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Grain Elevator

�</text>
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                    <text>Buffalo, Its Architecture and Me
Buffalo Architecture is remarkable because it touches each and every one of
us in a very special way. Not hidden behind walls, tall fences or long winding
driveways, Buffalo’s architectural masterpieces are ever present. It’s hard to
walk more than a few blocks in any one direction without finding yourself face
to face with something amazing.
This was my epiphany, some 35 years ago when I moved to Buffalo to attend
college. I attended a small college with no dorms, so I lived in apartments, first
on Richmond Ave., then Linwood Ave, and Summer Street. How lucky I was
to be randomly dropped into such an architecturally rich neighborhood!
As I walked to school, I memorized the details and structures of all my favorite buildings: the clean curved lines
of the Kleinhans Music Hall, the beautiful red brick and terra cotta detailing of the Bemis House, the grandeur
and classical styling of the Butler Mansion, the quaint cottage community Mayfair Lane and the many beautiful
homes lining Linwood Avenue. Soon, as an added bonus and thanks to the snowstorm of 1977, I met many of
those who lived within these architectural wonders.
This, then, was my second epiphany: architecture lives! It breathes life into neighborhoods and families. It
anchors us to our past and provides a vision for our future. My son recently bought a fairly large historic “fixerupper” home in the same Allentown neighborhood in which my husband’s great grandparents lived over 100
years ago. He’s not an architect, but he is keenly aware of the beauty and significant of the worn structure he
now owns.
Buffalo is a special city. Its architectural beauty is so much a part of my life it’s hard to describe what it means
to me. These wonderful structures that surround us are my understanding of who I am. They offer me a
glimpse into the lives and traditions of people long past, and provide my children with a foundation for realizing
new communities and neighborhoods that only they can imagine.

Building Story by M elissa Delm onte, RA, LEED AP

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                    <text>Building Story by M eagan Baco
St. Adalbert’s Basilica

�</text>
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                    <text>Grandpa Braun’s House
Grandpa Braun, a cabinet m aker came to Am erica w ith his tools and a dream . He left his beloved Louise in
Germ any w ith the understanding that once he had a job he would send a w ooden trunk w ith a ticket to
America. Grandpa w as greeted by Lady Liberty and his brother Great Uncle Julius. When Louise arrived in
1901, the m arriage took place--what faith she had in their love!
Once they settled in Buffalo, he prospered working on the impressive
m ansions lining Delaware Avenue and the surrounding area. Grandpa
finally had enough money to purchase 253 Northam pton Street, a tw o fam ily hom e w ith three bedroom s, two parlors, dining room , and a front
porch for friends and fam ily to gather. Large w indows filled the house
w ith sunshine. The backyard had room for play and a large vegetable
garden. There the fam ily thrived w ith love, laughter, and the good smells
of Germ an cooking and baking. The room s gradually filled w ith furniture
he created. Grandpa alw ays found a w ay to recycle good wood. While
w orking on a Delaware Avenue m ansion, he found a discarded leg from a
baby grand piano. After asking for perm ission, he carried it and his heavy
w ooden toolbox all the w ay hom e and turned it into the base for a two
draw er drop leaf table.
Grandpa added a shed in the backyard for his garden tools. The basem ent becam e his workshop w ith a
w orkbench he designed, full of com partm ents for all his various tools. Grandpa’s w ine m aking headquarters
w as also located in the basem ent. One night, the fam ily w as aw akened by the sounds of popping corks and
that good red w ine spraying the basem ent ceiling. Grandpa discovered a “ cure” for the com mon cold while
living in the Northampton house. He would drink a w ater glass of his w ine, eat a large raw onion and go to
bed. In the morning, the cold w as gone!
Tim e passed and one by one, four of the children went on their w ay.
Grandm a died in the hom e on my m other’s w edding day. M y parents
decided to move in w ith Grandpa and a new chapter started. When I
w as born, my room was filled w ith furniture he lovingly made. I
becam e the apple of his eye and his little buddy. We would w alk
down Northam pton to Jefferson Avenue to run errands. Our final
destination w as a store called Smuck’s for a visit, a cigar for him and
a treat for me. Then w e w ould w alk back and visit w ith the neighbors
along the w ay. When m y parents w ent out, Grandpa w as the
babysitter and the house w as ours. He would tell m e stories and I
w ould observe many card games w ith Grandpa and Great Uncle
Julius. The sm ell of cigars, Germ an beer, Limburger or Liederkranz
cheese w ith thinly sliced onions on Germ an rye, w ould fill the house
and I w as in heaven.
When I w as five years old, Grandpa died and w as laid out in the front
parlor. At 253 Northampton Street, friends and fam ily gathered to
celebrate the life of a humble, hard w orking cabinet m aker, w ho
created a com fortable hom e filled w ith love, laughter, and adventure.
The Northam pton house w as sold, but the furniture he created,
w oodw orking tools, w orkbench and all the w onderful mem ories
rem ain w ith us.
Building Story by Lois Jehle Juron

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                    <text>Organ Lesson at St. Paul’s
The red stone
unsm iling
glares across at gaudiness
that guarantees
another kind of life
w e plan
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She doesn’t notice:
long legs bare
tripping up the treachery
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sum m er now
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He loves m e better
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her ow n beauty
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the tired organ to life
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not now
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Hand hovers:
oboes w ill ask
her heavenly oracle
one heathen question
w ith ten eager fingers:
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the organ halts
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not now
m aybe never
Building Story by Karen Sands-O’Connor
Photography courtesy of St. Paul's Cathedral

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St. John the Baptist

�</text>
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                    <text>Buffalo Underground - An Excursion into the Depths of Scajaquada Creek

Snaking beneath the streets w ith the
kind of engineered grandeur typically
reserved for civil w orks of days past,
the Scajaquada Creek Culvert is
haunting and sublim e.
With a ceiling height reflected as
depth in the slow -flow ing, m irror-like
w ater, the first im pression is a
seem ingly perilous step into ankledeep w ading. As one moves deeper,
sunlight is lost, the m oist air thickens,
and the breeze chills. But taken at a
slow , careful pace expected of spaces
of reverence, one discovers rhythm ic,
concrete ribs and vaulted, m asonry
ceilings –flaking and stained–w hich
recede into a darkness interm ittently
interrupted into sight as sunlight
perforates through manholes, gliding
down cobw ebbed w alls.
Coordinates: 42.9230, -78.8565
Date: 17 July 2011
Tim e: 11:00a EST

