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Wallmonkeys Peel and Stick Wall Decals - Laboratory Equipment for Testing Dairy Products - 36"W x 24"H Removable Graphic
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices.82% (15)
WallMonkeys are intended for indoor use only.
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Colony Farm Manager's Residence - 1917
200 Colony Farm Road, Coquitlam, BC. Description of Historic Place: The Colony Farm Manager's Residence is a one-storey cross-gabled bungalow, located adjacent to the main north-south axis, Colony Farm Road, at Colony Farm in Coquitlam. This is one of two original buildings remaining at Colony Farm, the other being the Bunkhouse; both are located across from the original Village Green that was a central grassed feature of the site. Heritage Value of Historic Place: Built in 1917, the Colony Farm Manager's Residence is valued as one of the original buildings constructed for the Coquitlam Hospital for the Mind, (now known as Riverview Hospital), for its ties to the province's psychiatric health initiatives and as part of a model farm developed by the province. Colony Farm was purchased by the province in 1904 as the location for a new psychiatric facility to relieve the overcrowding at the original lunatic asylum in New Westminster. The lowlands of the farm were developed to provide opportunities for the inmates to work in a healthy, supervised setting and also to provide food supplies for the hospital complex. Upland from the farm, a campus of buildings for chronic patients was designed, based on the best and most humane practices of the time. The complex, which came to be known as Essondale after the Secretary of Health, Henry Esson Young, strived for self-sufficiency while providing occupational training for the mentally ill. Opened in 1910, the facilities at Colony Farm were conceived as more than just an adjunct to the mental institution, but rather as a provincial demonstration farm with high quality farm and living quarters, ultra modern farm equipment and pristine grounds. The farm was partly staffed by patients, who were paid a small salary to work and live at the farm. Numerous buildings were constructed to provide residential accommodations for the many workers and patients, as well as to house the many agricultural operations. Additionally, the Colony Farm Manager’s Residence is valued for its architectural design and as an example of standardized housing designs provided by the provincial government. The design for the original buildings both at Colony Farm and at the uphill campus being constructed for chronic patients was contracted out by the province, as they lacked the in-house expertise to tackle projects of this scale. After the end of the First World War, reflecting both grim economic realities and the establishment of the Department of Public Works (DPW), all of the subsequent design work at Essondale was undertaken by the province. The Manager's Residence reflects the modest, Arts and Crafts style the DPW considered appropriate for worker's housing, and is similar to a number of cottages built at Essondale at the same time. It also demonstrates the late persistence of the influence of the Arts and Crafts movement, and the essentially conservative nature of the DPW and its chief architect, Henry Whittaker, who guided its development for three decades. The Manager's Residence is a significant representation of the DPW's design aesthetic from the period between the two world wars. The Colony Farm Manager's Residence is also valued for its association with one of the most successful Colony Farm managers, Pete Moore, a skilled agriculturist who started at the farm in 1917. He was responsible for converting an average Holstein herd at Colony Farm into one of the most successful dairy herds in Canada, and also pioneered and instituted the practice of artificial insemination for cows, now a common practice around the world. Moore and his wife lived at this residence until his retirement in 1948. Character-Defining Elements: Key elements that define the heritage character of the Colony Farm Manager's Residence include its: - setting within historic Colony Farm, facing Colony Farm Road, adjacent to the Colony Farm Bunkhouse and across from the Village Green - residential form, scale and massing as expressed by its one-storey wood-framed structure with cross-gabled roof - wood-frame construction, with lapped wood siding at the main level, cedar shingles at the foundation level and half-timbering in the gable - Arts and Crafts style details such as open eaves with exposed purlins and rafters, and triangular eave brackets - additional exterior details such as external red-brick chimneys - fenestration such as double-hung 6-over-i double and triple-assembly wood-sash windows Donald Luxton & Associates, March 2007Salem Towne House
From its hipped roof lighted by rows of monitor windows to its elegant doorway, the symmetry and careful architectural detailing of this house mark it as the work of a skillful country builder. In fact, virtually all of the finish on the house—the windows, cornices, moldings, and over-mantels—can be found illustrated in the 1792 American edition of William Pain’s Practical Builder, a guidebook of designs for English carpenters. Careful study of the woodwork reveals how the builder mixed and matched elements from the multiple options shown in Pain’s illustrations. Within and without, this house was built to impress its visitors. Center villages often boasted several such handsome residences, reflecting the taste of prosperous leaders who brought new ideas and fashions to rural society. This was the home of the family of Salem Towne Jr. of Charlton, Massachusetts, who inherited the house at the death of his father in 1825. Salem and Sally Towne headed a well-to-do establishment, but still sometimes worked alongside their hired help to manage the farm, dairy, and the house. Their household was a large and complicated one that included children—seven of their nine were living with them in 1830—farm laborers, hired women, and sometimes relatives who were visiting or needed a place to stay. The house and its furnishings reflect the parents’ tastes and interests, and the bustling life that they oversaw. There are four rooms on each floor, on either side of a wide carpeted hallway—a more formal design that sets this dwelling apart from the museum’s other residences. The house’s furnishings are elegant and expensive by the standards of the countryside. In their choice of carpets, wallpaper, furniture, curtains, and ceramics, the Townes have blended imports with New England-made goods, and combined items that might have passed down through the family with the fashions of the 1820s and 1830s. Like his father, Salem Towne Jr. was a man of business, a land surveyor, a Justice of the Peace, and an active figure in politics, as well as an innovative, “progressive” farmer. The furnishings of the sitting room reflect some of these pursuits. Of the four bedchambers upstairs, two have been created by dividing a large space that was originally built as a ballroom and used until 1806 for Masonic meetings. Probably reflecting its original use for Masonic rituals, the room has striking painted murals, partially preserved from that early time, depicting an exotic landscape. The ground-floor kitchen boasts a sanded floor, a characteristic early 19th-century way of keeping things clean. There is also a cast-iron stove, a good example of the first American domestic appliance. Widely advertised as both making cooking easier and saving on fuel, stoves were coming into use in prosperous rural homes during the 1830s. Down the stairs is another kitchen for rough work, and the dairy room exhibit, which displays the equipment and utensils used in making butter and cheese. This exhibit explains the economic aims of a progressive farmer and tells why the dairy was a crucial part of Salem and Sally Towne’s farm. It interprets changing markets and innovations aimed at higher productivity, while a video presentation describes the dairywoman’s work step by step. To the north of the house is the Townes’ farmyard with barn, stonewalled enclosures, milking stalls, and sheep sheds. On a small parcel of land next to the barnyard lies the Townes’ apple orchard, and just beyond it sits the Cider Mill. Because only a prosperous few farmers in each community owned cider mills, they customarily rented them to their neighbors after their own cider making was finished. In September and October, cider mills like this one were at work throughout New England, as their horse-powered crushers and hand-operated screw presses converted most of the region’s apple crop into cider. New Englanders traditionally barreled cider as a beverage for household consumption and left it to turn “hard” or alcoholic. But after 1830, cider mills were not as busy as they had been earlier. Under the impact of temperance reform, both cider consumption and the acreage of farms planted to orchards were diminishing. The formal garden at the Towne House, with its symmetrical layout and abundance of blooms, suggests the growing interest in ornamental gardening of many prosperous New England families.
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