#masonry school in philadelphia

[pttedu]

How Can One Become A Masonry Repair Specialist?

If you're looking for a job in the construction industry, a masonry specialist might be best. Read more about how to become a masonry repair specialist.

[pttiedu]

How Does Construction Training Benefit High Schoolers?

Construction training plays an essential role in the economic growth of high schoolers. Dive in to learn the importance of construction training programs.

[davidanderson121]

Paving Company Philadelphia - American Roofing and Masonry Philadelphia

5 Reasons Why You Should Hire A Paving Company In Philadelphia What would you say if we told you that the majority of accidents in Philadelphia happen not on the road but on sidewalks and streets? According to The Daily Pennsylvanian, this is indeed a reality. In fact, pavements are responsible for one-third of all vehicular accidents in Philadelphia. If you live in Philadelphia and have children who walk to school or play outside, hiring a paving company may be the best decision you ever make. Here are five reasons why: Paving Company Philadelphia

You'll Save Money There are many reasons why you should hire a paving company in Philadelphia. Here are four of the most common: 1. You'll Save Money Paving companies can save you a lot of money on your driveway or street project. Some estimates suggest that a paving job can cost as much as 50 percent less than traditional road construction methods. 2. You Won't Have To Stress About The Project Some people think that paving projects are quite stressful, but this isn't always the case. With the right paving contractor by your side, you can relax and let them take care of everything. 3. Paving Projects Can Be Completed Quickly Most paving projects can be completed within a few days, if not hours, depending on the size and complexity of the project. This means that you won't have to worry about any delays or complications. 4. Paving Projects Are Economical In The Long Run When it comes to roads and driveways, keeping them in good condition is essential for both your own safety and that of those who use them regularly. Over time, poorly maintained roads and driveways can become very costly to fix or replace – something you definitely don’t want to experience if you can avoid it! You'll Get Better Quality Than You Would From Doing It Yourself If you're thinking of paving your driveway, walkway, or patio yourself, there are a few reasons why you might want to reconsider. First, the quality of your finished product likely won't be as good as it could be if you hired a paving company in Philadelphia. Second, pavement maintenance is a lot more complicated and time-consuming than most people think - and it's not something that you can easily do yourself. Finally, pavements are often designed to meet specific safety and performance standards - which may not be applicable to your situation. If you're serious about getting your driveway paved correctly the first time, give us a call! We'll take care of everything for you. Your Paving Will Look Great When you are looking to improve the curb appeal of your property, a paving company in Philadelphia can be an excellent option. Not only will your driveway, walkways, and other areas look great, but you will also receive efficient and professional service. Here are some reasons why you should hire a paving company in Philadelphia: -They know their stuff. A paving company in Philadelphia is likely experienced with a variety of materials and techniques, which means they will be able to give you a quality product that looks great. -They take care of business. When it comes to paving companies, reliability is key. You don't want to waste your time or money on a project that won't turn out the way you wanted it to - hiring a reputable company like this is crucial. -They're affordable. Unlike many other services which can be quite expensive, paving companies in Philadelphia offer affordable rates that won't break the bank. This means you can get exactly what you need without having to worry about being overcharged or left with debt later on down the line.

[architectnews]

2021 Brick in Architecture Awards Winners

2021 Brick Awards Winners, Architecture Prize News, Buildings, Architects, Entry, Submission

Brick in Architecture Awards 2021

March 7, 2022

2021 Brick in Architecture Awards Celebrate Design that Delivers

49 Winners Include Philadelphia Craftsmanship Award

Brick in Architecture Awards 2021 Winners

RESTON, Va., March, 2022 — The Brick Industry Association (BIA) has awarded the 2021 Brick in Architecture Awards, the global premier design competition featuring clay brick.

The winners include 49 projects out of 138 entries—almost double the amount over the past three years—with eight Best in Class winners featured in this video. The Best in Class, Gold, Silver and Bronze winners include projects in the United States, Australia, Canada and Mexico.

“These awards demonstrate clay brick’s infinite design versatility derived from a myriad of available colors that never fade, textures, and installation options. Brick’s natural beauty along with its unmatched durability, fire, and wind-blown debris protection, energy efficiency, and low or no maintenance are some of the qualities that make clay brick the best wall cladding available,” said Ray Leonhard, BIA’s President and CEO.

The 2021 Best in Class winners include:

Commercial – Farm Credit Services of America – West Building

photo : Tom Kessler Omaha, Nebraska Architect: Clark & Enersen Mason Contractor: Jeff MacTaggart Masonry LLC

This office building is the third addition to a corporate campus connected via skywalk, and features red, buff and pink brick in different depths of patterns.

Educational (Higher Education) – Fitts-Woolard Hall – NCSU Raleigh, North Carolina Architect: Clark Nexsen Architecture & Engineering Brick Manufacturer: Sioux City Brick (subsidiary of Glen-Gery) Brick Distributor: Custom Brick & Supply Co. Mason Contractor: Brodie Contractors Photo Credit: Mark Herboth

Throughout this four-story facility featuring traditional red and gray flashed brick, high degrees of transparency create a light-filled, vibrant academic and research environment.

Educational (K-12) – Thomas J. Waters Elementary School North Annex Chicago, Illinois Architect: Bailey Edward Design Brick Manufacturer: The Belden Brick Company Brick Distributor: Brickworks Supply LLC Mason Contractor: MPZ Masonry Photo Credit: Darris Lee Harris

This new elementary school annex in Chicago’s historic Ravenswood Gardens neighborhood features red brick that matches the original building but with a contemporary look.

Historic Renovation – City of Galveston 30th St. Water and Electric Light Station Galveston, Texas Architect: The LaBiche Architectural Group Inc. Brick Manufacturer: Acme Brick Company Mason Contractor: Marsh Waterproofing Inc. Photo Credit: Angie LaBiche

This iconic 1904 building serves as a meeting, party and wedding venue, featuring a red brick exterior that was completely tuck pointed and replaced bricks harvested from building originals.

International – Bangalley House Sydney, Australia Architect: Casey Brown Architecture Brick Manufacturer: Austral Bricks Brick Distributor: Brickworks Building Products Photo Credit: Michael Nicholson

This residence is moulded into the landscape, featuring red and white brick that was chosen for toughness and durability.

Paving & Landscaping – Capturing an Artist’s Vision: A Monumental Journey Des Moines, Iowa Architect: substance architecture Brick Manufacturer: Endicott Clay Products Company Mason Contractor: Seedorff Masonry Inc. Photo Credit: Corey Gaffer

Collaborating with a celebrated African American artist to honor Black lawyers, this 30-foot high sculpture of radical geometry features modular gray brick.

Residential – Multifamily – 40 Bleecker Street New York, New York Architect: Rawlings architects pc Brick Manufacturer: Acme Brick Company Brick Distributor: Belden Tri-State Building Materials Mason Contractor: Milestone Masonry Corp. Photo Credit: Alexander Severin

This luxury 61-apartment building in Manhattan’s NOHO district features a brick façade in custom light colors chosen for the historic neighborhood with clean and modern detail.

Residential – Single Family – Neighborhood Cottage Mountain Brook, Alabama Architect: Taylor Plosser Davis Architecture + Design Brick Manufacturer: Endicott Clay Products Company Brick Distributor: Acme Brick Company Mason Contractor: Fry Construction Inc. Photo Credit: Laurey Glenn

This new home in an older suburban neighborhood respects its Tudor revival neighbors both in material and scale, featuring Artisan brick with a reflective finish.

