SOARING EAGLE INVESTMENTS - SOARING EAGLE

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Soaring Eagle Investments


soaring eagle investments
    investments
  • (invest) endow: give qualities or abilities to
  • A thing that is worth buying because it may be profitable or useful in the future
  • An act of devoting time, effort, or energy to a particular undertaking with the expectation of a worthwhile result
  • The action or process of investing money for profit or material result
  • (invest) furnish with power or authority; of kings or emperors
  • (invest) make an investment; "Put money into bonds"
    soaring
  • ascending to a level markedly higher than the usual; "soaring prices"
  • Maintain height in the air without flapping wings or using engine power
  • eminent: of imposing height; especially standing out above others; "an eminent peak"; "lofty mountains"; "the soaring spires of the cathedral"; "towering icebergs"
  • Fly or rise high in the air
  • Increase rapidly above the usual level
  • glide: the activity of flying a glider
    eagle
  • Play (a hole) in two strokes under par
  • (golf) a score of two strokes under par on a hole
  • shoot two strokes under par; "She eagled the hole"
  • any of various large keen-sighted diurnal birds of prey noted for their broad wings and strong soaring flight
soaring eagle investments - The Sun
The Sun Ship Game
The Sun Ship Game
*Winner - Big Sky Film Festival - Programmer's Choice Award* Flying hundreds of miles a day through wild weather with no engine requires feats of airmanship unprecedented in human history and known before only to the birds. Soaring birds are able to accomplish these feats through instincts developed over millions of years. A new strain of human being is able to make these flights through strenuous mental effort, calculation and sensational feel for the air. George Moffat and Gleb Derujinsky are great pilots and good friends who compete in the sport of Soaring for speed and distance in aircraft without engines - sleek competition gliders. Both would like to win the U.S. Soaring Championship. Derujinsky relies most on feel and creative impulse to sense his way through invisible air currents. Moffat does the same but relies more on a hand calculator he constantly works in his cockpit. This film 'The Sun Ship Game', voyages with both pilots into the sky at a regional contest in Vermont and into wild weather with eighty three other competitors in Marfa, Texas. Through eight days of hard flying in skies alternately filled with brilliant beauty and black violence, their two approaches arrive at a dramatic conclusion and one of them is named the U.S. Champion.

