#historic estates

[hometoursandotherstuff]

Magnificent 1922 Spanish Colonial Revival Chiles Estate looks ancient, doesn’t it? It’s in Asheville, North Carolina, has 5bd 4ba $2.495M.

Isn’t this open entrance fabulous? Look at how the walls appear to be crumbling. This was the vision of  prominent Asheville architect Ronald Greene and is known as Asheville’s *second* most famous home.

I’ve never seen columns set right into stairs. Isn’t that unusual? And, I also like the shelving in the stairs- good use of space. 

Very large sitting room- look how nice the windows open. Love that tile fireplace.

Beautiful library. Look at the up-lighting in the dental molding around the room and the way the ceiling curves.

Details like this cool original door knob.

Isn’t the dining room beautiful? Love the blue ceiling and how it opens to the 

Love the kitchen remodel. I don’t know why, but I really like dark cabinets. This kitchen has an updated Spanish Colonial look. Very nice.

Striking blue subway tile bath.

Spacious main bd. 

This is a stunning en-suite- black tile and white fixtures. Look at the vintage sunken tub.

Beautiful walk-in closet/dressing room.

This is set up as a sitting room, but it’s really a bd b/c it has an en-suite.

Loving the rose tile and vintage tub.

And, this is one of the other bedrooms set up as a home office.

Lovely big terraces- one open an one covered.

Patio behind the house.

Look at the dining room from the patio, and notice the covered outdoor walkway above.

Looking down into the courtyard from above.

What a cute building.

And, look what’s inside- a bar and entertaining space.

This is so cool.

And, check out the gardens. What an amazing place to get away and be alone.

A stunning .37 acre property.

And look at this, it even has a park.

https://www.zillow.com/homedetails/21-Chiles-Ave-Asheville-NC-28803/5613975_zpid/

[bromcommie]

but genuinely I will never stop thinking about the museum scene. like it's upsetting in all the obvious setup-to-the-plot-twist ways, but more than that: the quietness of Steve’s presence vs. the booming grandiosity of the exhibit itself. The question of whether he had been previously (my guess would be yes) and if so, what a morbid, ghost-like ritual to perform just in order to cling to your memory, to remind yourself that it was real. What a blunt, reductive manifestation of not only everything you’ve lost, but the fact that your life and memory have become so entrenched a part of the public domain to the point that you’re viewed as about as much of a person as any one dusty item in that exhibit; the fact that you can’t access any of your world outside of yourself unless it’s through about a dozen second-hand, funhouse mirror narratives not only entirely co-opted by war but also tailored to fit a certain purpose. This one very public fucking horrific way to keep torturing yourself is one of your only remaining tethers to what you remember of your life. I mean. jesus christ steve

[huariqueje]

Claydon Pond Reflections - Alexandra Buckle , 2018.

British , b. 1984 -

Linocut on paper , 46 x 36 cm . Ed. 10

[labuenosairesfrancaise]

BIRKWOOD CASTLE

Hi guys!!

I'm sharing Birkwood Castle. This is the 23rd building for my English Collection!

I decorated some of the house ground floor, for reference.

History of the house: 

Birkwood Castle, also known as Birkwood House, is a Gothic country house situated in Lesmahagow, South Lanarkshire, Scotland. Built in the 18th century, it was greatly expanded by the McKirdy family. In 1920 it was purchased by the local authority for use as a hospital.

Birkwood Castle was built in the late 18th century, and the original villa now forms the north wing of the house. It was greatly expanded in the Gothic style in 1858, and again in 1890 when the architect James Thomson of Glasgow designed the large west wing.

More history: https://lpha.org.uk/2024/07/29/the-mckirdys-of-birkwood/

INTERIORS:

House file:

Location: Lesmahagow, South Lanarkshire, Scotland

Style: Gothic

Date:  18th century

This house fits a 50x40  lot.

I only decorated some of the important rooms. All the rest of the house is up to your taste to decor.

Hope you like it.