Craftmanship Award Recognizing an individual mason or team of masons for artful or unique brick installation – Filigree House – Residential-Single Family Category Philadelphia, Pennsylvania Architect: Moto Designshop Brick Manufacturer: General Shale Brick Distributor: Diener Brick Company Mason Contractor: Brandon Reiss Masonry Photo Credit: Halkin Mason Photography

The 2021 judges include Jason Cole, LEED® AP, BD+C – Ballinger; Robert Mercer, AIA-Chapman Sisson Architects and Robert Ramirez, AIA, NOMA – WRA Architects.

See BIA website for the list of all winners the all competition entries in the Photo Gallery at https://ift.tt/aA218UP and the full video.

August 17, 2021

BIA Opens Entries for 2021 Brick in Architecture Awards

Entries due by Nov. 1

Brick in Architecture Awards 2021 Call

Reston, Va., August 16, 2021 — The Brick Industry Association (BIA) has opened entries for the international 2021 Brick in Architecture Awards, the premier architectural design competition featuring fired-clay brick.

St. Vincent Mixed-Use Building – Austin, Texas photo : Louis Curtis

Entries are due by Nov. 1, with 50% fewer required materials for faster submission. All submissions must use clay brick as the project’s primary building material. Entrants must be either an architect or designer employed by an architectural, design-build or landscaping design firm.

“The BIA Awards celebrate brick architectural design, a historic and timeless material with infinite possibilities,” said Gavri Slasky, AIA, LEED AP, associate, Stephen B. Jacobs Group P.C., New York, New York.

Per the competition rules, eligible projects include any work of architecture completed since January 1, 2016 in which new clay brick products comprise the predominant exterior building or paving material (over 50 percent) including: face or hollow brick, building brick, thin brick, paving brick, glazed brick, structural glazed facing tile, new clay brick products in special shapes and/or a combination of these.

Bernard Zell Anshe Emet Day School Expansion – Chicago, Illinois: photographer : Steve Hall, Hall + Merrick Photographers

“The BIA Awards are an excellent opportunity to showcase the craftsmanship of our masons in realizing our designs in brick,” said Carey Jackson Yance, LEED AP, RA, principal, CANNOdesign, Philadelphia, Pennsylvania.

Debuting last year, an overall Craftsmanship Award will honor exceptionally artful installation by an individual mason or a team of masons.

“The versatility, timeless artisanship, and high-performance quality of brick blend to provide a rich and honest medium of expression that is an integral part of our practice, evident in our two Best in Class awards, the Taft Freshman Academy of 2020 and the Back of the Yards High School of 2014,” said Luis Collado and Jose Luis de la Fuente, principals, STL Architects, Chicago, Illinois.

MLK Plaza – Bronx, New York: photo : David Sundberg/Esto

Entries must be submitted online in one or more of these categories:

1. Commercial

2. Education – K-12

3. Education – Colleges & Universities (Higher Education) *

4. Residential – Single Family

5. Residential – Multi-Family

6. Paving & Landscape Projects

7. Historic Renovation**

8. International (If project is located outside of the U.S., Canada or a U.S. Territory, it must be entered in this category)

* Includes residence halls & academic/administrative buildings **This does not need to meet the 50% or more new brick requirement but must have 50% or more brick renovated on the project.

United States Land Port of Entry, New Mexico, USA Design: Richter Architects photo courtesy of BIA United States Land Port of Entry, New Mexico

Curtin University Midland Campus, Perth, Western Australia Design: Silver Thomas Hanley Architecture / Lyons Architecture photo : Dion Robeson Curtin University Midland Campus

“It celebrates a beautiful craft,” said David Richter, FAIA, principal, Richter Architects, Corpus Christi, Texas.

“Sourcing the brick for our award-winning Inglewood Residence was an immense undertaking, but one of the highlights of this projects,” said Mark Odom, Founding Principal, Mark Odom Studio, Austin, Texas. “We were honored to be awarded for these efforts.”

BIA and Zonda will co-brand an email featuring the winning projects to more than 40,000 architects and designers. All submitted projects will be posted to BIA’s online Photo Gallery.

Judged by peers, the 2021 winners will be announced in January.

Questions: Tricia Mauer: tmauer@bia.org.

###

Founded in 1934, BIA is the nationally recognized authority on clay brick construction representing the nation’s distributors and manufacturers of clay brick and suppliers of related products. http://www.gobrick.com /  703-620-0010.

Brick in Architecture Awards 2021 information received from BIA

Previously on e-architect:

2020 Brick in Architecture Awards

BIA 2020 Brick in Architecture Awards

St. Vincent Mixed-Use Building, Austin, Texas, USA: photograph : Louis Curtis 2020 Brick in Architecture Awards

Brick Awards

2021 Brick Awards Winners News Brick Awards 2021

2019 Brick Awards Shortlist News

The Interlock, London by Bureau de Change Architects: photograph courtesy of Brick Awards / architects

Cambridge Central Mosque by Marks Barfield Architects: photo courtesy of Brick Awards / architects

The Old Printworks, Edinburgh, by jmarchitects: photo courtesy of Brick Awards / architects

Ten Oaks Zero-Carbon house in the Chilterns: photo courtesy of Brick Awards / architects

The Old Bakery in Deptford, by Lipton Plant Architects: photo courtesy of Brick Awards / architects

Architecture

Stirling Prize

Pritzker Prize Architects

RIBA Awards

Comments / photos for the 2021 Brick in Architecture Awards page welcome

The post 2021 Brick in Architecture Awards Winners appeared first on e-architect.

[compagnolafuneralhome]

Are you looking for a headstone that will capture all your needs and preferences in Philadelphia? If so, you might want to consider Compagnola Funeral Home. Compagnola Funeral Home has a sister company known as Compagnola and Sons Monuments Co. This company is owned locally and has been providing masonry work for burial sites and graves for more than a decade. Considering that monuments come in different sizes, shapes, and styles, this headstone company has a skilled team of engravers who will listen to your needs and preferences and design a headstone that captures them. Every client needs to know their options to receive satisfactory services. Headstones come at different prices as well. You can choose from the low-cost flat monuments or the pricey upright headstones that exude a rustic old-school feeling. Compagnola and Sons Monuments Co. has been providing headstones in Philadelphia for more than ten years. With the support of the locals, this company will serve the community for many more years. Please check them out here.

[overheadphiladelphia]

Tips for Choosing a Rolling Counter Door for Small Openings Commercial Settings in Allentown, PA

What is a rolling counter door? 

“Counter doors are made from interlocking slats of formed steel, aluminum, or stainless steel that will roll up to store in coil above a wall opening. They provide security against entry and weather protection at both interior and exterior wall service openings commonly utilized in cafeterias, concession stands, and ticket booths,” according to Cornell.

 1. Set the budget. Planning is the key to success. It is best to determine the amount of money in purchasing commercial rolling steel doors. Doors all have costs that go beyond the purchasing price. Doors also have to be maintained and repaired, which adds to the price. Thus, it is best to consider these commercial rolling steel doors Allentown PA a consistent part of monthly expenses. 

2. Choose how the look and function of a rolling fire counter door. The location of the overhead rolling fire counter door is significant. The door should be attractive and inviting to people. 

The design of the overhead rolling fire counter door Allentown PA should match with the kind of business. Moreover, the function of the door must be aligned with the kind of business. 

3. Decide on the security features needed on the rolling counter door. Doors should not be accessible when closed. It is not sufficient for businesses to just have a traditional lock. Doors must be able to withstand the attacks of unwanted intruders. In addition to the doors made of strong materials and deadbolt. Electronic security options could also be employed to ensure the safety of the business. 

