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Sgr5a [DOWNLOAD] Rapp and Rapp Architects Online [Sgr5a.ebook] Rapp and Rapp Architects Pdf Free Mr. Charles Ward Rapp *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #1508253 in Books 2014-07-12Original language:English 11.00 x .43 x 8.50l, #File Name: 1497415926182 pages | File size: 36.Mb Mr. Charles Ward Rapp : Rapp and Rapp Architects before purchasing it in order to gage whether or not it would be worth my time, and all praised Rapp and Rapp Architects: 0 of 0 people found the following review helpful. Five StarsBy Willis G. JohnsonGreat book2 of 3 people found the following review helpful. you will like this bookBy Misty's momI bought this as a gift for my son who had it on his wish list. He loves it. If you are interested in old theaters and how they were built, you will like this book. It is about two well known architects who designed some famous theaters. Interesting.1 of 2 people found the following review helpful. Rapp and Rapp architects - the ultimate story on an American architecture and how to run the business, a social historyBy ChicagoArchitectThe Rapp Rapp architecture firm lead by example in its design and firm management. C. Ward Rapp captures the social and architectural relevance of the firm and the talented family of architects (Rapps and Brush) who influenced the architectural design of theaters throughout the country as well as the celebration of local culture into now iconic Colorado and New Mexico architectural adobe expressions. The story of the Rapp family architects covers more than 100 years, from an expanding American frontier through the Modernist mid-twentieth century. Family patriarch Isaac Rapp’s buildings contributed to the fast-growing development of Carbondale, Illinois, while four of his sons opened two separate firms, each renowned in its own way. The Chicago firm C. W. Geo. L. Rapp is best remembered for elegant movie palace designs during the 1920s while the work of their brothers I. H. W. M. Rapp of Trinidad, Colorado, brought civilizing structure to the Southwest. Their Santa Fe Style pueblo revival architecture is still influential. W. M. Rapp’s son Mason G. Rapp carried the Chicago firm through the lean years of the Great Depression and World War II and into the prosperous 1950s, adjusting their styles to the times. Through it all Rapp Rapp never left the theatre work that defined the early firm, culminating in the early 1960s with Detroit’s influential New Fisher Theatre. [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp PDF [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp Epub [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp Ebook [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp Rar [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp Zip [Sgr5a.ebook] Rapp and Rapp Architects By Mr. Charles Ward Rapp Read Online.

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National Register Forms Template
NPS Form 10-900-b OMB No. 1024-0018 (March 1992) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting multiple property groups relating to one or several historic contexts. See instructions in How to Complete the Multiple Property Documentation Form (National Register Bulletin 16B). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items. X New Submission Amended Submission A. Name of Multiple Property Listing Historic Movie Theaters of Iowa B. Associated Historic Contexts Historical Development of Iowa Movie Theaters 1880-1975 C. Form Prepared by name/title Sally Fullerton Schwenk company Sally Schwenk Associates, Inc. street & number 3800 Baltimore Avenue, 3 South telephone 816-221-2672 city or town Kansas City state MO zip code 64111 D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 36 CFR Part 60 and the Secretary of the Interior's Standards and Guidelines for Archeology and Historic Preservation. [ ] See continuation sheet for additional comments.) Signature and title of certifying official Date State or Federal agency and bureau I hereby certify that this multiple property documentation form has been approved by the National Register as a basis for evaluating related properties for listing in the National Register.
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The Architecture of the Illusive Distance Amir H
The Architecture of the Illusive Distance Amir H. Ameri Sounding Space From early to mid 1930s, movie-theater design in the United States underwent a profound transformation. By the end of the decade, new movie-theaters bore little resemblance to the movie-theaters of the preceding decade (Figure 1 & Figure 2). The call for change had come at least as early as 1927 from, among others, Seymour Stern, the noted film critic. However, it was not until the early 1930s that the movie palaces of the preceding decade were supplanted by a new movie-theater design, of which Benjamin Schlanger’s Thalia Theater of 1932 was a pioneering example. The call for change in movie-theater design and its eventual realization coincide all too conspicuously with the introduction and eventual widespread adoption of sound in movies. Although introduced to a wider audience in 1927, it was not until the early 1930s that the initial technological challenges were overcome, the novelty dissipated and the “talkies” became merely movies.1 The initial Vitaphone or sound-on-disk technology proved notoriously unreliable for keeping image and sound in sync.2 It was not until the early 1930s, when it was abandoned in favor of sound-on-film technology that the synchronization problems that besieged early “talkies” were finally overcome.3 It took equally long to realistically reproduce the human voice. It is approximately at this latter date that a new movie-the- ater design comes into vogue. In the meantime, Alexander Bakshy’s complaint about being “treated to hollow and squawking and lisping voices, and even to imperfect synchronization” remained commonplace.4 Significant as the introduction of sound was and closely as it was followed by calls for change in movie-theater design, besides their temporal coincidence, movie- theater historians have found no apparent connection between the widespread adop- tion of sound and the advent of a new movie-theater design.