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Standard Oil Building
Standard Oil Building
Financial District, Downtown Manhattan, New York City, United States of America The Standard Oil Building, largely erected between 1921 and 1926 and finally completed in 1928, incorporates the company's original building (built in 1884-85 and enlarged in 1895). Designed by Thomas Hastings of the architectural firm of Carrere & Hastings, with Shreve, Lamb & Blake as associated architects, the building is notable for its distinctive tower, one of the southernmost spires in the Manhattan skyline, and the sweeping curve of the Broadway facade, which is punctuated by the arched openings of the main entrance portal and flanking large windows that dominate the street wall as it fronts Bowling Green. The irregular pentagonal site, one of the largest parcels assembled in lower Manhattan to that time, dictated both the building's distinctive shape and complicated construction history. The powerful sculptural massing and arresting silhouette of the Standard Oil Building represent the new set-back skyscraper forms that emerged during the early 1920s. Limestone curtain walls facing Broadway, Beaver Street, and New Street are enriched with large-scale neo- Renaissance ornamentation that enhance the building's picturesque quality. The building, erected as Standard Oil approached its fiftieth year of operation, reinforced the presence of the oil industry giant in the heart of New York City's financial and shipping center. From the headquarters building at No. 26 Broadway, John D. Rockefeller's associates directed the Standard Oil Company that monopolized the American oil industry, endured a sensational anti-trust decision, and retained a dominant role in the international oil business. Although Standard Oil's successor firm sold the structure in 1956, the building at No. 26 Broadway has remained a prominent address in lower Manhattan. The Architects The Standard Oil Building was designed in 1920 by Thomas Hastings (1860-1929) of the architectural firm of Carre re & Hastings, with that firm's members, Shreve, Lamb & Blake, serving as associated architects. These architects — a group of the most respected tall building designers in New York City during the 1920s — brought various types of expertise to the project which are evident in the completed building. The firm of Carrere & Hastings had gained wide acclaim with its winning design for the New York Public Library in 1897 (constructed 1902-11) and subsequently enjoyed a wide-ranging practice; many of the firm's buildings in New York City, including the New York Public Library, are designated New York City Landmarks. By 1920, Thomas Hastings, the surviving partner of the firm of Carrere & Hastings, had developed a personal, Beaux-Arts-inspired approach to the design of the masonry envelope of steel-framed structures, and was exploring innovative solutions to the massing of tall buildings in response to the setback requirements of the New York City Building Zone Resolution adopted in 1916. Hastings considered the skeleton frame and the exterior sheathing as separate entities with different functions; the first supported the structure while the second enclosed it. His designs for the curtain walls of the Blair Building (24 Broad Street, 1902, no longer standing) and the United States Rubber Building (Broadway and West 58th Street, 1912-13) were for thin, veneer-like masonry facing, designed for architectural impact rather than to convey a sense of structure; that design approach was at odds with the more structural, expressive style advocated by other tall building designers working in New York City, including Pierre LeBrun, George B. Post, and Bruce Price. Hastings was a consulting architect in the design of the Cunard Building (25 Broadway, 1917-21), and his hand is evident in the massing and facade of the building, either through Hastings' influence on Benjamin Wistar Morris, a former member of the firm of Carrere & Hastings, or an active role in the project. Carrere & Hastings designed two other tall buildings of note, the Liggett Building (at the northeast corner Madison Avenue and East 42nd Street, no longer standing, 1919-20) and the Fisk Building (250 West 57th Street, 192021); both buildings have distinctive massing with pavilions of uniform setback rising above large bases, and are clad with thin masonry walls detailed to unite the two main portions of the building and add to their pictorial qualities. The Standard Oil Building is a culminating example of the firm's tall building commissions, incorporating even more complex massing, a varied limestone curtain wall, and bold sculptural elements at the upper stories meant to enhance distant views of the building. At the time of the Standard Oil Building commission, Richmond H. Shreve (1877-1946), William F. Lamb (1883-1952), and Theodore Blake (1870-1949) were partners at Carrere & Hastings. Shreve and Lamb (with various associates before Arthur L. Harmon joined the firm in 192
West Pender Building - 1912
West Pender Building - 1912
402 West Pender Street, Vancouver, BC. Description of Historic Place: The British Columbia Securities Building is a nine-storey brick, stone and glazed terra cotta commercial building, designed in the Chicago School style with tripartite facade articulation of a base, shaft and capital. The exterior and interior details reflect the Edwardian era use of Classical Revival ornamentation. Located at a prominent corner at the intersection of West Pender and Homer Streets within the context of other commercial buildings of similar age and scale, this building dominates its surroundings and is a landmark in the area. Heritage Value: Built in 1911-12, the British Columbia Securities Building is valued as a commercial structure that characterized the drastic economic upswing in British Columbia immediately preceding the First World War. With the arrival of the Great Northern Railway, followed by the Canadian Northern Pacific and the extension of the British Columbia Electric Railway interurban line into the Fraser Valley, the city witnessed an unprecedented wave of land speculation and commercial development. Vancouver was touted as the 'Metropolis of Western Canada' as financial investment poured in. The boom lasted until 1913, when local, national, and international disasters precipitated an economic downturn, followed by the First World War, which saw ten percent of the province's population serve overseas. The building is an excellent example of Chicago School exterior articulation, Beaux-Arts Planning, and Edwardian-era Classical Revival ornamentation. Jointly erected at the height of the western Canadian building boom for the use of British Canadian Securities Limited, agents for investments in natural resources, and the Dominion Trust Company, it epitomized the restrained and sophisticated Edwardian response to the Classical Revival styles. Typical of the buildings influenced by the Chicago School, it is articulated into three horizontal sections. Anchored with a stone base, the brick-clad shaft soars to a two-storey cap of terra cotta and overarching cornice. The interior is also of exceptional value, and retains almost all of its original plan, materials and decoration. The elaborate two-storey foyer and the banking hall with its highly ornamented cast plaster vaulting is an impressive reminder of the importance of these large financial institutions that drew investment into the booming local economy. The eighth and ninth floors were particularly well-appointed, and offered spectacular views to the north over Gastown to the North Shore. This opulence is an indication of wealth and success at a time when investment capital was pouring into the province. This building is a striking example of the work of Henry Sandham Griffith (1865-1943), a prominent architect known for his varied practice designing a variety of buildings. Born in England, Griffith moved to British Columbia in 1907 and established successful offices in both Vancouver and Victoria during the western boom years. An early example of the use of reinforced concrete for high-rise construction, this landmark building was built by the Norton-Griffiths Steel Construction Company. Source: City of Vancouver Heritage Conservation Program Character-Defining Elements: Key elements that define the heritage character of the British Columbia Securities Building include its: - location at the southwest corner of West Pender and Homer Streets, in an early commercial area of Vancouver among other commercial buildings - contribution to the streetscape as part of an unbroken streetwall with continuous retail storefronts - commercial form, scale, and massing, as exemplified by its nine-storey height (with lower level) and rectangular plan, with light well - flat roof with horizontal raised parapet - masonry construction, as expressed by the granite foundation, Bedford Indiana stone trim, pressed brick cladding, tan terra cotta on the upper storeys and common red brick rear and side walls - Edwardian era commercial design incorporating tripartite exterior articulation, regular symmetrical window grid and Chicago windows at the base and capital levels - high quality and craftsmanship of its Classically-inspired detailing, including its recurring running fret details, egg-and-dart mouldings, engaged columns framing the front entrance, pilasters and splayed keystone lintels on the base and terra cotta medallions at the capital - additional exterior features, such as iron fire escapes and the side wall airshaft - original windows disposed in a regular and symmetrical manner, such as such as double-hung one-over-one wooden-sash windows with terra cotta sills in the shaft, double-height metal clad wooden-sash Chicago windows with cast iron spandrels on the base and capital levels, and double-hung one-over-one wooden-sash windows in the light well, and double-hung three-over-three wooden-sash windows on the rear elevation - interior elements, such as the banking

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