 Overhead Door- Model 660 Integral Frame Rolling Fire Counter Door

The 660's Series integral frame fire-rated counter doors provide a handsome finished appearance for a variety of applications, including food service counters, schools, concessions, hospitals, cafeterias, and retail settings. These doors are available for openings up to 9’ x 4’ (2743 mm x 1219 mm) and carry a UL 1-1/2 hour label for masonry and non-masonry firewalls. The 660 Series integral frame doors are factory assembled as a complete unit with fully welded frames. The curtain, frame, guides, sill, hood, and bottom bar are stainless steel.

Additional safety and protection features are available, including Fire Sentinel® time-delay release device, smoke detectors, horns, and strobes, according to Overhead Doors. 

 Conclusion

Choosing the right commercial door is an important consideration for businesses. We need to consider the budget, style, functions, security, and safety features of commercial doors. 

For rolling fire door consultation, installation, and service in Philadelphia, you may reach Overhead Door Company of Philadelphia at 215-352-4805 or send your details in our contact us or service request page.

Service Areas: Philadelphia, Bensalem, Allentown, Reading, King of Prussia, Levittown, Langhorne, Doylestown, PA and surrounding cities in Pennsylvania

[pttedu]

How Long Are Concrete Framing Programs?

Concrete framing programs vary in duration. Let's explore how the duration of concrete training courses varies and the factors influencing it.

[pttiedu]

The Future Of Sustainable Construction Practices: Advanced Framing Techniques

Advanced construction practices such as optimum value engineering (OVE) or energy-efficient framing techniques aim to maximize the structural integrity of a building.

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[maxwellyjordan]

Symposium: Religious freedom and the Roberts court’s doctrinal clean-up

This article is part of a SCOTUSblog symposium on the Roberts court and the religion clauses.

Richard W. Garnett is the Paul J. Schierl / Fort Howard Corporation professor of law at the University of Notre Dame and is the founding director of the school’s Program on Church, State and Society. He wrote or joined amicus briefs in several of the cases described below, including most recently joining an amicus brief on behalf of the petitioners in Our Lady of Guadalupe School v. Morrissey-Berru.

Those who think and write about the Supreme Court, including many of the justices themselves, tend to collect and deploy colorful adjectives and epithets to describe the state of its religion clauses doctrine and case law. It is not necessary to go full-thesaurus or to march out the entire parade of pejoratives here. A “hot mess” was the recent pronouncement of one federal court of appeals. And my own favorite is still Justice Antonin Scalia’s 1993 portrayal of the so-called “Lemon test” as a “ghoul in a late-night horror movie that repeatedly sits up in its grave and shuffles abroad after being repeatedly killed and buried.”

An important part of the Roberts court story, though, is that it has both continued and facilitated developments-for-the-better in law-and-religion. Chief Justice John Roberts, following in several ways the example and path of his predecessor, William Rehnquist (for whom he and – full disclosure – I clerked), has directed, not merely endorsed or observed, these changes. The standard, habitual denunciations no longer seem to apply. As Larry David might put it, the law of the religion clauses is actually “pretty, pretty good.”

Many scholars and commentators would disagree, of course. To them, these developments represent the “crumbling,” “demolition” or some other masonry-related downgrading of the “wall of separation between church and state,” or they supply evidence of a judicially ascendant “Christian nationalism” or even “theocracy.” In fact, though, the Roberts court has moved the law of religious freedom and church-state relations toward coherence and clarity, and better aligned it with American history, tradition and practice and with an appropriate understanding of judges’ capacities and the judicial role in a democracy.

A number of recent decisions, including several cases from the 2019-20 term, illustrate this movement. And one that is already scheduled for the fall and another that the justices have been asked to review provide an opportunity to continue it. But before discussing recent rulings and upcoming arguments, it is worth asking how and why things went wrong.

The Supreme Court, during its first century and a half, had almost nothing to say about the judicially enforceable content of the right to religious freedom, about the role of religious believers and arguments in politics and public life, or about the terms of permissible cooperation between “church” and “state.” Questions about these matters were, for the most part, worked out politically and practically, and in ways that (for better or worse) did not often depart from public consensus, habit and expectations. With the gradual “incorporation” of the Bill of Rights, though, and the Supreme Court’s emerging understanding of its counter-majoritarian role, this changed.

As the court took up the task of interpreting and enforcing the religion clauses, at least three things contributed, eventually, to the much-derided state of doctrinal affairs. The first was the constitutionalization — indeed, the fetishization — of a James Madison pamphlet and a phrase in one of Thomas Jefferson’s constituent-service letters. In his 1947 opinion for the court in Everson v. Board of Education, Justice Hugo Black of Alabama presented as canonical a potted and partial history of America’s religious-freedom experience in which a Virginia controversy and Jefferson’s passing reference to a “wall of separation between Church and State” — and not the broad range of views about the meaning of disestablishment — were foundational and controlling. Particularly in school-funding cases, this focus (or myopia) would cause the justices to convert the First Amendment’s no-establishment rule into a command that, somehow, governments avoid “advancing religion.”

A second misstep was the embrace of an understanding of constitutionally required “neutrality” that consisted not in even-handedness or nondiscrimination among America’s increasingly diverse array of religious traditions and communities, but instead in the absence of (something called) “religion” from (something called) the “secular” sphere. That is, “neutrality” was often said to require the forced confinement of religion to the purely private realm, preventing it from playing any role in the routines of public schools and other spaces.

Finally, there was the relatively late-emerging problem of public religious displays, symbols and expression. Although these did not, strictly speaking, impose any obligations, penalties or disadvantages, or confer any privileges, they came to be seen by the court as threatening or contributing to “political divisions along religious lines” or as “endorsing” religion and thereby telling some that they are less than full citizens or “outsiders in the political community.” At the same time, judges and justices were often unwilling to follow through to the extent of outlawing all public displays, symbols and art connected with religious holidays and themes, or undoing the national motto, or cancelling longstanding practices like legislative chaplains. The line between an unlawful endorsement and a permissible acknowledgment of religion seemed to depend on little more than the intuitions, or the aesthetic preferences, of the one drawing it.

For these and other reasons, the evocative denunciations by various justices of, say, the interior-decorating and semiotics aspects of courts’ attempts to apply the “endorsement test” and of the strange contrasts involved in school-funding cases between the religion-advancing effects of books and maps, had force. However, to make a long story short, under the Rehnquist and now the Roberts courts, things have improved.

For starters, in Hosanna-Tabor Evangelical Lutheran Church and School v. EEOC, a unanimous 2012 opinion authored by Roberts, the court reminded us that the point of separating, or differentiating between, “church” and “state” is not to erect a cooperation-killing “wall” but instead to protect religious freedom by preventing governments from interfering in religious matters and from purporting to answer religious questions. In June, the justices re-affirmed this understanding, and the corresponding right of religious communities to select their own teachers and teachings, in Our Lady of Guadalupe School v. Morrissey-Berru.

By 2002, a gradual but unmistakable evolution in the cooperation-with-religion context culminated in the Zelman v. Simmons-Harris decision, in which the court downplayed the “Lemon test’s” quixotic aim of avoiding any “advancing” of “religion” and instead applied a more straightforward and enforceable requirement of formal neutrality. And, this past term, in Espinoza v. Montana Department of Revenue, the court ruled that not only may governments provide funding to persons who choose religious schools, hospitals and social-welfare agencies for the important public goods they provide, they may not discriminate against religion when doing so.

And another example of doctrinal clean-up came in 2019’s decision in American Legion v. American Humanist Association, in which the justices rejected an establishment clause challenge to a large and longstanding war-memorial cross on public property. Instead of hypothesizing about the messages on civic status communicated by the cross to judicially constructed “reasonable observers,” a majority of justices called for respecting, and deferring to, history and tradition when deciding whether a particular symbol amounts to an “establishment of religion.” Noncoercive and time-honored displays and practices should not be uprooted on the complaint of “offended observers” in the name of an abstract understanding of the secular.