You will need the usual CC I use:

all Felixandre cc

all The Jim

SYB

Anachrosims

Regal Sims

King Falcon railing

The Golden Sanctuary

Cliffou

Dndr recolors

Harrie cc

Tuds

Lili's palace cc

FLOOR PLAN:

Please enjoy, comment if you like the house and share pictures of your game!

Follow me on IG: https://www.instagram.com/sims4palaces/

@sims4palaces

DOWNLOAD (early access 11/30/2024): https://www.patreon.com/posts/114013250

[diemelusine]

Watercolour of Witley Court with the gardens (1880) by William Andrews Nesfield.

[chaoticdesertdweller]

Des Moines, Iowa c.1899

[shiroganejpg]

the prompt was "den finally gets little a money and nor pickpockets him Immediately"

[oldfarmhouse]

Mayhurst Estate༻❁༺

𝗁𝗍𝗍𝗉s://instagram.com/mayhurstestate

[theorahsart]

Incorruptible pt 16

I'd like to think Robespierre was intensely excited and inspired during those early days in the Breton Club (I remember reading a letter that suggested as such)

[amarriageoftrueminds]

I ended up doing a long old rant on this other post, about the problems with the Steve/Bucky characterisation in CATFA, how it fails to make them mutual in their support / fails to properly show Steve's struggles and independence, before serum.

And I was thinking...

what would you have to do, if you wanted to write a CATFA or pre-war Stucky fic and wanted to fix all those problems?

So I figured I'd make a list!

Pardon me while I rip CATFA a new one...

.

Problem 1) Pre-serum Steve acts as if he's independent and self-reliant without Bucky... when the opposite is shown.

A) He doesn't have a job.

(He isn't shown working, doesn't mention working, or taking time off to do the things we see him doing etc. Bucky is framed as paying for things.)

If the fic is set during CATFA you could fix that by mentioning Steve does have a job but has been given time off to go enlist. Or has just been fired from his job. Basically anything to show that Steve has had a job, has been working. Perhaps even had multiple simultaneous jobs!

Probably cut out the part where Steve scoffs at working in a factory or collecting scrap metal (more likely he'd admire and/or understand why both of those are viable options; maybe they're jobs he has done in the past and is biased against now, for some experiential-related reason.)

Or, if he still does not want to work in a factory... well, at the time, with most men being overseas, factory work would've been women's work. So perhaps Steve was reluctant because it feels emasculating. Or maybe even dysphoric, to be relegated to otherwise female-only spaces, instead of welcomed into (then) male-only spaces like the Army? 🤔

(This would especially ring true if you were doing a trans!Steve story, or emphasising the disability aspect of his life. And it would cycle back when he gets stuck in the USO, doing women's work again.)

B) It would also be better characterisation if pre-serum Steve was actually already good at fighting, but just happened to be outclassed by heavier weight opponents, and/or handicapped by sudden disability flare ups mid-fight.

(In the tie-in comic, Bucky taught him how to box. Why not keep this? It really makes sense!)

The ability to fight and win should be a matter of Steve's spirit, not his physical body or his training. It shouldn't arrive with serum.

(To put it in His Dark Materials terms; Will Parry has a warrior's daemon, even when he's a 12 year old boy; he can win a contest against a grown man or even an armoured polar bear! Likewise, Steve Rogers is supposed to be the David who can win against a Goliath - yes, even when he's the little guy.)

I know it's easy to have Bucky swoop in to save Steve from a fight he's losing disastrously. But it would be more gripping (and make Bucky's value shine more), if Steve was actually winning the fight, despite being the underdog, and then something completely out of his control happened that tipped the tide against him, and then Bucky arrived to save him!

And also it would make more sense if Steve's health at the time of CATFA was in a lifetime high point, (possibly because of Bucky's long term support).

Then it would be less nonsensical to be trying to lie his way into the Army. There has to be some actual common sense logic behind his choice, so that he's not essentially snapping 'Bucky why won't you support me committing suicide, gdi??'

Steve shouldn't be getting his first real win by knocking down a flagpole; he should've been showing this capability in his pre-war / pre-Army time, too.

Possible Example:

You could emphasise the idea of Steve entering a fight he knows he's going to lose, in order to accomplish a secondary goal that the enemy doesn't recognise.

