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FREDERICK WITTENMEIER and the CO2 REFRIGERATING MACHINE
FREDERICK WITTENMEIER and the CO 2 REFRIGERATING MACHINE by Brian Roberts, CIBSE Heritage Group Frederick Wittenmeier, 1863 - 1928 Frederick Wittenmeier was born in Zweibrucken in Germany on the 30th May, 1863. He obtained a thorough training in me chanical engineering in Germany where he worked in the steam - fitting business. He migrated to the USA in 1881, moving to Chicago in 1885. Wittenmeier became an important pioneer in the development of the carbon dioxide refrigerating machine and in the earl y introduction of air conditioning in movie theatres. THE EARLY HISTORY OF CARBON DIOXIDE REFRIGERATION The idea of carbon dioxide (also known as carbonic acid gas and carbonic anhydride) refrigeration systems can be traced back to the American civil en gineer and professor Alexander Catlin Twining (who advanced the earlier work of Evans, Perkins and Hague) by building a vapour - compression ice - making plant in 1853, based on his US Patent 10,221 of 1853. The claim in his earlier British Patent, BP 13,167: 1850, that he invented the vapour - compression process itself proved to be insupportable. The American Civil War prevented Twining’s efforts to make ice in the South. During the 1850s, James Harrison, a Scotsman working in Australia, also obtained a number of British Patents for his machines, though he first used ether as a refrigerant. Another early pioneer was Carl von Linde who experimented with carbon dioxide when in 1882 he designed a machine for Krupps in Essen, Germany. (Linde preferred and develop ed ammonia machines). Raydt received BP 15475:1884 for a compression ice - making system using carbon dioxide. -
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. -
The Quarterly Journal of Preservation Chicago
EYE AND EAR INFIRMARY DEMOLISHED PAGE 9 the VOICE THE QUARTERLY JOURNAL OF PRESERVATION CHICAGO ISSUE No 6 Fall 2008 Grant Park (Daley Bicentennial Plaza) Site of Proposed Chicago Children’s Museum THE GREAT CHICAGO LAND GRAB VOICEthe PRESERVATION CHICAGO MESSAGE FROM THE PRESIDENT Board of Directors FALL, 2008 Bill Neuendorf President Jack Spicer Vice President New Leadership Team to Guide Preservation Chicago Pam Jameson Treasurer Debbie Dodge Secretary It seems only yesterday that a small but determined group of Chicago residents united Greg Brewer Exec. Comm. to protest the demolition of one of Chicago’s unique Victorian turret buildings. That Bart Lewin Exec. Comm. Gold Coast building was intended to be razed to make way for another chain drug Todd Martin Exec. Comm. store. The building was eventually saved and incorporated into the design of the Jeremi Bryant Board new store. From these humble roots in 2001, Preservation Chicago has grown into a Bob Clarke Board vibrant community-based organization that is a respected voice on matters of historic Sandy Gartler Board preservation and neighborhood development. Vana Kikos Board Mike Moran Board During the past years, the advocacy efforts of the volunteer-based organization Nina Newhouser Board Craig Norris Board have increased significantly. Recently, the Board of Directors took steps to better Scott Rappe Board advocate on behalf of our members by hiring Jonathan Fine as part-time Executive Andy Schcolnick Board Director and Stacey Pfingsten as part-time Communications Manager. Jonathan, a Laura Stigler-Marier Board founding member and the organization’s former president, continues to lead the day- to-day operations of Preservation Chicago and serves as the primary media contact and spokesman. -
A Petition to Save the Historic Uptown Theatre
A Petition to Save the Historic Uptown Theatre Photo ©2000 Friends of the Uptown Sponsored by Compass Rose Cultural Crossroads, Inc PO Box 409095 Chicago, IL 60640-9095 773-913-8047 E-Mail [email protected] SAVE THE HISTORIC UPTOWN THEATRE! We the undersigned wish to make known our concerns for the future of the historic Uptown Theatre at 4816 N. Broadway in Chicago. We believe that: x The Uptown Theatre is a unique architectural and historic treasure that is worthy of preservation. Nationwide, few movie palaces and historic theatres of the Uptown’s scale and grandeur have survived in their entirety as large auditorium venues. Most have been completely gutted in short-sighted commercial ventures, leaving only the facade. The Uptown Theatre is considered one of the last, best theatres not yet renovated, and has been declared a historic landmark both inside and out. Along with the Aragon Ballroom, the Riviera Theatre, the world famous Green Mill jazz club, and the many elaborate terra-cotta buildings that line Lawrence and Broadway Avenues, the Uptown Theatre forms the core of a recognized “historic district” and for that reason alone MUST be restored. x The restoration of the Uptown Theatre is in fact the key to the revitalization of the entire Uptown neighborhood, one of the most culturally vibrant areas in Chicago. Uptown is favored by its enviable location near Lake Michigan; its diverse residents; its proximity to the well-established neighborhoods of Andersonville, Edgewater, and Wrigleyville; its excellent public transportation (only twenty minutes from the downtown by train); and its abundance of attractive housing to make it the next region of Chicago to experience regrowth and development. -
Air Conditioning American Movie Theatres 1917-1932
Air Conditioning American Movie Theatres 1917 - 1932 Movie Theatre Chains and Studios The Big Five and Others In the earliest years of the motion picture industry the functions of production, distribution and exhibition were controlled separately. But the film makers realised that profits could be improved if they took control of all these functions. So in the decade 1920 to 1930, between the end of the Great War and the start of the Depression, the Studio System evolved. Film historians record that eight studios located in Hollywood, California, five of which were major organisations, came to dominate the industry, making not only the films but building or becoming owners of the theatres that showed their films. And of course they controlled the dist ribution by showing their most important films in their theatres. Between 1930 and 1948, the eight majors controlled 95% of films exhibited in the USA. The big five studios were Warner Bros Pictures, Paramount, RKO (Radio - Keith - Orpheum) Pictures, Loew’s I ncorporated (which became Metro - Goldwyn - Mayer ) and Fox Film Corporation. The three smaller, but important, minor studios were Universal Pictures, United Artists and Columbia Pictures . Movie Theatres became decorative palaces, designed by leading architec ts who became experts in ways to impress the viewing audience. The big - five went on to control about 50% of the seating capacity in the USA in mostly first - run houses in major cities. At their peak in the 1930s Paramount (Paramount - Publix) had over 1000 theatres; Warner and Fox each had some 700, Loew ’ s (MGM) had somewhere between 150 and 200, while RKO also had about 200 (In 1936 RKO became the operator of the world’s largest movie theatre - the 5940 seat Radio City Music Hall in New York which had opened in 1932 , though one source claims the Roxy in New York had more seats).