The remaining category of American religious-liberty controversies involves exemptions for religious exercise and accommodations for religious people. The Roberts court has several times affirmed, sometimes unanimously, that religious exercise may, and should, be legislatively accommodated and may be treated as “special” by governments in keeping with the particular solicitude shown for it in the First Amendment’s text and throughout American history. The long-running dispute over the Affordable Care Act’s contraception-coverage mandate, which returned to the court last term with Little Sisters of the Poor v. Pennsylvania, provides a contested illustration of the court’s willingness to interpret legislative accommodations of religion broadly, but the controversy surrounding this particular controversy should not obscure the broad, clear consensus that reasonable accommodations of religious dissenters promote both religious freedom and civic peace.

So far, the Roberts court, with its “conservative” majority, has left in place the rule, laid down 30 years ago in Employment Division v. Smith, that, although generous accommodations of religion are permitted, exemptions from generally applicable and nondiscriminatory laws that burden some religious practices are not required by the free exercise clause. The Smith rule has come in for criticism that is every bit as harsh, and at least as widespread, as the critiques of the Lemon and endorsement tests. And the justices have agreed to hear a case this fall that offers an opportunity to reject or revise it.

Fulton v. City of Philadelphia involves the city’s decision to exclude Catholic Social Services from participating in the enterprise of foster-care placements because that agency refuses, for religious reasons, to certify same-sex couples as foster parents. Although the justices could rule for Catholic Social Services on the narrow ground that the city’s policies are not really neutral or generally applicable – an approach similar to the route chosen in the 2018 case Masterpiece Cakeshop v. Colorado Civil Rights Commission – the question “whether Employment Division v. Smith should be revisited” is squarely presented.

The Roberts court’s interpretation and application of the religion clauses have continued an evolution that made First Amendment doctrine more coherent and also more consonant both with historical practice and the judicial role. Exactly how a “revisiting” of Smith would fit in with this evolution remains to be seen. Stay tuned.

The post Symposium: Religious freedom and the Roberts court’s doctrinal clean-up appeared first on SCOTUSblog.

from Law https://www.scotusblog.com/2020/08/symposium-religious-freedom-and-the-roberts-courts-doctrinal-clean-up/ via http://www.rssmix.com/

[boymale2-blog]

Italian-American Heritage & Industrial Landmarks Go Under Review For Historic Designation Recommendation

John Decker & Son at 2704-06 Girard Avenue in Brewerytown. | Photo: Michael Bixler

On Wednesday, June 19, the Philadelphia Historical Commission’s Committee on Historic Designation will review 12 nominations during their monthly public meeting at 1515 Arch Street, Room 18-029. All recommendations made will go before the full Commission in a future public hearing for possible historic designation. This month’s agenda is packed with some individual architectural knockouts, but there are also a number of carryovers from previous agendas including 156 W. School House Lane, Otis Elevator Company Boiler and Engine House at 1045-49 Sarah Street, and McMichael Park at 3201-45 Midvale Avenue. There are no historic district nominations planned for review at June’s meeting.

The Preservation Alliance for Greater Philadelphia has nominated the John Decker & Son at 2704-06 Girard Avenue in Brewerytown. The building, site of the former John Decker & Son Architectural Sheet Metal Works, was constructed in phases from 1875 to 1900, combining three brick masonry structures into one unified, high Victorian commercial design. The handsome amalgam’s focal point is, according to the nomination, a “monumental rooftop signboard and ornamental pressed metal parapet ensemble,” spanning the cornice line of the buildings. The authors of the nomination note that the building “survives today as a distinctive and evocative reminder of an industry that helped shape the architectural character of Philadelphia in the late 19th and early 20th centuries.” The property is recommended by Philadelphia Historical Commission (PHC) staff for designation.

The Philadelphia City Planning Commission submitted a nomination for the former Pennsylvania Railroad Young Men’s Christian Association at 4025-69 Westminster Avenue at the corner of 41st Street and Wesminster Avenue. Designed by architect Thomas Lonsdale in the Romanesque style, the structure was constructed 1893 and the building’s auditorium, a “partial octadecodon,” was added in 1896. The hefty ashlar stone compound features an eclectic mix of architectural detailing including towers, stepped parapeted gables and arched, circular, and semi-circular windows. The PHC staff supports the building’s designation.

Th former Pennsylvania Railroad Young Men’s Christian Association at 4025-69 Westminster Avenue. | Photo: Michael Bixler

Trinity Reformed Church at 1533-39 N. 7th Street, built 1869-72 has been nominated by The Keeping Society of Philadelphia.  This distinctive small urban church was designed by Philadelphia architect Samuel Sloan in the Gothic Revival style and was featured in The Architectural Review and American Builders’ Journal shortly after it was completed. The compact, Trenton brownstone-clad church stands tall at two and a half stories relative to its slight, rectangular footprint. Its graceful, elongated buttresses support three sides, integrated as decorative columns on the gabled front facade. The nominators describe the form as “expressive of the cultural, economic, and social heritage of Philadelphia’s working-to middle-class people of the period,” citing Sloan’s involvement in providing “economical, but tasteful, options for people of modest means.” The nomination is supported by PHC staff.  

The massive Tacony Worsted Mills at 5250 Unruh Avenue is also up for recommendation, nominated by Alexander Balloon, director of the Tacony Community Development Corporation. The manufacturing complex consists of seven buildings, all built around the turn of the century, between 1886 and 1919, and was designed by Walter Harvey Geissinger, who was responsible for designing a number of large factories and industrial buildings in the city. Operations were discontinued in 1938 when the property was leased to Sears Roebuck & Company. Prior to its closure, the application states that Tacony Worsted Mills were a leading manufacturer of worsted mills worldwide, as well as one of the “largest” and “finest” worsted yarn mills in Philadelphia and the country. It is recommended by PHC staff for designation.

A small Italian bank building known as La Banca Calabrese at 638 Christian Street has been nominated by Celeste Morello for its contribution to the cultural economic and historical heritage of Philadelphia’s “Little Italy.” The former bank was one of a number of regulated and unregulated banks that served the immigrant population and comprised a small banking region of the neighborhood in the late 19th and early 20th centuries. The modest, three story blonde brick structure features a rounded corner and a large broken pediment at the entryway. It was once operated by Frank Bilotta, a builder and contractor who, according to the nomination, specialized in building and contracting services for the Italian immigrant community. It is recommended for designation by the PHC staff.

La Banca Calabrese at 638 Christian Street. | Photo: Michael Bixler

The Keeping Society of Philadelphia has nominated a late 19th century serpentine-clad twin with at 405 and 407 S. 42nd Street in Spruce Hill. The charming facade, with its polychromatic seafoam stone face and contrasting marble lintels, is a refreshing contrast to the ornate Victorian and Italianate twins that dominate the local architecture. The nomination is recommended by PHC staff for designation.

The Preservation Alliance for Greater Philadelphia has also nominated the American Protestant Hall at 1415 Locust Street, a narrow, pre-Civil War commercial loft spanning Locust to Chandler Streets and designed in an Italian Renaissance Revival Style.

The staff of the PHC has nominated a set of handsome late Victorian twins at 1017 and 1019 Spruce Street.

The Alexander Henry House at 3460 W. School House Lane was also nominated by the Keeping Society of Philadelphia, although PHC staff notes that a campus master plan for Jefferson University, approved by an ordinance in 2016, includes the property in question and that “any designation of this property should account for the development of the property in compliance with the approved master plan.”