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Evolution of American Movie Theaters. the Files Include More Than 24,000 Images and Some 315 Linear Feet of Paper Materials
evolution of American movie theaters. The files include more than 24,000 images and some 315 linear feet of paper materials. The images and papers ill ustrate how movie screenings first became an established part of programs offered in vaudeville theaters and opera houses, and th en how storefront spaces in existing buildings were adapted for the specific purpose of exhibiting fi lms and became "nickelodeons." Mter that came custom-built theaters, open-air theaters, and ornate movie "palaces," built mainly in larger cities in the 1910s and '20s. The B'hend and Kaufmann Collection includes photos and background information for many "palaces," and shows how that aesthetic fi ltered down to neighborhood houses in communities of all sizes. Left: This spectacular, neoclassical neighborhood theater in Chicago, designed by J.E.O. Pridmore, opened in 1927. The Sheridan later became a synagogue, then ran Spanish-language films, before being demolished in 1994. Right: Grauman's Chinese Theatre, which opened in 1927 in Hollywood, is likely the world's best-known movie theater. Previously, exhibitor Sid Grauman had contributed the Million Dollar, Egyptian and Metropolitan (later the Paramount, Downtown) to the Los Angeles theater scene. The photos depict every aspect of a theater: exteriors, marquees, box offices, lobbies, decor, auditoria, projection booths, concession stands, even personnel. The photographic collection also captures important technological developments: the coming of sound, CinemaScope, 3D, Cinerama and other landmarks. The paper h oldings include box office records, legal documents such as leases and insurance reports, inventories, newspaper and magazine clippings, programs (many original), and booklets on restoration projects.
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National Register of Historic Places Registration Form
NFS Form 10-900 OMBNo. 10024-0018 (January 1992) Wisconsin Word Processing Format (Approved 1/92) United States Department of Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NFS Form 10-900A). Use a typewriter, word processor, or computer, to complete all items. |l. Name of Property historic name Orpheum Theater other names/site number 2. Location street & number 216 State Street N/A not for publication city or town Madison N/A vicinity state Wisconsin code WI countv Dane code 025 zip code 53703 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this X nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets _ does not meet the National Register criteria. I recommend that this property be considered significant.
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Paralyzed in the Dark
ctÜtÄçéxw |Ç à{x WtÜ~ A TRIBUTE TO THE MOVIE PALACE by Nick Zegarac "No palace of Prince or Princess, no mansion of millionaire could offer the same pleasure, delight, and relaxation to those who seek surcease from the work-a-day world, than this, where delicate dreams of youth are spun...Here in this Fox dream castle, dedicated to the entertainment of all California, is the Utopian Symphony of the Beautiful, attuned to the Cultural and Practical...No King...No Queen...had ever such luxury, such varied array of singing, dancing, talking magic, such complete fulfillment of joy. The power of this we give to you...for your entertainment. You are the monarch while the play is on!" - June 1929 newspaper advertisement for San Francisco’s ‘fabulous Fox Theater In 1960, fading movie queen Gloria Swanson posed majestically against the half-gutted backdrop of the soon to be demolished Roxy Theater in New York City. It was a fitting tribute to the old time movie palace once christened ‘the Cathedral of the Motion Picture’ by its founder Samuel L. Rothapfel. A Swanson movie had opened the Roxy to great pomp and fanfare some thirty years before. 1 But by 1960, Hollywood was already in a bad way – financially speaking - and the movie palace itself in even worse condition to weather the changing tide in audience tastes and dwindling theatrical attendance from the onslaught of television. A decade earlier the U.S. government had forced a split between theater chains and movie studios; seen as an antitrust move that would generate more free market enterprise for the independent distributor.
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The Theater Designs of C. Howard Crane
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1992 The Theater Designs of C. Howard Crane Lisa Maria DiChiera University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons DiChiera, Lisa Maria, "The Theater Designs of C. Howard Crane" (1992). Theses (Historic Preservation). 265. https://repository.upenn.edu/hp_theses/265 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: DiChiera, Lisa Maria (1992). The Theater Designs of C. Howard Crane. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/265 For more information, please contact [email protected]. The Theater Designs of C. Howard Crane Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: DiChiera, Lisa Maria (1992). The Theater Designs of C. Howard Crane. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/265 UNIVERSITY^ PENNSYLVANIA. UBRARIES THE THEATER DESIGNS OF C. HOWARD CRANE Lisa Maria DiChiera A THESIS in The Graduate Program in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE 1992 *Vid G. Dte-Lemg, Professor of ^rcnjie^tur Graduate Group Chairman and Advisor Andrew Craig Morrisorf; Architect, Reader FINE ARTS foil OF PENNSYLVANIA LIBRARII Contents List of Illustrations in Introduction 1 Chapter One: Setting the Stage: 3 A History of the Early Movie Industry Chapter Two: The Practice of C.