IE. Steve fighting the bully in the alleyway -- he loses the fight, but succeeds in stopping the bully from making a scene in the cinema, which was his original goal. So mention it!

(Steve could be like 'winning this fight wasn't the point.' And Bucky could be like 'ah, so what were you distracting him from?')

Perhaps Steve's secret goal in joining the war isn't to win the fight against Nazis, but to distract Nazis from Bucky?

.

Problem 2) The support is imbalanced; Bucky's doing all the emotional, financial, and physical labour in the relationship.

You could fix that by showing how pre-serum Steve was not only mutually financially supportive of Bucky (in the sense of having a job), but was also supporting Bucky emotionally and physically, just as much as Bucky supported him. He could be doing at least 2 of the 3!

Possible Examples:

Bucky going through an emotionally hard time that pre-serum Steve pulls him through (just as Bucky did with Steve's Ma).

Steve treating Bucky's wounds after a fight, just as Bucky treats his. (If Bucky's a boxer, like the tie-in comic, then Steve could be his cut man when he's in the ring!)

Steve paying for some of their expenses, or finding places to take Bucky that are free when it's his turn to plan a day out, etc.

.

Problem 3: Sarah & problem 2.

If this is CATFA / post-death setting, show flashbacks or make references to Steve visiting her in hospital, or doing the work of nursing her himself / sitting by her bedside if she died at home, paying for her medicine, etc.

So that it's not just another example of Bucky wholly carrying Steve; show the balance. Maybe Bucky was temporarily footing the bill so that Steve could afford to quit his job and do the nursing at home. Both putting the work in, in different ways.

(This would be a perfect example of one way Bucky's experience of looking after sick Steve would pay off, and make him able to teach Steve how to do it when the roles are reversed.)

Better yet, a show-don't-tell of Sarah instilling Steve's moral compass and tenacity; maybe even some Bucky POV to show her impact isn't just relegated to Steve.

Her absence could also be shown in present day with Steve, eg. packing up his things to go to basic and having to leave behind some keepsake of hers. In the comics Steve carried her photo. Perfect candidate to put in his compass!

.

Problem 4: The relationship is framed as transactional.

Less of 'I'll do X for Bucky now because he did Y for me back then'

and more of 'helping Bucky is the right thing to do because he's innocent, so I'm going to do it regardless of outside whining, and he would still do the same thing for me, or anyone else, because he's a good person too.'

There has to be more to it than just convenience, needing each other around to help; there has to be an actual desire to be together for pure enjoyment, too.

IMO you'd need at least one scene where Steve and Bucky aren't benefiting in some way from spending energy on eachother. They're just... happy being together.

And perhaps Bucky isn't the only friend pre-serum Steve could have had, just the one Steve most wanted to stick with. (His options should amount to more than 'Bucky or no one.')

Perhaps Steve's health absences and strong principles drove other friendship prospects away? Perhaps Steve even lost other disabled friends to their poor health, poverty, etc?

.

Problem 5: A's problems are framed as B's.

No more 'Steve getting attacked' being framed as a problem for Bucky.

No more 'Bucky being drafted to die' framed as a problem for Steve.

Better characterisation would show these bad things affect the victim first and foremost, and only/also the other one, secondarily.

Steve shouldn't be seeing Bucky's shipping-out uniform (skipping right over thank yous and congratulations) and talking about how that's sad for... himself.

Steve shouldn't be sabotaging Bucky's last night of freedom in NYC to spend it on... his own goals.

Sidenote: Bucky wanting to spend his last night of freedom with strangers is such idiotic writing anyway, when he has both Steve and a living family with whom he could be spending those last precious moments! And dragging Steve on a double blind date he clearly doesn't want to go on is counter-productive. It undermines the mutually-supportive / mutually communicative relationship Steve and Bucky should logically have, as lifelong inseparable best friends (viz. a Bucky who's known Steve this long should be able to tell he's not into it.) And it shifts the blame for Steve's singlehood off of him and onto Bucky, and women generally.

Steve shouldn't be detailing why he's so keen to fight, and focusing on random men he doesn't know, not directly/unequivocally mentioning Bucky at all.