About the author

Starr Herr-Cardillo is a staff writer for Hidden City Daily. When she’s not covering local preservation issues or writing editorials for Hidden City, she works as a historic preservation professional in the nonprofit sector. Born and raised in Tucson, Arizona, Herr-Cardillo was drawn to the field by a deep affinity for adobe and vernacular architecture. She holds a Certificate in Heritage Conservation from the University of Arizona and an M.S. in Historic Preservation from PennDesign.

Source: https://hiddencityphila.org/2019/06/italian-american-heritage-industrial-landmarks-go-under-review-for-historic-designation-recommendation/

[architectnews]

VMA Performing Arts Center, Pennsylvania

VMA Performing Arts Center, Pennsylvania Theater Building, USA, American Architecture Photos

VMA Performing Arts Center in Pennsylvania

Apr 11, 2021

Joan and John Mullen Center for Performing Arts

Design: Voith and Mactavish Architects

Location: Villanova, Pennsylvania, USA

It’s curtains up at Villanova’s Joan and John Mullen Center for the Performing Arts, ready for the Fall/Winter 2022 performance season.

The building is the final project and centerpiece of a major redevelopment along Lancaster Avenue that transforms once-overlooked stretch into a new heart of student life at Villanova. The cultural center anchors the new district and complements Commons, a recently-completed complex (also designed by VMA) that adds 1,100 beds of student accommodations, storefront retail spaces, and a network of landscaped gathering places.

For the Performing Arts Center, VMA combined a full suite of performance venues and educational spaces into a single building, creating a destination cultural hub for the University and the surrounding community. The center equips Villanova to host a range of productions and events, offering everything from state-of-the-art theaters, rehearsal spaces, and reception halls for catered gatherings.

The 85,000-square-foot building includes three major performance venues: a 400-seat proscenium theater, a 200-seat black-box theater, and a 75-seat Performance Lab for more intimate and experimental productions.

The proscenium theater features a full fly loft and an elegantly curved balcony that embraces the stage and its gold curtain. The black-box theater accommodates performances in end-stage, thrust, or arena formats thanks to reconfigurable seating. Each of the spaces is outfitted with the latest theatrical lighting and acoustic technologies, allowing the University to host even the most technically sophisticated productions.

The building also arrays a range of educational and support spaces. Fully-equipped production shops allow sets and costumes to be made on-site. Dressing rooms, a green room, a choral room and dance studio, and two flexible classrooms support stage productions. Offices on the second and third floors accommodate faculty, the production manager, building manager, and other department staff.

The sweeping lobby is supported by a full catering kitchen and can host receptions and special events. Full-height windows overlooking the prominent intersection of Lancaster Avenue and Ithan Avenue open the building to the surroundings. On performance nights, the curving lobby—lit by custom chandeliers—will glow like a beacon.

The facade is a contemporary interpretation of the “Villanova Gothic” aesthetic that defines the surroundings, including the nearby Commons Student Housing. Masonry panels were produced off-site for more efficient construction, with each stone carefully positioned to be visually cohesive, capped by cast stone accents. Traditional gabled roofs on either end of the building contrast with the curving main entrance.

VMA designed the theater spaces and served as Architect of Record for the entire project. Robert A.M. Stern Architects designed the facade and lobby.

The building is on track for LEED Silver certification.

VMA Performing Arts Center in Villanova, Pennsylvania – Building Information

Architect: Voith and Mactavish Architects

Theatre spaces designer & architect of record: Voith and Mactavish Architects Facade and lobby designer: Robert A.M. Stern Architects Size: 85,000 sf Budget: $37 million Completed: 2021 Location: Villanova, Pennsylvania, USA

Photos: Ramsa

VMA Performing Arts Center in Pennsylvania images / information received 110421

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The American Fountain, Market Place, Stratford-upon-Avon by ell brown

One of the things I wanted to retake in Stratford was The American Fountain, as I only previously had one dark shot of it. I went all around it getting detailed shots of it.

It is in Market Place, near the top corner of Rother Street. By this point the market was mostly packed up.

From BBC h2g2 – The American Fountain, Stratford-upon-Avon, Warwickshire, UK

Standing prominently in the Market Square of Stratford-upon-Avon, is a remarkable piece of masonry – the American Fountain. Whether you are wandering into the town from the railway station, or even just passing through by car or bus, the edifice is practically impossible to miss, and it is certainly worth stopping to take a closer look.

An Historical Monument

The Shakespeare Memorial Fountain and Clock Tower (as it is officially known) was presented to the town of Stratford by American journalist, and some would say philanthropist, George W Childs of Philadelphia in 1887. Built to honour not only William Shakespeare, but also Queen Victoria’s Golden Jubilee, the amazing monument was unveiled at the time by actor Sir Henry Irving1. Victorian Gothic in style, the fountain is constructed mostly from Peterhead granite and freestone, resembling a small gothic cathedral of sorts, complete with a set of bells designed by JA Cossin’s of Birmingham and a clock above each face of which sits a caricature of a fairy from Shakespeare’s play A Midsummer Night’s Dream.

Also prominent on the fountain are carved stone lions and eagles, representing Great Britain and the United States of America respectively, while horse-troughs line each side. However, the fountain no longer provides water, so neither do these, and flowers happily grow in them instead. In 1984, the local council and other benefactors had the clock repaired after a long period of stoppage, and an ‘American Fountain Centenary Celebration’ was held in 1987.

George W Childs

The man responsible for the Memorial Fountain was George William Childs, a journalist and publisher of note. Born in Baltimore, Maryland, on 12 May, 1829, he was given a state school education. At the age of thirteen, Childs served a short fifteen months with the United States Navy before making his way to Philadelphia, where in 1843 he became a clerk in a bookshop. A mere two years later, he was a partner in the publishing house of Childs & Peterson. So successful was this publishing business that in 1864 he was able to purchase the Philadelphia Public Ledger, which at the time was a very little-known newspaper.

George Childs was instrumental in changing the newspaper into a respected publication, and it soon became one of the most influential journals in the country. With his newfound wealth, Childs did not become a greedy miser. He gave money freely to support education and charity; and with a deep love of England and its writers, he funded memorial windows to William Cowper and George Herbert in Westminster Abbey in 1877, another window to John Milton in St Margaret’s Church, Westminster in 1888, plus other monuments both in England (the Shakespeare Memorial Fountain amongst them) and America (a monument to the writer Edgar Allen Poe one of many). His selflessness continued, along with his love of all things literature-related, right up until his death in Philadelphia on 3 February, 1894.

Meet Me at the Fountain

Despite the importance of the presence of Shakespeare’s residence, and the Royal Shakespeare Company Theatre by the River Avon, it could safely be argued that the American Fountain is the focal point of the town of Stratford. Situated at the junction of Rother Street and Windsor Street, it’s just right as a central meeting place from which you can easily walk to many of the nearby tourist attractions. Also sitting opposite is the White Swan pub, a venue for many jazz bands and visitors, plus a Farmers Market bustles around the fountain every Friday.

There are a plethora of things to buy at these markets, from carrots and tomatoes to old books, from collectable ‘antiques’ to watch batteries. The fresh foods available are mostly local produce and are not only reasonably priced but very good eating. A lot of locals prefer to get their fresh fruit and vegetables from the market, rather than trekking to the local supermarket. Thus, the American Fountain provides not only a memorial to Shakespeare as intended, but also upholds the ideals of the man who came up with it in the first place, by having people share their wealth.

This gothic monument is called the American Fountain, a gift from George Childs of Philadelphia to Stratford in Queen Victoria’s Golden Jubilee year (1887).