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The Gateway Theater Logan Square
Newsletter – January 2017 Number XXV A Gorgeous Garden of Dreams: The Gateway Theater Logan Square This past year, the Northwest Chicago Historical Society was proud that Jefferson Park and Portage Park were chosen to showcase venues in Open House Chicago, an annual architectural festi- val organized by the Chicago Architecture Foundation. Multiple establishments on the Northwest side opened their door for the very first time to host curious guests from all over the country. The venues included the Copernicus Center, Carl Schurz High School, the Jefferson Masonic Temple, the Rivoli Theater, Our Lady of Victory, Portage Arts Lofts, and the Portage Theater. Over 100,000 people partici- pated this year, making it one of the largest events of its kind in the world. We hope that we are able to continue to bring more people into the area to visit our historical and cultural heritage. In our most recent newsletter issues, members were most excited about the movie theater pic- tures, so this issue continues on that theme. This time, we feature the Kobelinski Theater, a theater inside the Copernicus Center that has been redeveloped into a cultural venue and multi-event complex. At one time, this was called the Gateway Theater, and it was the largest movie palaces on the Northwest Side. Since the Copernicus Center purchased the Gateway, they transformed the lobby and outside mar- quee to be more reflective of its current usage. However, the community is fortunate that they saved the theater from the wrecking ball and have beautifully preserved the historic, decorative interior. While the venue now is mostly used for live performances, the center also hosts many multi-cultural and neighbor- hood events.
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Historic Theaters and Their Impact on Air Conditioning Today
This article was published in ASHRAE Journal, December 2019. Copyright 2019 ASHRAE. Posted at www.ashrae.org. This article may not be copied and/or distributed electronically or in paper form without permission of ASHRAE. For more information about ASHRAE Journal, visit www.ashrae.org. The Golden Age of Cooling Historic Theaters and Their Impact on Air Conditioning Today BY ROGER CHANG, P.E., MEMBER ASHRAE The performing arts have been an integral part of the history and culture of society. Access to performance evolved significantly starting in the late 19th century, inextri- cably tied to developments in the conditioning of performance spaces. Overheated theaters had been a concern for centuries, with the cheapest seats often up higher and exposed to even higher temperatures. A theater presented significant challenges for comfort and wellness, given they were often windowless, ornate, and most of all, packed with both performers and audience members. In an era before electric light- ing, gas jets were used, often pushing temperatures past 100°F (38°C).¹ First Innovations distributed through a network of smaller “pipes” emerg- Most theaters in New York City had no choice but to ing throughout the auditorium. This system was noted halve performances during the summer. One of the by Mr. MacKaye as being able to keep butter solid. first noted evolutions occurred at the Madison Square This system received a significant amount of coverage Theater (Figure 1), newly renovated in 1880, and fea- from the press but did not drive market transforma- turing a 650-seat house. The theater incorporated a tion.
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Summer Youth Adventure SEE PAGE 50
J OURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY SEPTEMBER | OCTOBER 2016 www.atos.org ATOS SepOct 58-5 E.indd 1 8/19/16 3:00 PM Summer Youth Adventure SEE PAGE 50 ATOS SepOct 58-5 E.indd 2 8/19/16 3:00 PM THEATRE ORGAN SEPTEMBER | OCTOBER 2016 Volume 58 | Number 5 FEATURES 2016 Convention George Wright Memorial SEE PAGE 21 12 Fellowship Recipients ATOS 13 Awards 2016 Annual Convention 21 Review 10th Anniversary 50 Summer Youth Adventure Young Theatre 58 Organist Competition DEPARTMENTS 3 Vox Humana 6 President’s Message 8 Director’s Corner 10 News & Notes 11 Letters 11 Mystery Photo 18 For the Records 60 Chapter News 66 Around the Circuit 70 Meeting Minutes The Senate Theatre Marquee (Photo by Rob Thomas) THEATRE ORGAN (ISSN 0040-5531) is published bimonthly by the American Theatre Organ On the cover: Society, Inc., 7800 Laguna Vega Drive, Elk Grove, California 95758. Periodicals Postage Paid Cleveland: Tower City Center and the at Elk Grove, California and at additional mailing offices. Annual subscription of $33.00 paid Renaissance Hotel (Photo by Jonathan from members’ dues. POSTMASTER: Send address changes to THEATRE ORGAN, c/o ATOS Kleefield) Membership Office, P.O. Box 6491, Aloha, Oregon 97007-0491, [email protected]. www.atos.org SEPTEMBER | OCTOBER 2016 1 ATOS SepOct 58-5 E.indd 1 8/23/16 2:28 PM Journal of the American Theatre Organ Society Library of Congress Catalog Number ML 1T 334 (ISSN 0040-5531) Printed in U.S.A. SEPTEMBER | OCTOBER 2016 Volume 58 | Number 5 THEATRE ORGAN JOURNAL PRESIDENT & CHIEF EXECUTIVE Ken Double ([email protected]) THEATRE ORGAN (title registered U.S.