(Indirectly, he wants to be like the men laying down their lives -- so... like Bucky? But this is still nonsense. He should want to be there to support Bucky, not to copy!)

It's likewise nonsense for Bucky, who has known Steve since he was a child, to ask Steve why he's keen to fight.

Bucky doesn't need to ask. Bucky already knows!

Lazy clumsy exposition.

And the narrative should be showing us why Steve wants to fight Nazis, rather than having Steve infodump some vague reason without anything to back it up.

Speaking of which...

.

Problem 6: Lack of explicit politics.

Like in the comics, Steve's reasons for fighting Nazis should be explicitly left wing and political, as well as passionately personal.

(Wanting to be like able-bodied men who get girlfriends is complete cringe incel bullshit as a motivation and not true to the comics, or CEvans's performance!)

Proper Steve characterisation should have him behaving in a way that shows he's a man ahead of his time in terms of Antifa politics, and that's why he wants to fight.

IE. happily sharing housing and schooling with people of other races, ethnicities, and religions. (Especially so when he has been in the same SEC as them / been in multiple different schools and lived in various neighbourhoods as a poor kid. Would also establish why both Steve and Bucky are fine having Gabe and Jim on their team!)

Not judging and mistreating disabled people the way he is.

Not judging unmarried mothers, belittling working women, expecting his mother to do all the housework, etc.

Not freaking out about the existence of queer people in public (even in an AU where he isn't one) defending gay men from attack as he does in the comics,

protesting and/or sabotaging public Nazi meetings in NYC, fighting with homegrown Nazi bullies especially,

ditto corrupt business owners / mafia union-runners as he does in the comics, etc.

(Sidenote: as a congenitally disabled person, Steve is also a target of Nazi rhetoric himself. So he would be personally concerned with fighting Fascism, and perhaps this was his philosophical springboard to recognising and combating all the other bullshit in its thinking, even when it's entrenched in American society.)

Basically, the Hydra saboteur should not be the first Nazi Steve ever got his hands on!

And Bucky should be an addendum when it comes to his reasoning. The heart of Steve's motive, where politics are the guts.

.

Problem 7: No disability rep.

A) Steve should not be saying that he, a disabled man, shouldn't have the 'right' to do less than able-bodied men, even though it is literally physically impossible...

...UNLESS, this internalized ableism is addressed in-story, rather than treated as if it's normal and even noble.

Other characters can be ableist; Steve should not (not only is he disabled himself, but he's supposed to know better!) ....unless it's part of an arc that shows him learning the error of his ways.

And that's a slippery slope when you consider that Project Rebirth, started by Nazis, really is a Eugenics project.

Instead of this suicidal ideation, it could be shown that Steve's health has recently become good enough for him to survive and succeed in the Army. And/or that Steve is passionate about fighting fascism, personally, because he belongs to a class of people whom Nazis believe shouldn't be allowed to exist.

Without Steve arguing that he should throw his disabled life away, just because able-bodied men are taking a significantly lesser risk of dying than him.

B) There should be actual details of Steve's disabilities, what they are and how they affect him. (Him - not Bucky.) In a way that has concrete negative consequences, beyond just not getting into the Army.

Possible Examples:

Kid!Steve being held back a year at school because of missing days due to sickness. (Kids can be cruel and parents can be ignorant; he might've been bullied and ostracised for being sick and believed contagious. And that's before the consider the amount of isolation necessary for recovery periods.)

Kid!Steve having to move around a lot (which would also affect which school he'd have to attend; always the new boy!) because losing money to medicine affects what his mother can afford, affects her work schedule when she has to look after him. Living in a worse place would then exacerbate his pre-existing symptoms, and so on.

Adult!Steve losing a job because of sick days, losing savings to pay for medicine, getting sick again because he chose heating and groceries over medicine, or vice versa, etc.

(This / the moving-around might be mitigated if he and Bucky are living together, meaning Bucky could make up the shortfall.)

Steve could lose friendships, job opportunities, or romantic partners due to sickness repeatedly taking him out of social circulation. He might also have disabled friends who lost the fight / weren't as lucky as him.