Building Story by M atthew D. Zinski, RA, NCARB, LEED AP

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                    <text>A BUILDING LIKE A SUPERHERO
Erected in 1967, the Bulger Com m unication Center
w as part of a m assive building program
encom passing E.H. Butler Library, Grover Cleveland
Hall, and the Student Union, as w ell as the three
high-rise dorm itories and the M oore Com plex on
Iroquois Drive. It entirely reorganized the Buffalo
State cam pus, restricting autom obile traffic to its
perim eter and increasing the architectural density
to an urban level.
The architect of the new cam pus, Law rence B.
Perkins of Perkins &amp; Will Partnership in Chicago
Perspective rendering of the Bulger Com m unication Center, probably boldly declared, that “ …architectural beauty has
done by Perkins and Will Partnership on the program cover of the opening gone as far as it can in individual buildings. The
sym posium on ‘Architecture in Higher Education’, February 7 1967
future lies in the relations of buildings to each other
and in their landscaping.”
Clearly heavily
influenced by Kevin Lynch’s book Im age of the City,
he identified the creation of a ‘distinctive landm ark’ that functions as a ‘nodal point’, as w ell as pronounced
‘connecting paths’ and ‘clearly defined cam pus edges’ as the key elem ents of the new Buffalo State design.
th

In presenting a m odel of the cam pus in a 1964 television interview , Buffalo State’s President Paul G. Bulger
singled out the Com m unication Center w ith the com m ent “ you notice the w eird shape about it, I do not quite
th
know how to describe it…” Equally at a loss w as the Buffalo Evening New s of February 8 1967, w hich on the day
of the opening and dedication of the Com m unication Center to departing President Bulger called it “ the unusual
circular building that now dom inates the m iddle of the cam pus...”
While the architectural com m unity of Buffalo offered Perkins “ sincere congratulations for his beautiful building ”
laypeople w ere not quite sure w hat to m ake of the clinkered brick and concrete architecture - a perception the
Bulger Com m unication Center up to today shares w ith m any buildings of the often m isunderstood ‘New
Brutalism ’ style.
Gary Stephen, director of Instructional Resources at Buffalo State College enthusiastically declared at the
opening: The Bulger Com m unication Center’s “ …internal space divisions and functional possibilities are
revolutionary. Its facilities w ill be unique, its potential unlim ited for producing innovat ions in patterns of
education.”
The Bulger Com m unication Center is a building like a superhero.
Aside from its proclaim ed functional superpow ers, it
show s the sam e dram atic, sculptural, larger-than-life
expression of a dynam ic physicality that characterizes
Superm an, Batm an or Captain Am erica. They, too,
stand for a better future. The architecture of the Bulger
Com m unication Center creates an equally distinctive,
m em orable im age, and its external curves clearly
exhibit the lecture halls in as pronounced a fashion as
the superheroes’ costum es display their m uscles.
The am bivalence of the prom ise of a brighter future em bodied by a slightly intim idating , heroic architecture has
been captured best in a graffito published in the 1967 student yearbook, Elm s, along w ith other im ages of the
6
building site: “ This is like som ething taken from Huxley’s Brave New World.”

Excerpt from Building Story by Jörg Schnier,
Associate Professor, Interior Design Departm ent, Buffalo State College, State University of New York

�</text>
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                <text>Bulger Communication Center, Buffalo State College, E.H. Butler Library, Grover Cleveland Hall, Moore Complex, Iroquois Drive, Lawrence B. Perkins, Chicago, Kevin Lynch, Image of the City, Paul G. Bulger, Buffalo Evening News, New Brutalism, Brutalist, Le Corbusier, Unité d'Habitation, Béton brut, The New Brutalism. Ethic or Aesthetic?, Reyner Banham, Gary Stephen, Superman, Batman, Captain America, Marvel, Brave New World.</text>
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                <text>11.09.2011</text>
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              <elementText elementTextId="1913135">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).  </text>
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                    <text>B.U.F.F.A.L.O
Beginning a new stage in one’s life can be nerve-racking, leaving you second guessing yourself due
to a sense of uncertainty. Especially when that new stage takes you eight hours away from your friends, family,
and everything you have grown so accustomed to over the years.

University at Buffalo accepted my transfer application in the summer of 2010 and ever since receiving
that letter I had my sights set on Buffalo as the place where I will continue my academic career.

Fall 2010 was my first semester here, and it was tough to say the least. At the time all I had heard
about Buffalo was that it snowed a lot and the city had been in an economic decline for some time now, so I
honestly didn’t expect much beyond the University grounds.

Fall 2011 marks the beginning of my last year here in Buffalo, and with it comes a new found
appreciation for this city. The cities rich history and the people living here have drawn me into Buffalo.

A

rchitecturally this city is absolutely stunning. I still find myself in awe every time I enter Buffalo city.
Waiting at Theatre Station after my night class at the Market Arcade Film Center is the most refreshing part of
my Tuesdays. I occasionally find myself standing in the middle of the tracks looking down towards Founders
Plaza with Shea’s Theatre on my right and the Film Center to my left in an absolute state of amazement.

Layers upon layers of snow cover Buffalo every year. Even though the winters here can be harsh,
waking up to a clean, glistening, and almost reflective surface outside my window every morning is one of the
most serene things Buffalo has to offer.

Olmsted Parks is one of my favorite places to go in Buffalo. The preservation of parks such as
Delaware Park shows a commitment to maintaining a natural beauty. Natural preservation is something that in
most cities tends to get lost in all the commotion. Buffalo is one of the few areas I know of that you can
experience a rich urban environment and still have access to acres upon acres of beautifully preserved green
space.

Even though I have only spent a short amount of time here I can already tell
that leaving Buffalo will not be easy. I will return home to my friends and family
next summer, but I will always have nostalgia towards Buffalo and all it has to
offer.

