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Furniture Store State College

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    state college
  • A state university system in the United States is a group of public universities supported by an individual U.S. state or a similar entity such as the District of Columbia. These systems constitute the majority of public-funded universities in the country.
  • State College is the largest borough in Centre County in the U.S. state of Pennsylvania. It is the principal city of the State College, Pennsylvania Metropolitan Statistical Area which encompasses all of Centre county.
  • A borough in central Pennsylvania, in the Nittany Valley, home to Pennsylvania State University; pop. 38,923
  • State University and College Systems in the Philippines, or also known by its acronym SUC refers to any public institutions of higher learning that were created it by an act passed by the Philippine Congress, and is fully subsidized by the national government.
  • Small accessories or fittings for a particular use or piece of equipment
  • Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
  • A person's habitual attitude, outlook, and way of thinking
  • furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
  • Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
  • Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
  • a supply of something available for future use; "he brought back a large store of Cuban cigars"
  • A retail establishment selling items to the public
  • shop: a mercantile establishment for the retail sale of goods or services; "he bought it at a shop on Cape Cod"
  • Store-bought
  • A quantity or supply of something kept for use as needed
  • keep or lay aside for future use; "store grain for the winter"; "The bear stores fat for the period of hibernation when he doesn't eat"
furniture store state college - NCAA Ohio
NCAA Ohio State University Buckeyes - 5pc Jersey Drapes Curtains and Valance Set
NCAA Ohio State University Buckeyes - 5pc Jersey Drapes Curtains and Valance Set
Pattern: Ohio State Buckeyes. Valance has screen-printed logo as pictured. Curtains do not have logo on them. Rod pocket drapes suitable for drapery rods up to a 1.5 inch diameter. Two rod pocket curtain panels totally measuring 82 inches wide (horizontal) x 63 inches long (vertical) or 208 x 160 cm. Includes two matching tie-backs. One valance with screen-printed logo 88 inches wide (horizontal) x 14 inches long (vertical) or 224 X 36 cm. This sale is only for the curtains & valance set described. Other items pictured are for illustration only.