On each corner it has a lion and an eagle. The lion represents Great Britain, the eagle the United States.

It is Grade II* listed.

From Heritage Gateway:

Shown on OS map as Shakespeare Memorial Fountain. Clock tower incorporating horse troughs and drinking fountain. 1886-7. By Jethro Cossins of Birmingham; for George W Childs of the United States. Ashlar with Peterhead granite plinth. Square plan. Gothic style. 3-stage tower with conical spire. Lower stage has gabled diagonal buttresses capped with British Lion and American Eagle holding shields: Royal arms and Stars and Stripes; arched recess to each face has shafts and relief carved tympanum over inscription; to south: trefoil-headed entrance with strap hinges to plank door and flanking trefoil-headed recesses, once containing barometer and thermometer; to east and west: horse trough with dog bowl below; to north: drinking fountain. Middle stage has round pinnacles to angles, and weathered sills to triple pointed lights with shafts; dripcourses with beasts to ends. Top stage has gabled clock faces, the gables crocketed with fairies to pinnacles. Round base to spire has 4 round pinnacles to angles, spire with lucarnes, all with wrought-iron finials. Erected to the memory of William Shakespeare, dedicated by the actor Henry Irving. An impressive monument at the north end of the Rother Street market place, said to be on the site of the medieval market cross. (Bearman R: Stratford-upon-Avon: A History of its Streets and Buildings: Nelson: 1988-: 49; Jaggard G: Stratford Mosaic: London: 1960-: 60-67; Forrest H E: The Old Houses of Stratford-upon-Avon: London: 1925-: 147).

The American Fountain, Stratford – Heritage Gateway #reconditioning #batteries car battery, #battery, rechargeable aa batteries, rechargeable batteries, battery charger, car batteries, nimh battery, battery doctor, battery reconditioning, battery repair, battery desulfator @BatteryReconditioningNew Home http://bit.ly/2uzVDl5

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[talhaghafoor2019-blog]

Jelloman is a music festival hustler and Kurt Vile's brother

LAUREN SCHNEIDERMAN / Staff Photographer

Jelloman Paul Vile with one of his Jello murals.

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Meet: Paul Vile, a West Chester mason who sells Jello shots and t-shirts to music festival goers across the country — a hustle that’s earned him the nickname “Jelloman.”

Say when: For a garnish, Vile often brings a pepper mill filled with Pop Rocks to sprinkle on his Jello shots. “It makes quite the presentation, if you will,” he said.

Backstage pass: Vile creates giant signs he calls “Jello murals” that spell out bands’ names, which often gets him invited backstage. Having famous Philly musician Kurt Vile as a big brother doesn’t hurt either.

Paul Vile wanted a hustle.

It was 2008 and Vile, a trained mason, was looking for a way to make some extra scratch when he stumbled upon a young woman selling Jello shots at a Dave Matthews Band concert in Camden. She told him she’d made $400 in just a couple hours.

“I knew that was the perfect hustle,” he said.

He was living on his own in West Chester, but Vile made his first batch in his parents’ kitchen. His mom, who doesn’t drink, helped, describing it as “stirring the cauldron of sin.”

Today, Vile, 33, buys his Jello in 50-pound bags, mixes his shots in five-gallon buckets and spends his summers traveling the country illegally selling Jello shots and T-shirts at music festivals like Firefly, Bonnaroo and Coachella.

Colin Kerrigan

Paul Vile places lids on a batch of his famous Jello shots.

He’s become such a fixture on the festival circuit that he’s earned the nickname “Jelloman.” Vile is also the subject of an upcoming documentary by Philly filmmaker Colin Kerrigan (a former Philly.com photographer) called “Jelloman, if u will.”

Vile knows selling booze and bootleg tees is against festival rules, not to mention numerous liquor and trademark laws. He doesn’t check IDs, obtain liquor or vendor licenses, or have rights to sell the tees. He’s no stranger to being kicked out of festivals, and he once had his van impounded and spent the night in jail when authorities found a T-shirt printing press inside the vehicle.

“I almost want to get legit with it all, somehow,” he said. “I got so good at something that is almost a dead-end road.”

But compared to some of the harder drugs and other illicit activities circulating at festivals, Vile said, his business is “like the Disney Channel.” And for now, he said, the risk is worth the reward. He won’t say how much his hustle pulls in, except that “it’s extremely lucrative.”

Born one of 10 children, Vile grew up in Lansdowne and graduated from Penn Wood High School in 2003. He then attended trade school for masonry.

Today, he oscillates between a “regular square life” of working in masonry and “that Jello lifestyle.”

>> MORE WE THE PEOPLE: Delco man can catch marshmallows, with his mouth, thrown from the Ben Franklin Bridge

But Jelloman doesn’t party like he used to.

He wakes up at 6 a.m., “ninja folds” the shirts he wants to sell, grabs some sunglasses and packs his bag with 500 Jello shots. By 9 a.m. he’s walking through campsites, ready to sell.

“These little Jello shots are the perfect sale. You can have hundreds in your backpack and they just fly like poker chips,” he said.

For $20, Vile will sell you a Jello shot, a bootleg festival shirt he designed himself and a cheap pair of sunglasses. The Jello shots alone go for three for $5, seven for $10 and 15 for $20.

“You’re probably thinking: ‘Would I buy a Jello shot from a random person?'” Vile said. “You might say no right now, but when you’re at a festival….the Jello shot is a weird hook.”

To make the shots, Vile boils a large amount of water and surrounds himself in a circle with 24 five-gallon buckets. Then, he puts the water, 7.5-pounds of Jello mix and four handles of bottom-shelfvodka in each bucket and stirs. Every bucket makes about 400 Jello shots and he needs about six buckets for each festival.

Instead of transporting the shots cold, he leaves them in a liquid state and dumps ice on them once he arrives at the festival to congeal the mixture.

He usually transports his Jello shots in his Jellovan, but he’s checked them at the airport, too.

Colin Kerrigan

Paul Vile prepares his Jello shots en masse in a hotel room.

Vile also makes his own bootleg tees, complete with festival line ups. Before his older brother, alternative rocker Kurt Vile, began touring, Paul Vile would sneak his brother’s name in his shirt lineups.

“I remember going to festivals like ‘What if Kurt played one of these festivals? That would be insane, wouldn’t it?'” he said. “Then it started creeping up and all of a sudden he was playing Sasquatch Music Festival … and I got to put his name in the lineup” for real.

>> MORE WE THE PEOPLE: At $1 a photo, this South Philly man’s dogs earn their keep

For those times Vile ends up in his brother’s world, hanging out with bands like The War on Drugs, he creates Jello murals by spelling the band’s name in Jello shots he hot glues to a large piece of Styrofoam insulation.

Colin Kerrigan

Paul Vile with the Jello mural he made for the band, Cage the Elephant.

The coolest band to invite him backstage with his Jello mural so far? Cage the Elephant.

Kerrigan said his documentary, “Jelloman, if u will,” which he’s raising money for on Kickstarter, will feature a lot of musicians, a lot of Jello shots and a lot of character.

“It’s a weird story,” Kerrigan said. “And he’s also a mason.”

Know someone in the Philadelphia area whose story deserves to be told — or someone whose story you’d like to know? Send suggestions for We the People profiles to Stephanie Farr at farrs@phillynews.com or call her at 215-854-4225. Send tips via Twitter to @FarFarrAway.

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Full text write on https://easy-travel.pw/st-augustine-on-a-budget/trip-planning/

St. Augustine on a Budget

01 of 09

St. Augustine on a Budget

Diane Macdonald/Getty Images

The fact that St. Augustine can be visited on a tight budget might not resonate with many Florida-bound tourists. For many, it is not on the list of top-tier Florida destinations. Places such as Orlando, Miami/Fort Lauderdale, Key West and Tampa Bay often attract more attention.