Building Story by Jam es J. Bow ra
Photography by Kevin M . Mahoney

�</text>
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                  <text>Every building has a story. The intriguing architecture of Western New York is celebrated through Building Stories, Buffalo Architecture Foundation’s multi-media project documenting and sharing profound individual experiences with architecture, construction, landscape and planning throughout the region. The Buffalo Architecture Foundation Building Stories Collection provides access to submissions from 2011 to the present. &lt;br /&gt;&lt;br /&gt;Please visit &lt;a href="http://www.buffaloarchitecture.org"&gt;www.buffaloarchitecture.org&lt;/a&gt; to share your own Building Stories about architecture and place in Western New York.&lt;br /&gt;&lt;br /&gt; Buffalo Architecture Foundation invites the community to discover architecture, to become stewards of the built environment, and to advocate for design excellence. This mission is implemented through innovative educational activities and public awareness events engaging citizens of all ages. &lt;br /&gt;&lt;br /&gt;Established with the generous support of the American Institute of Architects (AIA) Buffalo/Western New York Chapter, Buffalo Architecture Foundation is a not-for-profit, public charity committed to nurturing creative cooperation with the AIA and other regional cultural organizations to promote and celebrate architecture, design and construction. &lt;br /&gt;&lt;br /&gt;The Collection was initiated in 2012 by the University at Buffalo Libraries in cooperation with Buffalo Architecture Foundation, Inc.</text>
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                <text>University at Buffalo, Buffalo, Market Arcade Film Center, Founders Plaza, Shea's Theatre, Olmsted Parks, Delaware Park.  Letter and Presentation formats displayed with photography by Kevin M. Mahoney.</text>
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                    <text>Why I am Here (in Buffalo)
M any friends have asked m e why I cam e to live in Buffalo, especially after discovering that I grew up in
Taiw an, lived in 6 countries and have visited 22 others, so far.
It all began in the Spring of 2000, w hen I w as living in Toronto and m et m y friend Paul, w ho is an architect,
historian, preservationist and Buffalo native. I did not know much about Buffalo, w ith the exception of H.H.
Richardson’s Psychiatric Center and a few Frank Lloyd Wright buildings that I had studied w hen I w as a
student in the UK. Each tim e that Paul spoke about Buffalo, his eyes would glow enthusiastically:
“ Did you know the w iper blades on your w indshield w ere actually invented in Buffalo?”

“ Did you know Niagara Falls m ilitary airbase w as w here the plane that broke the sound barrier w as
built?”
“ Did you know that the Pierce-Arrow , a luxurious autom obile car, first created in 1903 and a status
symbol for its tim e, w as produced and headquartered in Buffalo?”
On m y first visit, Paul introduced m e to Buffalo by a route that, I
later realized, w as w ell planned to show m e the city in an
enchanting light. I w as driven across the Peace Bridge, and, shortly
thereafter, by a building w ith the curvilinear, sw eeping shape of a
stringed musical instrum ent–Kleinhans M usic Hall, the hom e of the
Buffalo Philharmonic Orchestra designed by the father and son
team of Eliel and Eero Saarinen. We followed a roundabout and
zigzagged to a quaint neighborhood called “ Little” Sum mer Street.
We then headed to Elm w ood Avenue and travelled south to a
m onument in Niagara Square. I sighted a beautiful yellow stone Art
Deco building–Buffalo City Hall, one of the largest city halls in the
United States. We proceeded up m ansion-lined Delaware Avenue. I
started to think that this is not the Buffalo I had heard about or saw
on the new s. Next, Forest Law n Cemetery appeared on the right
and Paul com mented that a sculpture of Seneca Indian Chief Red
Jacket w as erected there. In addition, I learned that U.S. President
M illard Fillm ore and inventor Law rence Dale Bell of Bell Aircraft
Corporation were also both buried there, am ong m any other
notable people. Along an S-curve was Delaw are Park, designed by
Frederick Law Olm sted. An im m ediate right brought us to
Nottingham Terrace w ith its m any English Tudor style hom es.
Continuing along the park, w e passed by the Buffalo Zoo and then,
onto Jew ett Parkw ay, w here I discovered the Darw in M artin House
by Frank Lloyd Wright. Next, w e entered the Central Park neighborhood w ith its m any grand single fam ily
Colonial style hom es. Soon on M ain Street, I view ed a white building topped by a clock tower, Hayes Hall,
the hom e of the School of Architecture and Planning at the University at Buffalo.
Along that journey, I had fallen in love w ith Buffalo.
th

This is m y 10 year living and w orking in Buffalo, a city that is full of history, wonderful architecture and
great potential. This is m y hom e and my passion. I am proud to call m yself a Buffalonian.