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National Register of Historic Places Registration Form INTERAGENCY RESOURCES DIVISION
NPS Form 10-900 24-0018 (Oct. 1990) United States Department of the Interior National Park Service 2BS5 National Register of Historic Places Registration Form INTERAGENCY RESOURCES DIVISION This form is for use in nominating or requesting determinations for individual properties ar d djstricts.~SeeTris!ructi6n5"fl 7?5WTb"C&mpfete tt.. National Register of Historic Places Registration Form (National Register Bulletin 16A). Cornpiefe'eacfi i^^ box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name FIRST CHRISTIAN CHURCH Other names/site number FIRST CHRISTIAN COMMUNITY CHURCH; 5LA6551 2. Location street & number 200 SOUTH WALNUT STREET not for publication TRINIDAD N|£& vicinity state COLORADO CQ county LAS MIMAS code ° 71 zip coda 81082 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this QQ nomination D request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets O does not meet the National Register criteria. I recommend that this property be considered significant statewide (3 locally. (D See continuation sheet for additional comments.) rtifying official/Title Date Preservation Officer State WFeoeral agency and bureau In my opinion, the property O meets d does not meet the National Register criteria.
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Architectural Fest Coming to Northwest Side
Alderman seeks to remove Alderman supports proposal for homes on vacant parcel limits on rush hour parking by BRIAN NADIG Brugh. feasibility of allowing driveways on Alderman John Arena (45th) is “It looks like it is actually legal to Gregory for garages in front of the by BRIAN NADIG Bryn Mawr consists of two lanes that would create an industrial supporting a plan to build two park on Gregory on the expressway homes. Plans call for the homes to A proposal to lift the rush-hour of traffic in each direction during permit-parking zone on Austin homes on a vacant parcel at 6223- side, although I’ve never seen any- have two-car garages that would be parking restrictions on Bryn the morning and evening rush Avenue between Northwest High- 27 W. Gregory St. The street forms one park there,” Brugh said. “If accessible from the alley. Mawr Avenue between Milwaukee hour due to a parking ban that is way and the Union Pacific a frontage road south of the Ken- parking were to become an issue, “We talked to CDOT about front- Avenue and Northwest Highway in effect from 7 to 9 a.m. and from Railroad right-of-way, where the nedy Expressway. we could look at shifting that park- loading garages, but Gregory takes is intended to improve pedestrian 4 to 6 p.m. The proposed ordi- Gladstone Park Metra station is Several residents said at a May 5 ing to the house side of the street.” a turn there, and CDOT was con- and traffic safety near Hitch nance would eliminate those located.
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4816 North Broadway Chicago, Illinois Prelim
4816 NORTH BROADWAY CHICAGO, ILLINOIS PRELIM.tNARY STAFF' SUMMARY OF INFORMATION SUBMIT'rED TO THE COMMlSSION ON CHICAGO LANDMARKS FEBRUARY, 1989 UPTOWN THEATRE 4816 North Broadway Architects: Rapp and Rapp Dates of construction: 1924-25 In 1925, only five years after they opened the 2500-seat Riviera Theatre just one block to the south, Balaban and Katz expressed their faith in the promise of the Uptown entertainment district by opening a second theatre of 4381 seats. The movie exhibition firm was growing rapidly, acqu~r~ng existing theatres and building their own. The brothers C. W. and George L. Rapp began designing movie theatres for Balaban and Katz in 1916 and continued through the 1920s, during the years of the movie palace boom, to create the company's new venues. The Uptown neighborhood was becoming a second "downtown," with these and other theatres, and places to dine, drink, and dance. The community had its origins in several lakeside hotels, and hotels would continue to attract transients and residents to the community. Well served by several train lines, the area became a popular destination for Chica goans and for soldiers and sailors stationed north of the city. The Uptown Theatre offered these potential patrons a few hours in what its operators called "quaint, rich, grand Old Spain," combined with the "smartest and sharpest developments in American ingenuity" to provide an aesthetic experience in climate-controlled comfort. On opening day, the marquee of the Uptown Theatre announced "one of the great art buildings of the world - an acre of seats in a magic city." The Uptown was the largest theatre in the Balaban and Katz chain when it opened, and neither Balaban and Katz nor Rapp and Rapp ever built anything bigger.
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