You could also play into the Nazi eugenics then endemic to the USA and have medical professionals telling Steve he shouldn't be alive; 'well-meaning' people offering to pray for him, saying they'd have just 'given up' if they were born like him, etc. (Or even saying these things to his mother!)

And Steve should, maybe, mention once or twice that he feels better after serum, and truly couldn't be doing what he's doing in Europe, if superserum hadn't also cured all his ailments?

If he's much more peppy afterwards, it should be because for the first time in his life he can actually breathe and spring out of bed!

.

Problem 8) The Incelery.

Pre-serum Steve should not be framed as undateable because he's short and disabled.

If Steve hasn't had a girlfriend, it should be because he didn't want one, not because he's incapable; not because evil women are repulsed by invisible health issues or Bucky is too dreamy for a disabled man to possibly compete with, be so fr. 🙄

You could fix this by making Steve: gay,

ace,

demi,

coincidentally surrounded by lesbians,

by women who have horrible unattractive politics,

too sick or busy with work to date,

getting attention but it's the wrong kind (ie. women who want to fetishize or nanny him),

and/or being very attractive to women even before serum but oblivious and/or simply not interested. 😂

/more than one of the above.

.

[hometoursandotherstuff]

The historic 1926 RDW Clapp House in Wichita, KS is going up for auction on Aug. 16, but if someone buys it before then, the auction is off. It has 5bds, 7ba, and looks like a castle inside. Oh, and it has an $8mo. HOA.

Check it out, you enter thru a big arched door and iron gate. The entrance hall is stone. Very cool.

There's a fountain with a mural and interesting stairs.

The great room is incredible. Look at the wood, the built-ins, the high ceiling, chandeliers, and the balcony. This is crazy.

Beautiful fireplace. By the looks of the TV, it appears that the family really sits in here and watches TV. I would use it, too.

Look at the size of that window.

The formal dining room has a sculpted ceiling and floor-to-ceiling wood paneling.

The kitchen totally looks like a castle kitchen. Look at the wood.

Look at the exhaust hood over the stove.

This looks like a comfy little room.

An iron gate opens to a glass-walled brick hallway with a pitched wood ceiling.

The hall leads to this beautiful little room with a bar.

The elevator.

If this is the primary bedroom, I would've expected it to be more grand.

This vintage bath is nice. Cute tub and pretty marble walls.

This looks like a waiting room. There are 2 offices, so maybe it's one of them.

They made a home gym in here.

Outside, there's a pool.

Outdoor sitting areas and a fountain.

Beautiful grounds.

The lot is .84 acre. I'm surprised that it's not even an acre.

https://www.zillow.com/homedetails/320-N-Belmont-Ave-Wichita-KS-67208/77344776_zpid/?

[temtamtom]

POV You’re the Holy Roman Empire and you see this pretty boy in the courtyard. WWYD?

Something nice and simple while I tackle uni work. Please don’t tag as Nyo Italy!

Flat version under the cut

[oifaaa]

can we please have more haunted asylum house stories please

The funniest thing about the asylum is that it's not even the spookiest place I've stayed at tho it does get those extra points bc I had to live there for a year also we didn't know it used to be an asylum when we moved in we had to find out via history book about historical buildings in our county and the picture they used was the front of the house with two 1800s kids standing in front which I'm pretty sure just is the start of a horror movie but yeah the asylum was your basic creepy place at one point I heard horses in the stables despite us not having horses when we lived at that house at one point I was in the house alone and the tap started running and the dog we had at the time refused to go upstairs you know classic stuff

[blueiscoool]

Steve Silver stands inside his 5,000-square-foot loft in the Williamsburg neighborhood of Brooklyn, New York. Silver, a painter, moved into the loft in 1979.

A Look Inside New York’s Historic Artist Lofts

The Last of Their Kind.

They used to be printing shops, garment factories and flophouses. Now they’re some of the coolest artist spaces you’ll ever see.

These unique, expansive lofts, rarely seen by the public, are all over New York City.

For decades, they’ve been occupied by painters, sculptors and other artists who moved in when manufacturers started leaving the city in the second half of the 20th century.