Building Story by Jam es C. Lai
Photography by Kevin M . Mahoney

�</text>
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                <text>Buffalo, Taiwan, H.H. Richardson's Psychiatric Center, Frank Lloyd Wright,  UK, Niagara Falls, Pierce-Arrow, Peace Bridge, Kleinhans Music Hall, Buffalo Philharmonic Orchestra, Eliel and Eero Saarinen, “Little” Summer Street, Elmwood Avenue, Niagara Square, Buffalo City Hall, United States,  Delaware Avenue, Forest Lawn Cemetery, Red Jacket, Millard Fillmore, Lawrence Dale Bell, Bell Aircraft Corporation, Delaware Park, Frederick Law Olmsted, Nottingham Terrace, Buffalo Zoo, Jewett Parkway, Darwin Martin House, Central Park, Main Street, Hayes Hall, School of Architecture and Planning, University at Buffalo, Buffalonian.  Letter and Presentation formats displayed with photography by Kevin M. Mahoney.</text>
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                    <text>Being Beguiled by the Roycroft Inn
In 1987 I m et the Roycroft Inn.
Rochester’s Landm ark Society did not w ork in Erie County and m y role as its
adm inistrator should have inured m e to the Inn’s charm s. Instead, I w as
ensnared by a love for historic places and an adm iration of those that w ant
to save them .
I had agreed to com e to East Aurora, planning to provide a few sage w ords
of advice and then leave the problem of the bankrupt Roycroft Inn to others.
M y initial glim pse of the Roycroft Inn w as not im pressive. I saw a ram bling,
deteriorating building, w ith a m ixture of architectural elem ents, badly in
need of repair.
Inside, the Roycroft Inn unveiled a rem arkable story. I entered into the oldest part of the Inn, originally constructed
as a print shop. I then found layers of additions, as this building expanded rapidly along w ith the phenom enal
grow th of the Roycroft m ovem ent. In 1905 the building w as officially christened the Roycroft Inn to serve a
grow ing pilgrim age to East Aurora. The Inn literally talked to m e, w ith m ottos carved into its doors and hanging
adm onitions (Fletcherize! ) to diners. Other Roycrofters w ere m ore discrete, but w ith significant im pact as I view ed
Roycroft furniture, w indow s and other artifacts, gapped at the i m pressive Dard Hunter chandelier and appreciated
the Alex Fournier m urals. The Inn, reinforced by the other Roycroft Cam pus buildings, w as a still intact, if frayed,
story of how one m an’s vision could grow into a m ovem ent that w ould encom pass hundreds of skilled artisans
and craftsm en.
So, w hat should I do? Those w orking to save the Roycroft Inn did not need advice. An im pressive array of persons
w ere anxious to help the Roycroft Inn, including East Aurora village officials, and a citizens com m itt ee, headed by
Burt Flickinger. M ost im portant, the Wendt Foundation stood ready to provide m oney to purchase the Inn, to
bring the Inn out of bankruptcy and to w ipe our encum bering debt. What w as needed w as a preservation
organization capable of taking title to the Inn and caring for it and its collections w hile a soluti on for the Inn could
be found.
Working in Erie County w as not part of the Landm ark Society’s m ission and taking on the Roycroft Inn w ould be a
huge diversion of our resources. Nevertheless, I recom m ended to the Landm ark Society Board of Trustees that
w e accept ‘tem porary’ ow nership and responsibility for the Roycroft In n. Was I nuts? I prefer to think that I w as
another w illing victim of Elbert Hubbard’s m arketing and prom otional genius.
The Landm ark Society ended up caring for the Roycroft Inn for seven years. I estim ate that I m ade the 150 m ile
round trip to East Aurora over a hundred tim es (only once being stopped by bad w eather) and other staff w ere
there as often as m yself. We ow ned the Roycroft Inn until the day before the revitalized Inn opened in 1995.
In som e w ays, I look back at the Roycroft Inn as the best ‘failure’ in m y
career. Our initial plan w as to w ork w ith the Roycroft Revitalization
Corporation (RRC) and find a new ow ner that could renovate and
operate the Inn. Despite significant efforts, w e w ere unsuccessful –and
had w e been successful, bottom - line econom ics w ould have severely
lim ited the Inn’s restoration. To the great benefit of Western New York,
the Wendt Foundation eventually decided to fund a highly significant
restoration of the Inn, w ith Ted Low nie as the Inn’s architect. I rem ain
very proud of the tim e and energy the Landm ark Society and I devoted
to the Roycroft Inn, and I still m arvel at the countless hours spen t by so
m any others. For years, I did w ish that I could som ehow transplant the
Roycroft Inn (and the Wendt Foundation! ) closer to Rochester. As
another turn in m y life, how ever, I now find m yself w orking in Buffalo.
Living here m akes m y Roycroft m em ories even sw eeter.
Excerpt from Building Story by Henry M cCartney,
Executive Director of Preservation Buffalo Niagara
Photography courtesy of Roycroft Cam pus Corporation

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                <text>Roycroft Inn, Army, Savannah, Carlisle Barracks, Fort Leavenworth, New Orleans, Germany, Jacksonville, Neighborhood Conservation, National Trust for Historic Preservation, Rochester's Landmark Society, Preservation Buffalo Niagara, Erie County, East Aurora, Fletcherize!, Dard Hunter, Alex Fournier, Roycroft Campus, Burt Flickinger, The Wendt Foundation, Elbert Hubbard, Roycroft Revitalization Corporation, Ted Lownie, the National Preservation Conference Awards, National Preservation Conference, Darwin Martin House, the Guaranty Building, Olmsted parks, Buffalo City Hall, Cooper Shop Gallery, Roycroft Power House.  Letter and Presentation formats displayed with photography courtesy of Roycroft Campus Corporation.</text>
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                <text>09.16.2011</text>
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                <text>East Aurora, NY</text>
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                <text>4/2/2012</text>
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              <elementText elementTextId="1913138">
                <text>&lt;a href="https://rightsstatements.org/vocab/InC/1.0/"&gt;IN COPYRIGHT&lt;/a&gt;. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).  </text>
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                    <text>M y 1st Building Story
I began to discover architecture when I w as 3 or 4 years old through the parallel experiences of playing w ith
a favorite toy and frequenting a local landmark.
I adored my 1970’s Fisher Price Play Fam ily Village. Unfold it and
reveal a 2-story neighborhood block—in section! (M ore than 20
years later, section drawings would becom e the prim ary m ethod
of exploration in my Master of Architecture Thesis.) Slide the
dial and change the traffic light. Deliver mail through m ail slots
at each address and collect it again through the open “ fourth
w all” of the firehouse, post office, theater, police station and
barber shop.
I loved to continuously create, direct and re-im agine this vibrant, multi-generational, diverse com munity.
While the village was eventually replaced by Legos and other playthings, it sparked m y w anderlust for
bustling, m ixed-use, interconnected destinations.
Grow ing up in the city of Niagara Falls, New York, I w as alw ays aware of the Falls. That w onder, which
precedes m y earliest mem ories, did not exceed m y expectations of the natural w orld; the pow erful cataract
set the standard. In contrast, nothing w as so grand in the built environment of m y day-to-day life.
Then m y mother took m e to the new library.
Rough-to-the-touch exposed concrete angled
w alls w ith vertical striations, expansive glass, a
row of “ periscopes” peering up from the roof,
dim then bright, soaring volumes, orange
carpeting and nubby, upholstered, orange lounge
seating—or at least that is how I rem ember it. The
bold expression of materiality and form was
foreign and intriguing.
I looked forw ard to these special, regular visits to the library. First, m y m other and I—and eventually m y
sister—w ould go to the Children’s Reading Room . Every tim e, I w ould be captivated by a glass case
displaying historic dolls and then, I w ould select a few books that my m other and father would read to m e
over the next w eek or tw o. As years passed, I w ould select volum es from series like Nancy Drew M ystery
Stories and Little House on the Prairie for m y ow n reading pleasure. The M ain Reading Room w as our next
stop so that my mom could choose a few books for herself. The scale of that room dram atically shifted to
w hat seem ed like a 4-story high space, w hich I w ould gaze up at while reclining on that nubby, upholstered
orange lounge seating. I believed that the staff checking-out our books w ere so fortunate to work there and I
sensed that they thought so too.
This exotic, new , w onderful library was sim ply part of m y routine. I w as not aw are that it had awakened—or
created—m y appetite for contemporary architecture that pushes the lim its of convent ion. It w as m uch later
that I learned that the Earl W. Brydges Niagara Falls Public Library was designed by notable architect Paul
rd
Rudolph and opened in 1974, just a few w eeks before m y 3 birthday.
Now a practicing architect, I am hesitant to return to m y old library after the few decades since m y frequent
visits. I am strongly com pelled to protect m y cherished m em ories of these places in tim e from being
clouded by revision. I am , how ever, tempted to seek out a vintage Play Fam ily Vill age for m y own sons—and
m yself.
Building Story by Denise M . Juron-Borgese, Architect
Photography courtesy of Earl W. Brydges Niagara Falls Public Library Local History Departm ent

