Cleveland helped Francis attend Wells College one of the first colleges for women in New York State. At Wells she took courses in an eclectic mix of the humanities and corresponded with Cleveland who was climbing the political ladder, moving from Mayor of Buffalo to Governor of New York with an eye on the presidency. In the 1884 election Grover Cleveland narrowly defeated James G. Blaine and by spring of 1885, the same year she graduated from Wells College, Cleveland asked Francis Folsom to marry him.<br />
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Cleveland was a private man who didn't want his young bride to be hounded by the newspapers and took precautions in order to keep the press away from Francis as she toured Europe and prepared for married life. The intrigue surrounding Cleveland and his bachelorhood was fodder for the tabloids and many suspected he intended to marry Francis's mother Emma. Thus, when it was revealed that Cleveland would marry Francis, a woman twenty years his junior the press went into a frenzy and she became an instant celebrity. This was only exacerbated by the private nature of the Cleveland-Folsom wedding which featured the couple's immediate family, a few friends, and members of Cleveland's cabinet to whom he hand wrote the invitations. The wedding was so anticipated that when it was announced that Francis and Grover Cleveland were officially wed the entire city of Washington D.C. erupted in a cacophony of church bells, ship horns, and cheers as people celebrated the marriage.<br />
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Because of her age, attractiveness, and improvements to camera technology, Francis Folsom became the most visibly recognizable First Lady ever. Women copied her style, and as a young woman she broke significantly from past styles of dress, exposing her shoulders and arms in photographs. With so many women paying attention to Francis Folsom her image became an incredible marketing tool and advertisers used her image to sell sewing machines, medicines, and eventually her husband attempt at reelection in 1888 a move that sparked the Republican party to use Caroline Harrison's image in their advertisements.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicNA7zhtxBzEYH84C6i-_JQhaMZwp_WbG3xQ9A365sDFOmuWLs-009cn5tN667cYDuPjk78C79-iik8iVNOepLN8Qfxq322fHp0mRRmc8kqSbLnKKBaOZuIrL39T6MhfuHcuEqsKdSgrM/s1600/FF+advert.tiff" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicNA7zhtxBzEYH84C6i-_JQhaMZwp_WbG3xQ9A365sDFOmuWLs-009cn5tN667cYDuPjk78C79-iik8iVNOepLN8Qfxq322fHp0mRRmc8kqSbLnKKBaOZuIrL39T6MhfuHcuEqsKdSgrM/s640/FF+advert.tiff" width="409" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Taken from the National First Ladies Library<br /></i><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Poster Featuring President Cleveland and Francis Folsom prior to the Election of 1888 which Cleveland lost. Taken from the Washington Post.</i><br />
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<span style="font-size: small;">Though Grover Cleveland lost the election of 1888 he and Francis Folsom were back in the White House following the 1892 presidential election. By this point Francis Folsom had given birth to two of the family's children and a third would be born in the White House making the children instant celebrities like their mother. Many speculate that the Baby Ruth candy bar was named after Folsom's first daughter Ruth. </span></div>
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<span style="font-size: small;">While Francis Folsom did not push the boundaries of a First Lady's role in society in the way we associate with modern First Ladies like Jackie Kennedy, Lady Bird Johnson, or Michelle Obama, her presence in the public eye and the obsessive coverage of her actions can be seen as a preview to the modern life of our First Ladies. Her use in the 1888 presidential election also marked a major shift in political gamesmanship as the wives of presidential candidates had never been scrutinized before. She was instrumental to transforming Grover Cleveland's image from that of a coarse Buffalo politician to that of a loving and gentle father. </span></div>
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<span style="font-size: small;">Outside of her role as First Lady, Francis Folsom was a strong proponent of women's education, though she was an anti-suffragette. She became a trustee of her alma mater Wells College and worked to give female artists, particularly female musicians opportunities that had historically been denied to them. Later in her life Francis Folsom became the president of the Needleworking Guild and became active in university life at Princeton. She died in October 1947, 51 years after first entering the White House as a young woman. </span></div>
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<span style="font-size: small;">Whenever I walk by the Francis Folsom House I'm struck by how interesting yet overlooked the life of Francis Folsom is today. Folsom broke down so many barrier and changed so much about the role of First Lady that I feel like she deserves a museum. Her life in the White House offers a great deal of insight into the culture of journalism and celebrity that existed in the 1880s, as well as the evolution of the role of First Lady. As one of our most unique First Ladies Francis Folsom is a great treasure to Buffalo and deserves greater recognition from the city. Hopefully one day we can walk by her childhood home and take a tour of her life, legacy, and the artifacts and objects produced using her image. </span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-37683769980877881852017-03-15T07:35:00.001-07:002017-03-15T07:35:24.809-07:00The Great Blizzards of Years Past<div class="separator" style="clear: both; text-align: center;">
Remember how it was 65 degrees in February? That was nice wasn't it? I wore shorts and ate dinner on the porch while the cats across the street rolled around in the grass. Now.... not so much. </div>