“When people think of New York City as a cultural epicenter, these are the artists that they’re envisioning,” said Joshua Charow, a photographer and filmmaker who has spent the past few years documenting the artists and their studios for his book “Loft Law: The Last of New York City’s Original Artist Lofts.”

Artist Claire Ferguson moved into her loft in the city’s Tribeca neighborhood in 1981. At the time, the building in Lower Manhattan had a mix of artists and industrial tenants. “The floor below me was a paintbrush factory,” she told photographer and filmmaker Joshua Charow. “The floor above me put lines on paper before they had offset printing, and they had these huge machines. They had a guillotine that cut through the reams of paper every morning. At 6 a.m., they would turn it on, and it was this noise, aargh!”

JG Thirlwell’s loft in Brooklyn’s Dumbo neighborhood doubles as his home recording studio. “Loft living is not for everyone,” he told Charow. “You’re responsible for everything in here, and not everyone wants a life like that.”

A cat rests inside the Tribeca loft of Ken and Flo Jacobs, experimental filmmakers who moved into the space in 1965. At the time, the monthly rent for the 2,000-square-foot loft was just $70.

For the first half of the 20th century, New York City was a major manufacturing center. Factories were all over, producing everything from ice cream to torpedoes.

But when companies started finding it profitable to move their operations to other parts of the country and the world, many buildings were abandoned. By the 1960s and ‘70s, industrial neighborhoods, including those we now know as SoHo and Tribeca in Lower Manhattan, were largely deserted.

Landlords were desperate to find tenants. A big problem, however, was that the buildings were not zoned for residential use. Many of them didn’t have kitchens or showers, or even electricity or heat.

“The only people that would rent the space were artists,” Charow said. “And that’s because (the buildings) had tall ceilings, so they could make big work. They had big windows to let in lots of light. The spaces were completely raw, in many circumstances.”

Anne Mason sits in front of one of her late husband’s paintings in the loft they lived in together in the Little Italy neighborhood of Lower Manhattan. Frank Mason died in 2009, but his wife preserved his studio and his paintings.

Plants thrive in the natural light of the Midtown loft Bob Petrucci and Ray Bailey call home. It’s on the 16th floor of a building previously used as a necktie factory.

Artists would move into the empty factories and warehouses and make them more livable spaces. It was technically illegal, of course, but everyone was benefiting and the once-abandoned neighborhoods started to thrive again.

By the end of the ’70s, however, loft living had become quite fashionable and some landlords were looking to cash in, pushing out the artists for a wealthier clientele.

The artists pushed back, and in 1982 state lawmakers enacted Article 7-C of the New York Multiple Dwelling Law, which is commonly known as the 1982 Loft Law. This legislation gave protection and rent stabilization to people who had been living in these spaces. It also required landlords to bring the units up to residential code.

When the law was enacted, Charow says in his book, there were tens of thousands of artists living in lofts across the city. Now just a few hundred remain.

Noah Jemison moved to his Williamsburg loft in 1980. He remembers his neighborhood not having as much traffic as it does now. “You could walk down the streets and see nobody,” he told Charow. “It was a place where you could hear yourself think. It was perfect for artists.”

A scan of a 1913 blueprint shows one of the Manhattan buildings Charow photographed. New York City was a major manufacturing center for the first half of the 20th century.

Painter Betsy Kaufman walks inside her Tribeca loft. She uses the front half as her studio. It still has its original wooden floors.

Legislation enacted in 1982 allowed loft residents in New York to establish legal residence and have their living spaces brought up to code. It also stabilized their rent and protected them from eviction.

Charow wanted to document these artists — and their extraordinary lofts — before their numbers dwindled even more. He found a map of the remaining protected buildings and went door to door to see whether their tenants would be willing to share their story with him.

He was often rejected at first. But over time, more doors started to open up as people he met would introduce him to others.

Over the past three years, Charow has photographed 75 artists — 30 of whom are in his book.

“My life has been greatly enriched by meeting some of these artists and learning about their lives and their stories,” Charow said. “It’s had a big impact on just my life, and I can’t imagine how much of an impact this group of people has had on the city as a whole.”