�</text>
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                <text>Fisher-Price Play Family Village, Master of Architecture, Legos, Niagara Falls, the Falls, Nancy Drew Mystery Stories, Little House on the Prairie, Earl W. Brydges Niagara Falls Public Library. Letter and Presentation formats displayed with photography courtesy of Earl W. Brydges Niagara Falls Public Library Local History Department.</text>
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                    <text>Why I Love the Peace Bridge
The Peace Bridge has been the center of m uch debate, m ost of w hich assum es that the current
structure is an ugly disgrace, an eyesore to be replaced by som et hing better and m ore glorious. I
disagree.
M y reasons for falling in love w ith the Peace Bridge are all the sam e reasons I have fallen in love w ith
Buffalo. I w as not born and raised here. I m oved here in 1985 to m arry m y law school classmate, a
native of Western New York, and I have becom e a huge fan of the Greater Buffal o area.
Like Buffalo, the Peace Bridge, is not a fancy, prissy thing. This is a real bridge in a real city. This bridge
and this hom etow n have m uscle.
Standing astride the m ighty Niagara, the Peace Bridge m akes it look easy t o link tw o nations. She
shoulders a never-ending flow of traffic, day after day, night after night. She rolls up her sleeves and
bears the load w ith her five arches. To keep things interesting, she teases us w ith her incongruous
Parker through-truss. There is no perfect sym m etry in this bridge; she is a little quirky. The grand old
lady refuses to be boring.
Wearing tons of steel and concrete, she is garbed in a m uted color that allow s the rippling w aters
below her to receive the glory w hile she focuses on a hard w ork ethic. At the sam e tim e, this lady
know s how to get dressed up for a night on the tow n, show ing off her colored lights lest w e thin k she is
all w ork and no play. She can put on a show w hen she w ants to.
Follow ing the opening of the Peace Bridge in 1927, she and
Am erica have journeyed through a Depression, a World War,
m oon landings, the Civil Rights m ovem ent, the Digital Age, the
events of Septem ber 11, 2001, the daw n of a new m illennia,
and m any other developm ents. The Peace Bridge has stood
silently, doing her job, gracing the w aterw ay through alm ost a
century of phenom enal change. She has outlasted the
econom ic boom years and the cancer of Rust Belt decay. She
has gotten the job done through countless political
adm inistrations. She has endured the criticism of the planners
and the naysayers. She has rem ained standing despite terrorist
cells on both sides of the river. The Peace Bridge, like Buffalo, is
a survivor.
She m akes her job look easy. Strong currents and blizzards do
not defeat her. She is m ade of sturdy stuff. She is a sym bol of
Buffalo. She is a sym bol of our friendship w ith the nation of
Canada. In a city that w ent to the Super Bow l four tim es and
lost, she is a sym bol of determ ination. It is as though she says
“ Don’t underestim ate us. We are strong.”
For all these reasons, I love this dear lady. She is not flashy and w ill never be m istaken for a “ signature
bridge,” but she is solid and true. I love her m uscles and her quiet classiness. The Peace Bridge is
quintessential Buffalo, and that is w hy, in all her im perfections, she is absolutely perfect. I salute her
and the region she show cases. She is a m agnificent testim ony to the very soul of this w onderful place.
Building Story by Anne F. Dow ney, Esq.
Photography by James C. Lai

�</text>
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                  <text>Every building has a story. The intriguing architecture of Western New York is celebrated through Building Stories, Buffalo Architecture Foundation’s multi-media project documenting and sharing profound individual experiences with architecture, construction, landscape and planning throughout the region. The Buffalo Architecture Foundation Building Stories Collection provides access to submissions from 2011 to the present. &lt;br /&gt;&lt;br /&gt;Please visit &lt;a href="http://www.buffaloarchitecture.org"&gt;www.buffaloarchitecture.org&lt;/a&gt; to share your own Building Stories about architecture and place in Western New York.&lt;br /&gt;&lt;br /&gt; Buffalo Architecture Foundation invites the community to discover architecture, to become stewards of the built environment, and to advocate for design excellence. This mission is implemented through innovative educational activities and public awareness events engaging citizens of all ages. &lt;br /&gt;&lt;br /&gt;Established with the generous support of the American Institute of Architects (AIA) Buffalo/Western New York Chapter, Buffalo Architecture Foundation is a not-for-profit, public charity committed to nurturing creative cooperation with the AIA and other regional cultural organizations to promote and celebrate architecture, design and construction. &lt;br /&gt;&lt;br /&gt;The Collection was initiated in 2012 by the University at Buffalo Libraries in cooperation with Buffalo Architecture Foundation, Inc.</text>
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                    <text>II

'

Cuban exiles not
likely to cash in

I
BY SCOTI SHIFREL
DAILY NEWS STAFF WRITER

PEOPLE THINK they know
Gustin Reichbach, the unrepentant liberal judge who will decide
the fate of a rogue FBI agent in
the agency's biggest scandal
since J. Edgar Hoover's lacy underwear was made public.
He's the "Condom Judge/' dishing out prophylactics to prostitutes; the nattily tailored jurist
whose courtroom 'is dressed with
photos of Clarence Darrow,.
Nelson Mandel a and Paul
Robeson.
·
He's the fresh-faced reformer
joining a young Brooklyn pol to
win a 1990 judgeship over the party boss~s' opposition.
And, as Reichbach noted last
week after ex-FBI agent Lindley
DeVecchio asked for a bench trial
in his mob-murder case, he has a
1960s FBI file as a "dangerous''
radical.
..
''Here I am investigated by the
FBI, and an FBI agent puts his life
in my hands," the avowed existentialist opined a few days before
his 61st birthday. "If that's not absurd, it certainly is ironic."
And the ironies keep coming.
Reformer? That young Brooklyn pol was Vito Lopez. now the
new party boss after prosecutor
Michael Vecchione took down corrupt leader Clarence Norman. Bo-