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Yes another storm has trapped us in Buffalo, a blast of northern ice to remind us winter is over when it decides it is over. How does this storm stack up to past storms? Clearly its not even close to Snowvember or the Blizzard of 77, events I thankfully missed. What about the other big storms the city has faced? How does Winter Storm Stella compare to storms of the more distant past?<br />
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The first major storm I found was the White Hurricane of 1913. Occurring between November 7th and November 11th 1913, this horrific storm took 250 lives and sank 12 ships on the Great Lakes. The storm was not a traditional snow storm and as the name implies it was a horrible mix of a blizzard and hurricane that spawned snow squalls, winds that gusted at over 80mph, and icy cold spray that made many ships founder. Waves 35 feet high broke across the Buffalo Harbor as Lake Erie attempted to swallow downtown. Though the White Hurricane caused significant damage to Buffalo, the brunt of the storm's violence was suffered by other Great Lakes cities like Chicago and Cleveland. Many of the foundered lake vessels washed up on the shores near these cities and the removal of bodies and wrecked ships was a difficult process.<br />
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The White Hurricane was a freakish and violent weather event and led to a tragic loss of life. Without a doubt it was one of the worst disasters to befall the Great Lakes region in the last 200 years. While no subsequent storms matched its destruction, there have been a number of major snowstorms in Buffalo that occurred after the White Hurricane.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfOTUPxvgF__PK72ZI8TSeH5cetCqyqNxfJbbSyL9PkDOrS3X1YTZ1VdQz7KTyMhUAvcetvB0TxveOxebMjl4prbUdDEWJR_85EWYssWON28z296H-e2YGPH8AVcH8p0ImsZAwW_K_Qts/s1600/Great+Lake+STorm.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfOTUPxvgF__PK72ZI8TSeH5cetCqyqNxfJbbSyL9PkDOrS3X1YTZ1VdQz7KTyMhUAvcetvB0TxveOxebMjl4prbUdDEWJR_85EWYssWON28z296H-e2YGPH8AVcH8p0ImsZAwW_K_Qts/s400/Great+Lake+STorm.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Aftermath of the White Hurricane in Cleveland. Image from Weather.com</i></td></tr>
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The next major storm I discovered was the St. Patrick's Day storm of 1936 which dumped 19 inches of snow on Buffalo in a day and ruined whatever drinking plans people had made. A year later, just before Christmas, another big storm buried North Buffalo and Kenmore. The Christmas storm caused a minor fracas as lame duck city officials dragged their feet during the clean up. North Buffalo was still buried under several feet of snow by the time Kenmore had been totally dug out. Other storms followed in the 1940s and 1950s and memorable blizzards such as the Storm of 58 and the White January of 41 dumped foot after foot on Buffalo.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dPxs5t35On_vlFc3bwubL5cWMOSHZNPZM0gyx47WUGIRGoUz6ys4GNRL5MG3bqFsL_A7Qisa715rlu7Z6wZNoqEVRbE-qitQ1pUfoYJgU8HHxGRN6feMSNEFkM_koWvT0jPxHjoP_6k/s1600/Snow+on+st+pats.tiff" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dPxs5t35On_vlFc3bwubL5cWMOSHZNPZM0gyx47WUGIRGoUz6ys4GNRL5MG3bqFsL_A7Qisa715rlu7Z6wZNoqEVRbE-qitQ1pUfoYJgU8HHxGRN6feMSNEFkM_koWvT0jPxHjoP_6k/s400/Snow+on+st+pats.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Kenmore after the streets had been dug out. Taken from Fultonhistory.com<br /><br /></i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTIH1PEwbi2lJ3N17J5xUdX8I8Dok2GTiEd-Y8GACCtZ77QWjeD1VGTn6vGjwpiPh6if8AoHvnAw00lXqECxKfouTm2ep0uAAmCoFMkTmWaPLliBuSGnSkmVcpU1MkGJOjaXNlGxDido/s1600/Another+Big+storm.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTIH1PEwbi2lJ3N17J5xUdX8I8Dok2GTiEd-Y8GACCtZ77QWjeD1VGTn6vGjwpiPh6if8AoHvnAw00lXqECxKfouTm2ep0uAAmCoFMkTmWaPLliBuSGnSkmVcpU1MkGJOjaXNlGxDido/s400/Another+Big+storm.tiff" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-style: italic;">Image of the Street during the Blizzard of 1958, another giant storm. Taken from Fultonhistory.com</span><br />
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<span style="font-size: small;">So after looking at just a couple storms from Buffalo's past its pretty clear Winter Storm Stella doesn't stack up. This is a good thing though! Given the choice between a comfortable afternoon watching the snow float down and spending the day shoveling a tunnel out to Main Street I'll take the first option. So for the rest of you, enjoy the storm, and watch the sun set on this blustery and snowy day. Also enjoy this link! Its smooth jazz, a dog, and people wandering around Buffalo after a snowstorm circa 1945.</span></div>
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https://youtu.be/P8HAeLz4zHU<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-23354212166691649372017-03-10T07:44:00.003-08:002017-03-10T07:44:54.784-08:00The original plan for the Central Terminal<br />
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Last time we took a short and somewhat somber look at the history of Buffalo's lost downtown terminals. Today we're continuing to look at railroads. However, instead of focusing on loss we'll be focusing on things that never came to be. Specifically we'll be looking at the original plan for the Central Terminal and how that building differed from the beautiful building that was built between 1926 and 1929.<br />