But to miss St. Augustine is to deprive yourself of a delightful walk through North American history. Like Boston, Philadelphia, or Montreal, the story of St. Augustine helps explain how the rest of the New World developed and prospered.

The history of this place goes back into the 1500s, but it wasn't until an ambitious tycoon named Henry Flagler arrived here that the city became widely known as a vacation destination. Flagler would build a world-famous resort and coastal railroad all the way to Miami.

Jacksonville International is the largest major airport, but St. Augustine's small commercial airport hosts Frontier flights, and at times the fares are extremely reasonable. For example, budget travelers can find an occasional round-trip fare under $100 for non-stop service between here and Philadelphia on Frontier. ViaAir connects the area with Charlotte.

This story will introduce Flagler's preserved architectural treasures, and a strategy for making St. Augustine money-saving addition to your Florida travel budget.   

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02 of 09

St. Augustine: Ponce de Leon Hotel

(c)Mark Kahler, under an arrangement with About.com

Henry Flagler loved St. Augustine at first sight, but he noted at least one glaring deficiency. No accommodations existed to satisfy the lofty expectations of his upper class colleagues. He developed the Ponce de Leon Hotel, which required a full winter's stay of its guests at rates that, in today's dollars, would exceed $200,000/room.

The place has an incredible history. It played host to notables such as Mark Twain, Theodore Roosevelt, and Babe Ruth. It served as a training facility for the U.S. Coast Guard during World War II, and was the site of historic sit-ins during the Civil Rights era.  

In 1968, it became part of Flagler College. But the school still pays tribute to the historic nature of the place. Two daily tours of the former Ponce de Leon hotel are conducted, one in the morning and another in the afternoon. Adults pay $10.

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03 of 09

St. Augustine: Colonial Quarter

(c)Mark Kahler, under an arrangement with About.com

Spain and England both colonized St. Augustine, and some of the preserved structures are now housed in the Colonial Quarter. Allow at least an hour for the guided tour and for browsing the displays.

You'll see blacksmithing and rifle demonstrations, and a close look at daily life during the period. It's a tour even younger children will enjoy, and as with so many other St. Augustine attractions, the admission costs are affordable. 

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04 of 09

St. Augustine: Castillo de San Marcos

(c)Mark Kahler, under an arrangement with About.com

The Castillo de San Marcos was preceded by forts of wooden construction that did not survive. But this fort, constructed mostly of coquina limestone, never was taken in battle. The consistency of the coquina material enabled bullets and cannon balls to sink in but not fully penetrate. 

According to the National Park Service, the Castillo represents the only “17th century military construction in the country, and it also ranks as the oldest masonry fortress in the United States.”

Again, admission fees are modest: children under the age of 16 are admitted at no cost, and adults pay a National Park fee of $10, which allows return visits for up to seven days. 

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05 of 09

St. Augustine Shuttles

(c)Mark Kahler, under an arrangement with About.com

The historic district of St. Augustine is easily seen by foot. But during the warmer months, transportation and rest take the form of trolley services that run in a loop through the city sights.

The largest is Old Town Trolley, which makes 23 tops that the company links to 100 points of interest. The entire loop takes about an hour to navigate, but most people take advantage of on-and-off privileges. Stop No. 1 is at the Old Jail/Oldest Store complex on San Marco Ave.

Adults pay about $26 for three days of unlimited travel, while children are charged about $10 above the age of six. It's an outlay of money at the beginning of the trip, but consider that if you stay for three days, it works out to less than $9/day per person for transportation. The pass is also good for buses that run to the beaches from stop No. 16 on St. George St.

The trolley itself runs outside of the historic district to show passengers some attractions further afield. It's a great buy, since driving in the city can be difficult and parking can be expensive.

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06 of 09

St. Augustine Beaches

(c)Mark Kahler, under an arrangement with About.com

The Atlantic beaches are several miles removed from the center of the city, so you'll need a car rental or a trolley pass to spend a day in the sand or book a room with an ocean view.

The St. Augustine Lighthouse & Maritime Museum and the St. Augustine Alligator Farm & Zoological Park are within a half-mile of the Bridge of the Lions that connects Anastasia Island and the downtown area.

The lighthouse has a colorful history and you can climb 221 steps to an observation deck for commanding views of the area. Admission to the lighthouse and museum runs $11-$13.

The alligator farm also features a variety of reptile and bird species, and fossil exhibits. Admission costs are on the high side by local standards: $24 for adults, $13 for children ages 3-11.

Anastasia State Park offers a variety of fine recreational activities and the quarry from which the coquina limestone was mined to build the Castillo de San Marcos. It's a great place to hike and enjoy the four miles of undeveloped beachfront within the park. Admission is $8 per vehicle or $2 for pedestrians.

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07 of 09

St. Augustine: Free Attractions

(c)Mark Kahler, under an arrangement with About.com

St. Augustine admission prices are generally moderate, but visiting a number of sites in the same day can strain a budget, especially for families. The area offers a number of free attractions that will quiet your cost concerns.

You can visit working winery and distillery operations at no cost, and free samples are provided to those of drinking age.

Free tours of historic churches such as Flagler Memorial Presbyterian Church, the Mission Nombre de Dios and the St. Augustine Cathedral Basilica are available. The mission church sits on the site where explorers first landed in the 16th century.

A tour of Fort Matanzas is free, as is the ferry ride to get to the site. You will need to register at the visitor center, and remember that tickets are first-come, first-served. The ferry boat's capacity is 35 passengers.

Always remember that one of the most rewarding experiences, a walk on the beach, is free. Public access points abound, so shed your shoes and enjoy a stroll in the surf. 

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08 of 09

St. Augustine Accommodations

(c)Mark Kahler, under an arrangement with About.com

St. Augustine accommodations are grouped in three areas: the western fringe near I-95 that's adjacent to the outlet mall, the downtown historic district, and the beach.

Chain hotels can be found in all three areas, but are most common along U.S. 1, State Road A-1-A and I-95. In the historic district, you'll choose from nice collection of bed & breakfast inns that offer proximity to most of the sights by foot. Keep in mind many of these establishments offer only a few rooms, and they can be booked weeks in advance. 

The same is true of favored vacation homes on the beach. Be sure you reserve early. Airbnb.com lists nearly 200 St. Augustine area homes, rooms or shared rooms for rent.

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09 of 09

St. Augustine Dining

(c)Mark Kahler, under an arrangement with About.com

For a relatively small city, St. Augustine offers many affordable restaurants. Some are within walking distance of the historic district.

One budget favorite is the Spanish Bakery & Cafe at 42 St. George St. in the historic district. Patrons frequently eat under the shade of a large cedar tree on the property. Empenadas, homemade soups, and Cuban sandwiches are favorites, and a filling lunch usually totals less than $10.

Cuban specialties are also available at Columbia and La Herencia Cafe, where prices are a bit higher but the value is superb.

Just north of the historic district, Raintree is nice for a budget splurge. Patio dining and ample indoor seating augment excellent service. Menu entree prices range from $13-$30.