II

II

u
nus irony: Vecchione is prosecuting DeVecchio.
Celebrated Condom Judge?
Reichbach was reassigned as punishment after handing out condoms at the height of the AIDS
crisis. In 2003, he was rewarded
with a leave of absence to be an
international judge in Kosovo.
And he was anything but liberal when he gave a tough sentence
on a weapons case and helped
craft criminal codes.
"Even the most innovative of
these things you do 'here moves
the system a quarter of an inch,"
he said· in his chambers adorned
with newspaper profiles and
1960s memorabilia
"In Kosovo, everything you dia
had far- reaching impact," he said.
"For that brief shining moment, I
was the [Benjamin] Cardozo of ~
Kosovo."
When not unabashedly comparing himself to eminent U.S. Supreme Court justices, this son of
a union organizer is cooking gourmet meals, reading philosophy

I
and trying felonies.
No reversals after 80 murder
cases, he crowed.
"Pshaw," said one prosecutor
when asked about ReiChbach.
"How typical of the politics of
New York City, that a 'devout'
member of the SDS, a '60s group
of radical Marxists, would be a sitting judge," read one e-mail.
Yet it's not hard to find prosecutors and cops who say he gives a
fair trial and one who even calls
him "great."
For the record, while proud of
his SDS days (ending a letter to
the editor with the then-popular:
"Up against the wall M-f-r, this is
a stickup''), he's no .Marxist.
And while he's tossed blue
jeans for tailored shirts and tie
pins, one thing remains constant
about this free spirit.
''He's passionate about justice," said longtime lawyer pal
Brian O'Dwyer. ~About doing the
right thing, popular or not.''
"This is all of a piece,"
Reichbach said. "It's a willing-

Judge Gustin Reichbach is "passionate abOut justice," says one
friend. Photo by Aaron Showalter

ness to look at old problems with
fresh eyes. A willingness to take
some risks, personal or careerwise."
Not one for modesty, he added:
"My courtroom is not your typical
courtroom, and I am not your typical judge. To that I plead guilty."
sshifrel@nydailynews.com

AMERICANS LOOKING to
recoup Cuban assets seized
after Fidel Castro took pow~
er in 1959 likely won't get
the billions they hope to
seek after Castro dies.
A federally funded study
.r eleased last week recommends they instead settle
for development rights and
tax breaks that would let
them profit from a new Cuba.
Nearly 6,000 American
claims fnr homes and businesses seized by the regime
have been determined valid
by the U.S ~ Foreigp Claims
Settlement Commission.
The study values them at
about $6 billion in current
dollars, with interest Many
of the claimants are CubanAmericans who were Cuban when their property
was expropriated
The study suggests that if
Cuba tried to pay the claims
. back in hard currency, it
would be able to pay only a
few cents on the·dollar.
Instead, the study suggests settlihg claims in
ways that will foster Cuba's
growth. The study was c mmissioned by the U.S ~ Agen·
cy for International Devel~
opment and conducted by
scholars at Creighton University in Nebraska.
The Associated Press

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                  <text>Reichbach, Gustin L. (Lewis)&#13;
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                  <text>Gustin Lewis Reichbach (1946-2012) B.A. ’67 was a proud Brooklynite, University at Buffalo alumnus, law student activist, lawyer, respected New York State Supreme Court Juris and international judge. Reichbach attended UB and studied political science during the tumultuous 1960s. He later studied law at Columbia University where he was active with the Students for a Democratic Society. After establishing a private legal practice, Reichbach was elected to the Civil Court of the City of New York and the Supreme Court of the State of New York.  He also served as an International Judge for the United Nations Interim Administration Mission in Kosovo. After his premature death from cancer in 2012, his wife, Ellen Meyers, donated Reichbach’s personal and professional papers to the University Archives.&#13;
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                <text>MS 232, Box 8 Folder 12</text>
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            <name>Date Created</name>
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                <text>9/22/2014</text>
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              <elementText elementTextId="25649">
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                    <text>s I am sure you gentleman are a are , the College disciplinary
tribunal ruled on Friday , March ~1 that the Interi Rules on
Campus Protest did not apply to the September r -e is tration protest .
As a result, And b sed upon this finding , the tribunal acquitted
three students accused of participatin in that protest .
Last se ester I was found "guilty"· for my participatifon in
tbe same protest . Uf the many defenses I raisud at th a t time ,
and upon which I still stand~nfncluded the same reasoning of
the colle e tribunal -- t hat the Interim Rules did not apply
at the time of the protest because they had not yet been ratifie d
by the student body .
bile I am a are that the Interim Rules provide for only a
five day appeal period , I feel that in light of this n w decision
special circumstances justify a waiver of that rule . Two separate
tribunals have decided a point crucial to any defendent in a
conflicting manner . As a resul·t of this conflict J. feel I can
justify a waiver of the five day appeal rule . The conflict is
of course a jurisdictional one, whether the rules applied at the
ti e of the alleged offense . The failure of the JCDA to resol·v e
this conflict of la would resul~ in a total denial to this
' defendant • of any pretense of ' equal· protection . • If two different
"jud1cial· circuits" of equal- power decide a crucial point of law
differently it is incumbent upon a higher judicial body to resolve
that confl1ct .
Since I raised the same objection to the Law School ' s jurisdiction
over me I am not no'fl injectin n new element on appeal into my
case . I do not regret my politic o! activities , either last spring
or this past September , what I do object to is bein singled out
by a vindictive l·aw school administration , wi ttl the result that
I am the ONL~ student in All of Columbia University to rec eive
any punishment for his political activities . I don ' t expect the
JCDA to vindicate my political action , nor am I concerned if they
do . All I seek is the resolution of this conflict of law , a resolution
I believe · that will result in the r eversal of the decision of the
Law School Tribunal . Fundamental justice requires no less .