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By 1907 Buffalo was one of the largest metropolises in America and a major element of the city's success was its dense network of railroads. Freight and passengers rushed throughout the city and many of the major eastern railroads had tracks and stations in Buffalo. Much of the traffic in Buffalo centered around the East Side. Massive train yards, repair shops, depots, and passenger stations dotted the landscape and thousands of people found work in the Buffalo Stockyards. This long demolished complex of pens, slaughterhouses, and meatpacking plants was one of the largest slaughtering points in America and millions of farm animals were shipped by rail to Buffalo each year. With so much activity on the East Side people began to clamor for a grand union station, similar to what was being built in New York City around the same time. Union stations combined the freight and passenger traffic of multiple railroads in one central location cutting down on rail congestion, and smog. In 1907 the New York Central Railroad unveiled their planned station, a $12,000,000 giant that was designed by the firm of Reed & Stern, the architects who'd designed New York City's Grand Central Station. The station was to be built at the junction of Fillmore Avenue and Curtis Street and connected to the city with park approaches and street cars. The proposed station would have alleviated the congestion and freight delays that were plaguing the East Side and the New York Central Railroad proposed consolidating all of its tracks, shops, and car yards within the proposed station.<br />
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The union station was intensely debated by the city's aldermen with many of the East Side aldermen heavily in favor of the station, while the aldermen in other parts of the city were concerned the proposed station would undermine the business interests of their neighborhood. Some aldermen attempted to nudge the railroad into building the union station closer to downtown, either at Exchange Street or Terrace Street, however both the East Side aldermen and railroad representatives countered, arguing that downtown was already too congested and lacked the available land necessary to build a massive station.<br />
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Ultimately, despite the support of East Side aldermen, the proposed union station was never built and it would be another twenty years before work on the Central Terminal began. As of now I am unaware why the original station was never built. Perhaps resistance came from the aldermen or maybe the railroad realized its proposed site wouldn't work. Regardless, I love this drawing of the proposed terminal and thought I should share it.<br />
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If you know why the original union station was never built feel free to message us on Facebook!</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Image taken from the Buffalo Courier June 16, 1907.</i></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6334222468616156104.post-34663387827755167982017-02-24T09:06:00.000-08:002017-02-24T09:06:02.397-08:00The Trains in BuffaloTrains and the freight they carried once crisscrossed Buffalo like blood vessels circulating from the heart. In the early 1900s Buffalo had more railroad tracks than anywhere else in America with the exception of Chicago and the city was an important stopping point for major railroads like the New York Central. Most people living in Buffalo are aware of this history as it is embodied in the Buffalo Central Terminal however Buffalo had dozens of other major terminals and freight stations throughout the city. In fact, many of the city's passenger and freight terminals were located near the downtown waterfront, well away from the Central Terminal. Since it has been far too long since the last Preservation Studios blog post lets take a trip through some of Buffalo's lost train architecture.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Taken from ribbonrail.com</i></td></tr>
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The majority of Buffalo's train stations and railroad tracks were located downtown in a rough wedge between Front Park and KeyBank Arena with Exchange Street serving as the major axis of downtown railroad traffic. The stations built along Exchange Street and around downtown Buffalo started out as simple and utilitarian structures, however as railroad companies grew more powerful they began to invest in more expensive and ornate train stations. These stations have unfortunately been lost as have most of Buffalo's railroads. Currently the downtown streetscape that was once filled with railroads and stations is now full of big entertainment venues like KeyBank Arena and the HARBORCENTER. These venues, along with the innumerable pay to park lots that surround them, have completely transformed both the look and utility of downtown Buffalo. Formerly a buzzing center of railroad activity, the area is now a major entertainment venue with more focus on music and Stanley Cups (Next year we've got it) than timetables and train schedules.<br />
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It is lamentable what happened to the beautiful stations that once graced downtown Buffalo, but unfortunately their demise was largely inevitable. Once the highway system was developed and Americans were connected to each other by asphalt and automobiles rather than railroads the major rail companies were sunk. Freight, formerly hauled in boxcars was handled by long haul truckers and the railroad companies began to desperately consolidate, trying to stay afloat. The giant terminals of the early 19th century were no longer sustainable as the railroads lacked the customer base to pay for the upkeep of such large buildings. Sadly, the size and grandeur of these buildings, features that would make them highly sought by real estate developers today, made them liabilities in the 1960s and 1970s. With preservation still largely in its infancy there was nobody to stand up for these old terminals. Throughout the second half of the twentieth century Buffalo's terminals were demolished leaving buildings like the Central Terminal as sad reminders of the gorgeous terminals once dominated the city.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Delaware, Lackawanna & Western Railroad Terminal at South Park and Michigan (Demolished) from Forgotten Buffalo.com<br /><br /></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Lehigh Valley Railroad Passenger Terminal on Main Street (Demolished) from Buffaloah.com</i></td></tr>
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Unknownnoreply@blogger.com0