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[kingdomrockkorna]

Happy Belated Birthday Square... On this day way back in 1735, abolitionist Prince Hall was born. Prince Hall (09/14/1735–12/06/1807) was born either in Barbados, somewhere else in the Caribbean, or in Africa. Author and historian James Sidbury said: "It is more likely that he was a native of New England." Historian Charles H. Wesley developed what is now the widely accepted theory about Prince Hall's early years. Based upon his research, by age 11 Prince Hall was a slave to Boston tanner William Hall. By 1770, Prince Hall was a free, literate black man living in Boston. The manumission certificate for Prince Hall, dated one month after the Boston Massacre [April, 1770], stated that "no longer Reckoned a slave, but had always accounted as a free." It is unclear how he learned to read and write. He may have been self-taught or, like other slaves and free blacks in New England, he may have had assistance. Hall and a woman named Delia, a servant outside William Hall's household, had a son named Primus in 1756. Hall joined the Congregational Church in 1762; he was 27 years of age. He then married an enslaved woman named Sarah Ritchie who died. He married Flora Gibbs of Gloucester eight years after Sarah's death. In Boston, Hall worked as a peddler, caterer and leatherworker, owning his own leather shop. In April 1777 he created five leather drumheads for an artillery regiment of Boston. Hall was a homeowner who voted and paid taxes. His son, Primus, was a fellow abolitionist, spent years supporting education of African American children, was a Freemason in his father's lodge and had served in the Revolutionary War. Hall encouraged enslaved and freed blacks to serve the American colonial military. He believed that if blacks were involved in the founding of the new nation, it would aid in the attainment of freedom for all blacks. Hall proposed that the Massachusetts Committee of Safety allow blacks to join the military. He and fellow supporters petition compared Britain’s colonial rule with the enslavement of blacks. Their proposal was declined. England issued a proclamation that guaranteed freedom to blacks who enlisted in the British army. Once the British Army filled its ranks with black troops, the Continental Army reversed its decision and allowed blacks into the military. It is believed, but not certain, that Hall was one of the six "Prince Halls" from Massachusetts to serve during the war. His son, Primus, was a Revolutionary War soldier, having enlisted at the age 19. Having served during the Revolutionary War, many African Americans expected, but did not receive, racial equality when the war ended. With the intention of improving the lives of fellow African Americans, Prince Hall collaborated with others to propose legislation for equal rights. He also hosted community events, such as educational forums and theatre events to improve the lives of black people. Many of the original members of the African Masonic Lodge had served during the Revolutionary War. Prince Hall was interested in the Masonic fraternity because Freemasonry was founded upon ideals of liberty, equality and peace. Prior to the American Revolutionary War, Prince Hall and fourteen other free black men petitioned for admittance to the white Boston St. John’s Lodge. They were turned down. Having been rejected by colonial Freemasonry, Hall and 15 others sought and were initiated into Masonry by members of Lodge No. 441 of the Grand Lodge of Ireland on March 6, 1775. The Lodge was attached to the British forces stationed in Boston. Hall and other freedmen founded African Lodge No. 1 and he was named Grand Master. The black Masons had limited power; they could meet as a lodge, take part in the Masonic procession on St. John’s Day, and bury their dead with Masonic rites but could not confer Masonic degrees or perform any other essential functions of a fully operating Lodge. Unable to create a charter, they applied to the Grand Lodge of England. The grand master of the Mother Grand Lodge of England, H.R.H. The Duke of Cumberland, issued a charter for the African Lodge No. 1 later renamed African Lodge no. 459 September 29, 1784. The lodge was the country's first African Masonic lodge. Due to the African Lodge's popularity and Prince Hall's leadership, the Grand Lodge of England made Hall a Provincial Grand Master on January 27, 1791. His responsibilities included reporting on the condition of lodges in the Boston area. Six years later, on March 22, 1797 Prince Hall organized a lodge in Philadelphia, called African Lodge #459, under Prince Hall’s Charter. They later received their own charter. On June 25, 1797 he organized African Lodge (later known as Hiram Lodge #3) at Providence, Rhode Island. Author and historian James Sidbury said: "Prince Hall and those who joined him to found Boston's African Masonic Lodge built a fundamentally new "African" movement on a preexisting institutional foundation. Within that movement they asserted emotional, mythical, and genealogical links to the continent of Africa and its peoples." After the death of Prince Hall, on December 4, 1807, the brethren organized the African Grand Lodge on June 24, 1808, including the Philadelphia, Providence and Boston lodges. The African Grand Lodge was in 1827 renamed the Prince Hall Grand Lodge, in his honor. Hall was considered the "father of African Freemasonry." Prince Hall said of civic activities: "My brethren, let us pay all due respect to all who God had put in places of honor over us: do justly and be faithful to them hat hire you, and treat them with the respect they may deserve; but worship no man. Worship God, this much is your duty and christians and as masons." After Hall obtained his freedom, he worked within the state political arena to advance rights for blacks, end slavery and protect free blacks from being kidnapped by slave traders. He proposed a back-to-Africa movement, pressed for equal educational opportunities, and operated a school for African Americans in his home. He engaged in public speaking and debate, citing Christian scripture against slavery to a predominantly Christian legislative body. Hall requested that the Massachusetts Congress create a school program for black children. Hall cited the same platform for fighting the American Revolution of “Taxation without Representation." Although Hall’s arguments were logical, his two attempts at passing legislation through the Massachusetts Senate both resulted in failure. Denied equal funding, Hall started a school program for free black children out of his own home that emphasized classical education and Liberal Arts. Primus, his son, established a school in his home for the education of African American children and sought funding from the community, including African American sailors. Elisha Sylvester was a teacher there. After Elisha, two Harvard University students taught the school. Unsuccessful in attempts to establish a public school with the city of Boston in 1800, the school was moved to the African Meeting House, the church built by Thomas Paul, an African American minister. Primus Hall continued fund-raising to support the African American school until 1835. He was known for giving speeches and writing petitions. In a speech given to the Boston African Masonic Lodge, Hall stated, “My brethren, let us not be cast down under these and many other abuses we at present labour under: for the darkest is before the break of day… Let us remember what a dark day it was with our African brethren, six years ago, in the French West Indies. Nothing but the snap of the whip was heard, from morning to evening”. His notable written works include the 1792 Charge and 1797 Charge. Hall’s 1792 Charge focused on the abolition of slavery in his home state of Massachusetts. He addressed the importance of black leaders playing prominent roles in the shaping of the country and creation of unity. In his 1797 Charge, Hall wrote about the treatment and hostility that blacks received in the United States. He recognized black revolutionaries in the Haitian Revolution. Hall also wrote a petition in 1787. In a speech he presented in June, 1797, Hall said: "Patience, I say; for were we not possessed of a great measure of it, we could not bear up under the daily insults we meet with in the streets of Boston, much more on public days of recreation. How, at such times, are we shamefully abused, and that to such a degree, that we may truly be said to carry our lives in our hands, and the arrows of death are flying about our heads....tis not for want of courage in you, for they know that they dare not face you man for man, but in a mob, which we despise." Prince Hall was involved in the Back-to-Africa movement and approached the legislature to request funds for voluntary emigration to Africa. In January 1773, Prince Hall and seventy three other African-American delegates presented an emigration plea to the Massachusetts Senate. This plea contended that the African Americans would be better suited to the warm climate of Africa and would better endure the African lifestyle. This failed. Hall fought hard for the movement when a group of freed black men were captured and detained while making their way to Africa. Due to a lack of support and enthusiasm for the movement, Hall decided to turn his efforts towards equality in education. Prince Hall died on December 4, 1807, and is buried in the Historic Copp's Hill Burying Ground in Boston along with other notable Bostonians from the colonial era. Also, thousands of African Americans who lived in the "New Guinea" community at the base of Copp's Hill are buried alongside Snowhill Street in unmarked graves. A tribute monument was erected in Copp's Hill on June 24, 1835 in his name next to his grave marker. Happy birthday once again and continue to rest in peace, Prince Hall!

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