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                    <text>To: Director of Admissions, Columbia Law Sc ho o l
From: Gustin eichbach
All my life , ever since outg rowing the cowboy , Indian chief
stage , I have wanted to become a lawyer . What started off
as boyho od hero wo~ship for Clarence Darrow has matured into
the e arnest desire to make the practice of law my "tife ' time
work . This desire has been reinforced by a confidence in
my abi lity to effec tively enter and ' compete ' in the legal
profession . This confidence is related to my own conception
of what is necessary to become a successful lawyer , and how
'
my own experience relates to that conceptuali~ation .
I believe
that a successful lawyer must possess two essential qualities .
First, he must sharpen his academic abilities to
both diges t facts and then be able to relate and
knowled~ e he poss~sses .
Second, he must be able
the knowledge he has to ' the people h~ is dealing

be abl ~ \ }'\.inter ~t the
to communicate
with, that

is, it is absolutely essential for a lawyer to effectively·' interact and
communicate with all types of people .
It is on the basis of these two criteria that I feel my
college career has been successful , and that this success will
continue both in law school and later on when I enter the
profession .
Vhile I have achieved some measure of academic
suc~es s at college, I do not consider this the most important
asset I have gained at college . Though grades are the external
gaug e of colleg e success, more important for me has been the
confidence I have gained , both in my academic ability and
in my ability to get along with other people .
In high school
my grades were mediocre, as I never felt the motivation to
live up to whatever my academic potential might be . As a
result, my academic achievements at college seemed even m-ore
gratifying .
Just as important for me though has been the maturity I
have gained in my interactions with other people .

As pleased

as I have been with my academic record , I was just as proud
when I was elected president of my fraternity at tluffalo .
If this seems trivial, I will try to e xplain .

Though I don't

�want to completely demean the ~~ducational system, I feel that
by itself it falls grossly snort of the goal of shaping
"complete and educated men. ·• With its emphasis on marks
the process of real mental and social maturation is often
'
relagated to a secondary status. All the acade mic brilliance
in the world is wasted if one is unable to in t er a ct and c
communicate tha~ brilhance with bnes ~ fellow~. This ability
to interact and communicate is to me the essence of an
educated man, and not just how many facts one has been able
to di g est and then reg urg itate back on examinations.
It is this imp ortant balance between books and people
that I feel I have achieve d at colleg e.

It is for this reason

that I feel I have b e en truly successful

~t

colleg e, and

why I feel this background will enable me to continue that
success both at law school and in the p rofession.

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                    <text>Each day on m y w ay to w ork, I drive through a m ajestic 19th century industrial landscape filled w ith architectural
rem nants of Buffalo’s once thriving grain industries. As m assive as they are, the Buffalo Grain Elevators possess a
quality of lightness – perhaps because their reflection is often on the surface of the Buffalo River, perhaps because
they are slow ly disintegrating, perhaps because they house the ghosts of m en w ho perform ed the kind of physical
labor w e no longer know . M aybe it is sim ply that these elevators capture the sky in such a w ay they appear to be
constructed of light and shadow rather than concrete.
***

The elevators are central to both m y play and w ork in the Architecture Departm ent at the University at Buffalo.
For m ore than 25 years now , m y beginning students have toured them via boat during the first w eek of classes. It
is their introduction to architecture ‘Buffalo style’. Students in m y upper level studios have taken on projects in
these structures. One studio developed devices that literally clim b the grain silo interiors w ith m ethods
rem iniscent of their slip-form construction. Other students have designed w ays to safely transport people through
all areas of the elevators. Still others have proposed w ays for the Buffalo Philharm onic to play through the silos to
a rooftop audience. M y husband and I have taken scores of design professors from around the w orld to
experience these unusual spaces and form s m ade for grain rather than people. We’ve clim bed m arine legs and
picnicked on the roof. We’ve speculated w hat these structures m ight becom e, adm ired w hat they w ere and
honored w hat they are today – em pty icons from a bygone era.
***

Part of the recent m ystique of the elevators is their netherw orld nature: They are forbidden territory. Paintball
splatters spot the w alls of Concrete Central. Burned out car bodies lurk in its fields. Geese droppings cover the
floors. Water from the Buffalo River laps in the concrete hollow s below , hiding w hatever m ight be beneath. The
silence of it all is heavy w ith w hat w e m ight not w ant to know . These elevators form a place that is still peripheral,
an increasingly valuable quality in this m ega-connected w orld.
***

Last w eek, yet another studio group toured M arine A and the Perot. The students had seen the exteriors m any
tim es, but w ere aw estruck by the interiors. They expected to see dingy caverns, and instead found spaces that
rivaled Le Corbusier’s Church at Firm iny, Kahn’s Sher-e Bangla Nagar and the Alham bra. After our guides
discussed the industrial history, traced the paths of the grain circulation and show ed us the m echanics, they left
us on our ow n to just take it all in. At first, w e could not resist ducking our heads into the silo funnels to hear our
ow n voices w aft up a hundred feet and echo round and round back dow n – all sounds becam e choruses.
Eventually though, w e settled into draw ing, each of us finding a special spot that revealed the interplay of
m aterial and light. Hours passed. I could hear the occasional scratch of charcoal on paper, but that w as it. At one
point som eone said, “ We’re losing our light,” and w e gat hered together and left.
***