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The Bank of the Metropolis
The Bank of the Metropolis
Manhattan, New York City, New York, United States A limestone-faced bank and office tower, the Bank of the Metropolis, a columnar tripartite skyscraper, is a representative example of the major New York architect Bruce Price/s neo-Renaissance commercial architecture. The design incorporates classical elements which were traditionally associated with American bank architecture. Notable features include the bowed two-story portico with monumental polished granite columns, lions' heads, consoles, foliated spandrels and spandrels with open-mouthed lions. Built in 1902-1903, the bank occupies a commanding corner location on Union Square West and demonstrates the architect's ability to adapt a building to both the requirements of function and the dictates of site. Created to serve the needs of businesses on the square, the bank had members of the local business community on its board of directors. The Development of Union Square The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road (now Broadway), and the Bowery intersected at 16th Street. The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.2 Initially Union Place extended from 10th to 17th Streets,; on land owned by the Manhattan Bank: It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties. In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary. As the city expanded northward and land use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and -festivities, and ... to serve as ventilators to a densely populated city." Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized. Graded, paved, and fenced, Union Place was finally opened to the public in July 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations. By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown. The Bank of the Metropolis stands on Union Square West, which was the most lucrative and popular side of the square since it was the continuation of Broadway, on a site previously occupied by a building that housed Brentanos,. a retail bookseller. The Bank of the Metropolis Founded in 1871, the Bank of the Metropolis was always located on Union Square, serving the needs of the nearby businesses. Originally located at 31 Union Square, the Bank was "a flourishing outgrowth of the movement of business to the uptown section of New York." Having moved in 1877 to 17 Union Square, the bank relocated once again in 1888 to larger quarters at 29 Union Square. Perhaps because the bank's "business ... is derived from their requirements, and ... is conducted in a manner to attract the custom and support of the dry-goods, furniture, jewelry, and other classes of merchants whose places of business are in, the vicinity," the board of directors included representatives of businesses located on and near the Square. For example in 1902, the- Board included the decorator, glass-maker and philanthropist Louis C. Tiffany, jeweller Charles T. Cook, publisher Charles Scribner, and George McNeir, a lawyer and "manufacturer." "An institution of ... solidity and enterprise, and with ... widely and favorably known officers and directors ... [and] of great benefit to business in the up-town district," the bank continued in business until February 1918 when it was absorbed (to be operated as a branch under the same executive officers) by the Bank of the Manhattan Company, which in turn merged with Chase National Bank to form Chase Manhattan Bank in January 1955. Bruce Price (1845-1903) Bruce Price, a native of Maryland, briefly attended the College of New Jersey (now Princeton). Price then studied architecture in the offices of the leading Baltimore firm of Neirnsee & Neilson, where he subsequently became a draftsman (1864-68). After a trip abroad, Price returned to Baltimore to open his own off
105 Riverside Drive House
105 Riverside Drive House
Upper West Side, Manhattan, New York City, New York, United States The 105 Riverside Drive House, originally designed by well-known architect and developer Clarence F. True, was built on speculation in 1898- 99 as one house of a picturesque group of six houses on the southeast corner of Riverside Drive and West 83rd Street. Today the 105 Riverside Drive House is architecturally significant and as one of the five extant houses in this group represents the first period of development on Riverside Drive. True designed several hundred houses, primarily in groups, on the Upper West Side in the years between 1890 and 1901, and was largely responsible for promoting the development and establishing the character of lower Riverside Drive. The houses in the group at Riverside and West 83rd Street were designed in True's signature "Elizabethan Revival" style based on French and English Renaissance prototypes and built by True's development firm, the Riverside Building Company; they are the northernmost of True's designs built along the Drive. This L-shaped house was originally designed with a projecting three-sided bay and a low stoop, but these features (along with those of the adjacent houses) became the focus of an interesting legal controversy several years after construction. As the result of a lawsuit brought by an adjacent property owner, the court ruled in 1903 that no one had the authority to place permanent encroachments onto public thoroughfares, and the owners of the houses in the True group facing onto Riverside Drive were thus ordered to remove the projections. In 1911 the main facades were removed and rebuilt to follow the diagonal of the Riverside Drive property lines. No. 105 (owned by Goddard and Josephine DuBois, collectors of art and Egyptiana) received a partial new design by the firm of Bosworth & Holden. The True design is characterized by such surviving picturesque elements as contrasting light orange Roman ironspot brick and limestone facing, the steeply pitched tile roof with prominent front and side dormers, and the elaborate stepped end-wall gable and oriel on the southern elevation facing a side courtyard. The Bosworth & Holden design for the Riverside Drive facade is executed in matching materials and features a large arched opening on the second story with a delicate wrought- iron balcony and horizontal window groups on the third and fourth stories surmounted by a bracketed cornice. As seen today the 105 Riverside Drive House is a fine and compatibly integrated architectural design that reflects the work of two architectural firms. The Development of Riverside Drive < The Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomingdale and provided the northern route out of the city which was then concentrated at the southern tip of Manhattan. The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots. Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side, particularly the completion in 1879 of the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890). The biggest boost to the development of the West End (the area west of Broadway), however, was the creation of Riverside Drive and Park (a designated New York City Scenic Landmark). The presence of the Park and Drive was an important factor in making this area desirable for high-quality residential development. In 1865 the first proposal for converting the land on the Upper West Side along the eastern shore of the Hudson River into an ornamental park had been presented by Park Commissioner William R. Martin. The purchase of the park site and initial plans were approved in 1866. The drive, as proposed at this time, was to be a straight 100-foot wide road; however, this plan was impractical due to the existing topography. Hired by the Commissioners in 1873, Frederick Law Olmsted (1822-1903), already distinguished by his collaboration with Calvert Vaux (1824-1895) in the successful design for Central Park, proposed an alternate scheme. Olmsted's design for Riverside Park and Drive took into consideration the pre-existing topography, landscape possibilities, and views, resulting in a park and drive that would be amenable for horses and pleasure driving, would provide shaded walks for pedestrians, and would also allow easy access to and scenic vistas from the real estate bordering it on the east. Olmsted's plan was adopted by the Commissioners but

furniture store state college