Art created by Carolyn Oberst and Jeff Way adorn the walls of the loft they share in Tribeca. They live on the top two floors of a building they started renting in 1975. “I won’t tell you what it cost, but it was very cheap. We’ll just leave it at that,” Way told Charow. “But that was an incentive to fix it up. It was sweat equity, they called it.”

Ellen Christine makes new hats and restores old ones. She’s one of the last milliners in New York City. “In the 1930s, you could walk down any street, and there would be at least 30 milliners,” she said. “It was just (that) everybody wore hats, you see… So they needed new ones all the time.”

Curtis Mitchell remembers when he first walked into his loft in the Dumbo neighborhood of Brooklyn. The building used to be an ice cream factory. “It looked just like a dream,” he said. “To me, it still is a dream. It’s a fantastic place. Cold as hell in the winter and hot as hell in the summer, but I don’t care.”

One of Charow’s favorite spaces was the Bowery loft of Carmen Cicero, who is now 97 years old but moves with the energy of someone much younger, Charow said. Cicero lives in the loft with his wife, the art historian Mary Abell. Filling the space are hundreds of Cicero’s paintings, some bigger than he is.

“When you dream of what a painter in their loft in New York would be like, it’s Carmen,” Charow said. “And he’s filled with incredible stories. He has such phenomenal stories of his time as an artist here.”

Cicero’s work can be found in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art and the Smithsonian American Art Museum.

He told Charow the story of how he got his big break: “I had a lot of friends who thought I was a really remarkable painter. One day, they said, ‘Carmen, you’re going to a gallery.’ And they had two guys grab my feet, and two guys grab my arms — they threw me in the car and said, ‘We’re going.’ We went to four or five galleries, and almost every one of them wanted my work — I was lucky.”

Carmen Cicero lives in the Bowery, which has one of the highest concentration of Loft Law-protected buildings in the city. The painter moved to New York in 1971, after his home studio in New Jersey went up in flames

Charow says it has been a thrill to meet these artists and listen to their stories.

“The spaces are beautiful and interesting and historic in their own ways. But without the artists, these spaces lose the significance and the interest to me,” he said. “The artists are the ones who are giving the spaces meaning. Their decades of life and working there is what makes these spaces sort of a sacred thing.”

Through June 29, Charow’s photos are being exhibited at Westwood Gallery NYC, alongside the art of many of the people he photographed.

“I’m really excited that people get to see the paintings and sculptures and and see where they’re made,” he said.

Filmmakers Ken and Flo Jacobs have lived in their top-floor Tribeca loft for more than 50 years. “Once, we staged a live shadow play with a stretched curtain in the loft. Our audience consisted of just two people: Yoko Ono and John Lennon,” Ken told Charow.

Sculptor Marsha Pels lives in what used to be a glass factory in Brooklyn’s Greenpoint neighborhood.

Even though the book is already published, Charow’s project will continue. After he began sharing his photos and videos, more artists started reaching out to him so that they could tell their story.

He now has a list of artists to photograph over the next few months.

“This isn’t just a thing of New York’s past. This is the present,” Charow said. “You can walk down the street and look at a window and you might see (an artist), and they’re still working and they’re still making their paintings and sculptures.

“I think it’s a beautiful part of our city, that this exists. It took a lot of resilience and ingenuity to stay in these spaces.”

Kimiko Fujimura, a painter, moved from Tokyo to New York City more than 50 years ago. She has lived in this Chinatown loft since 1979. It was the top floor of a former bow-and-ribbon factory.

The Lower Manhattan skyline is seen from a loft in Brooklyn.

Joshua Charow’s book, “Loft Law: The Last of New York City’s Original Artist Lofts,” is published by Damiani Books. The exhibition at Westwood Gallery NYCis taking place through July 13.

Photographs by Joshua Charow. Story by Kyle Almond. Published June 16, 2024

[labuenosairesfrancaise]

Woodlawn House

Hi guys!!

I'm sharing Woodlawn House. This is the 14th building for my English Collection.

It is in fact an Irish house, built before Ireland became independent.