Building Story by Beth Tauke
Photography by James C. Lai

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&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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              <elementText elementTextId="1925271">
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>Bison, Sept. 1932</text>
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                <text>v. 21, no. 1</text>
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                <text>Winkler, Robert</text>
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                <text>1932-09</text>
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            <name>Subject</name>
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                <text>College freshmen</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="20957">
                <text>This is the cover of a publication titled Bison. The title appears in large stylized black letters across the top. The central illustration shows three figures standing on a grassy field with buildings in the background. Two taller figures walk side by side in the center; one wears a red outfit with a matching hat, and the other wears a blue top with the number “36” and light-colored trousers. In the foreground at left, a smaller figure wearing a blue top with the number “35” holds a yellow cricket bat. A yellow sign with the number “25” appears in the background. Along the right side, the text reads “Freshman Number.” The background is light with a thin border framing the image.</text>
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                <text>The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. </text>
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            <description>The nature or genre of the resource</description>
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                <text>Covers (Illustration)</text>
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            <name>Date Created</name>
            <description>Date of creation of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="20963">
                <text>4/22/2011</text>
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            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="20964">
                <text>4/22/2011</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1925276">
                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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  <item itemId="1386" public="1" featured="0">
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                    <text>Cover of Bison featuring a bison-headed figure in a suit smoking a pipe, labeled “bison number.”</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>Bison, May 1932</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>LIB-UA012</text>
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                <text>Bison_1932_5</text>
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              <elementText elementTextId="20936">
                <text>v. 20, no. 8</text>
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            <name>Publisher</name>
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                <text>University Archives</text>
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                <text>American bison</text>
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                <text>This is the cover of a publication titled Bison. The title appears in large stylized black letters across the top. The central illustration is a black line drawing of a bison’s head combined with a human body dressed in a suit jacket, vest, collared shirt, and tie. The figure holds a pipe in its mouth and has a pocket square in the jacket. The words “bison number” appear in lowercase on either side of the figure. At the bottom left, the price reads “Twenty-Five Cents,” and a small artist’s signature appears in the lower right corner. The background is light with a thin border framing the design.</text>
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                <text>The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. </text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>This is the cover of a publication titled Bison. The design features the word “BISON” split diagonally across the center in bold black and white lettering, with the middle portion enlarged and angled forward. The background is filled with lightly printed Greek letters and symbols arranged in various directions. The composition is enclosed within a thin rectangular border on a light background.</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>4/22/2011</text>
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              <elementText elementTextId="1925283">
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>Bison, Feb. 1931</text>
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                <text>Kuhn, Milton</text>
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                <text>This is the cover of a publication titled Bison. The title appears in large black letters across the top against a vertically striped background. The central illustration shows a person wearing nightclothes and a pointed sleeping cap, walking indoors while holding a small stuffed toy. To the left stands a tall grandfather clock, and to the right a small framed sign hangs on the wall. The floor is rendered with horizontal red lines. At the bottom, the text reads “Junior Prom Number,” and the price “25¢” appears on the right side. The design is enclosed within a thin border.</text>
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            <elementTextContainer>
              <elementText elementTextId="1925284">
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>1/31/2012</text>
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              <elementText elementTextId="1925288">
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>This is the cover of a publication titled Bison. The title appears in large black letters across the top. The central illustration is a black line drawing of a seated figure wearing a sleeveless dress with contrasting dark and light sections. The figure sits with one leg crossed over the other and holds a small booklet or program in one hand. The words “Review Number” appear inside a boxed area in the lower right corner. The price “25¢” is printed near the bottom, and an artist’s signature appears in the lower left. The design is framed by a thin border on a light background.</text>
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              <elementText elementTextId="1925290">
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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            <description>Date of creation of the resource.</description>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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                <text>This is the cover of a publication titled Bison. The title appears in bold, angular pink letters across the top against a black background. The central illustration shows a stylized profile of a person with short dark hair, wearing a green earring and a necklace of round yellow beads. The figure holds a cigarette in one hand and a lighter in the other, with smoke rising upward. Along the right side, the text reads “Xmas Number.” The price “25¢” appears on the left side. The composition is enclosed within a thin border.</text>
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              <elementText elementTextId="1925293">
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
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&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Bison Magazine Covers</text>
                </elementText>
              </elementTextContainer>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
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                  <text>Magazine Covers</text>
                </elementText>
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                  <text>College and school periodicals</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>&lt;p&gt;The Bison was a humor magazine published by University of Buffalo students between 1913 and 1941. News items, poetry, and humorous stories filled the pages of this popular monthly publication. Many issues were considered theme numbers, and student artists created covers to announce the annual Freshman, Christmas, or Junior Prom numbers.&lt;/p&gt;
&lt;p&gt;The early issues were called the University Bison, and, after publication was suspended for a year because of alleged “slanderous” material, the magazine resumed under the title of the New Bison. Publication ceased in 1941.&lt;/p&gt;
&lt;p&gt;This collection presents sixty-one (61) of the front covers.&lt;/p&gt;
&lt;p&gt;Please see our &lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;rights management information&lt;/a&gt; for policies regarding use.&lt;/p&gt;</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                  <text>University at Buffalo</text>
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              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
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                  <text>University at Buffalo. University Archives</text>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>1913-1941</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>&lt;a href="http://library.buffalo.edu/specialcollections/about/policies"&gt;https://library.buffalo.edu/specialcollections/about/policies&lt;/a&gt;</text>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="20017">
                  <text>LIB-UA012</text>
                </elementText>
              </elementTextContainer>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="20584">
                <text>Bison, Apr. 1929</text>
              </elementText>
            </elementTextContainer>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="20585">
                <text>LIB-UA012</text>
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                <text>Bison_1929_4</text>
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              <elementText elementTextId="20589">
                <text>v. 17, no. 7</text>
              </elementText>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="20586">
                <text>State University of New York at Buffalo</text>
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                <text>University Archives</text>
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              <elementText elementTextId="20594">
                <text>University of Buffalo</text>
              </elementText>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20590">
                <text>Craine, Clark</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20591">
                <text>1929-04</text>
              </elementText>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
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                <text>Bridge (Game)</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="20593">
                <text>This is the cover of a publication titled Bison. The title appears within a white rectangular panel near the top. The design features a dense, colorful composition of overlapping geometric shapes and diagonal bands in red, yellow, blue, pink, and green. Scattered throughout are playing card suit symbols, including hearts, spades, clubs, and diamonds. Two stylized faces appear within the arrangement, one near the top center and one toward the lower left. Near the bottom, the text reads “Bridge Number.” The composition is enclosed within a patterned border.</text>
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              <elementText elementTextId="1986199">
                <text>The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions. </text>
              </elementText>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Covers (Illustration)</text>
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              <elementText elementTextId="20596">
                <text>Image</text>
              </elementText>
              <elementText elementTextId="20597">
                <text> Still Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="91">
            <name>Date Created</name>
            <description>Date of creation of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="20599">
                <text>4/22/2011</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="96">
            <name>Date Modified</name>
            <description>Date on which the resource was changed.</description>
            <elementTextContainer>
              <elementText elementTextId="20600">
                <text>4/22/2011</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1925297">
                <text>&lt;a href="https://rightsstatements.org/page/CNE/1.0/"&gt;COPYRIGHT NOT EVALUATED&lt;/a&gt;. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the &lt;a href="http://library.buffalo.edu/archives/"&gt;University Archives&lt;/a&gt;. If you believe material in our digital collections infringes copyright or other rights, please review our &lt;a href="https://library.buffalo.edu/about/policies/information-use/notice-and-takedown-policy.html"&gt;Notice and Takedown Policy&lt;/a&gt; for information on how to report your concern.</text>
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