I had to make some modifications and had no images to copy interiors.

History of the house: The history of Woodlawn goes back before recorded history, with the pre-medieval Diarmuid and Gráinne mound, currently undated.

Originally known as Mota or sometimes Moote, the village was renamed by Lord Ashtown, apparently for the simple reason that his post often ended up in Moate instead of Mota.  The countryside was flat, boggy in places but largely well-suited to farming and was used for tillage up until the 1930s when it was put to pasture.

Forestry is more recent addition to the landscape, with Coilte owning large tracts of the old Woodlawn estate.

Woodlawn House itself is a three storey palladian style country house of about 30,000sq.ft. originally built around 1760 by Frederick Trench, the first Baron Ashtown.  It was extensively remodelled in 1860 by his son the second Baron Ashtown to plans drawn up by James F. Kempster, the local County Surveyor.  It was also the second Baron Ashtown who was responsible for the building of the railway station and ensuring that the railway line passed through the estate as it was being constructed.

The house was finally sold by the fourth Lord Ashtown to Frederick Le Poer Trench in 1947.  The current owner is engaged in planning a complete restoration of the house and estate. 

For more info: https://www.woodlawn-estate.com/

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Distribution

This house fits a 50x50 lot (I think if you lose the woods and entrance it can fit a 50x40 too)

I furnished just the principal rooms, so you get an idea. The rest is unfurnished so you create the interiors to your taste!

Hope you like it.

You will need the usual CC I use:

all Felixandre cc

all The Jim,

SYB

Anachrosims

Regal Sims

King Falcon railing

The Golden Sanctuary

Cliffou

Dndr recolors

Harrie cc

Tuds

Lili's palace cc

Please enjoy, comment if you like it and share pictures with me if you use my creations!

Early access: 07/18/2024

Download: https://www.patreon.com/posts/106463811

[enlitment]

Hi! First of all, I want to say that I really love your blog and all the content you have there. But for the actual question, so, I'm a new frev enjoyer, and I've been trying to look everywhere on the internet for the answer to a simple question that i seemingly can't find. What languages could Maximilien De Robespierre speak (beside french)? I swear, I've searched in every corner of the web and EVEN ASKED REDDIT AND QUORA??? I assume he understood Latin, since he studied law, but what about other popular languages, like Italian or Spanish? I don't know. I hope this question doesn't bother you, if you don't want to answer that's fine! Also I apologise for any grammatical mistakes, english is not my first language. Have a nice day!!! ♡

Hi, thank you for the lovely comment, it's definitely no bother at all!

You're absolutely right about Latin - anyone who received even a basic education in the 1700s would have at least a basic grasp of the language. Couldn't really do much without it! With someone like Robespierre, one can assume he would be pretty much fluent in Latin, or at least in reading Latin texts.

The only evidence for any other language he would have some knowledge of that I was able to find was not Italian or Spanish but Greek! Again, for the reason that it was very much a part of the classical education of that era.

(From an article about classical education in the 18th century:

This table also shows that, apart from seeming to be very well-versed in Latin, Robespierre would have at least some knowledge of Greek - enough to be able to win a prize for it, anyway:

I have to say I'm not quite sure about any modern languages! I would be leaning towards no. For instance I'd say that unlike some of the other revolutionaries like Jean-Paul Marat (or Voltaire and Émilie, who apparently learnt English in a matter of months), he wouldn't be able to speak English. I'm not hundred percent sure about Spanish or Italian though, as they are closer to French and therefore arguably easier to learn for a native French speaker.

If anyone knows more (@anotherhumaninthisworld ; @saintjustitude ?) I'd love to know as well!

Oh and least but not least welcome to the frev community and stay curious! ✨

RESOURCES:

Leuwers , Hervé. “Maximilien de Robespierre, student at Louis-le-Grand (1769-1781). The contributions of the accounting of the “college of Arras””, Historical Annals of the French Revolution , vol. 371, no. 1, 2013, pp. 175-185.

Classical Education in the Eighteenth Century, British Literature Wiki, https://sites.udel.edu/britlitwiki/classical-education-in-the-eighteenth-century/