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Ulverston

Ulverston is a market town and civil parish in Westmorland and Furness, Cumbria, England. In the 2001 census the parish had a population of 11,524, increasing at the 2011 census to 11,678. Historically in Lancashire, it lies a few miles south of the Lake District National Park and just north-west of Morecambe Bay, within the Furness Peninsula. Lancaster is 39 mi to the east, Barrow-in-Furness 10 mi to the south-west and Kendal 25 mi to the north-east.

History
The name Ulverston, first noted as Ulurestun in the Domesday Book of 1086, consists of an Old Norse personal name, Úlfarr, or the Old English Wulfhere, with the Old English tūn, meaning farmstead or village. The personal names Úlfarr and Wulfhere both imply "wolf warrior" or "wolf army", which explains the presence of a wolf on the town's coat of arms. The loss of the initial W in Wulfhere can be linked to Scandinavian influence in the region. Locally, the town has traditionally been known as Oostan. Other variants include Oluestonam (1127), and Uluereston (1189). The name was spelled "Ulverstone" until at least 1888.

The market charter granted in 1280 by Edward I was for a market on Thursdays. The town retains its market-town appearance; market days are now Thursdays and Saturdays. The charter also allowed public houses to open from 10:30 am to 11:00 pm, regardless of other statute on the books. The present Saturday market includes in the summer craft stalls, charity stalls and locally produced ware on "Made in Cumbria" stalls.

The parish church is a listed building and was founded in the 12th century. Historically, the parish included chapelries and townships that later became separate civil parishes: Blawith, Church Coniston, Egton with Newland, Lowick, Mansriggs, Osmotherley, Subberthwaite and Torver. From 1894 to 1974 the town served as an urban district in the administrative county of Lancashire. Under the Local Government Act 1972 it became a successor parish in the Cumbria district of South Lakeland.

Town Bank Grammar School was founded in 1658 from a benefaction by Thomas Fell. The Victoria Road drill hall opened in 1873.

The High Carley Hospital and Ulverston Joint Hospital Board built an infectious disease hospital at High Carley, Pennington, in 1884. It was initially a fever hospital for paupers. In 1916 a second hospital, run by Lancashire County Council, was built to treat tubercular patients. From 1949 a children's annexe was built. In the 1950s, as the number of tubercular patients decreased, the hospital was run as an acute hospital. In 1984, after the building of the new Furness General Hospital, High Carley was closed.

In 2009, the comedian Ken Dodd unveiled a statue of Laurel and Hardy (by Graham Ibbeson) outside Coronation Hall in the town centre.

Earthquake
On 28 April 2009, Ulverston was near the epicentre of an earthquake measuring 3.7 on the Richter magnitude scale. Tremors were felt across south Cumbria and parts of north Lancashire at 11.22, but virtually no damage was caused. A spokesman for the British Geological Survey stated that earthquakes of such magnitude occur roughly once a year in Britain. Regionally, it was the strongest seismic event since a magnitude 4.4 earthquake struck Lancaster in 1835.

Governance
Ulverston falls within the Westmorland and Furness unitary authority area in the ceremonial county of Cumbria. Until 2023 it was within South Lakeland District. Ulverston Town Council covers some parochial matters.

The town is in the wider civil parish of Ulverston. This is bounded in the east by the Leven estuary, the River Crake, Coniston Water and Yewdale Beck. To the west the boundary follows a chain of hills, and beyond lie the towns of Kirkby-in-Furness and Askam and Ireleth. To the south is relatively low land that rises quickly. In the north are hills such as Coniston Old Man. The parish settlements are mainly in the eastern part.

Places of interest
The Laurel & Hardy Museum is situated in Ulverston.

The limestone Hoad Monument (proper name: the Sir John Barrow Monument), which offers views that include Morecambe Bay and parts of the Lake District, was built in 1850 in honour of the statesman Sir John Barrow.

Ulverston Town Hall was completed in 1825.

The Roxy Cinema opened on 21 June 1937 with 'Rose Marie' starring Nelson Eddy and Jeanette Macdonald. It was designed by Drury and Gomersall for the James Brennan circuit.

The Victoria Concert Hall (now premises of Emmanuel Christian Centre) opened in 1850 as an opera and dance hall. It is now a Grade II listed building. In 1909 it became Ulverston's first cinema and was formerly the location of the County Court sessions. It served various religious uses until being refurbished in 1986 by Ulverston's oldest evangelical community to open as Emmanuel Christian Centre.

Education
Ulverston Victoria High School (UVHS), the town's secondary school, with some 1,200 pupils, includes a sixth form college with about 400. There are four main primary schools; Croftlands Junior (secular), St Mary's (Catholic), Church Walk (Church of England) and Sir John Barrow (secular) and a special education school, near Sandside.

Transport
Ulverston railway station, a short walk from the town centre, lies on the Furness Line between Barrow-in-Furness and Lancaster, which leads on to Manchester Airport. Some trains continue along the Cumbrian Coast line to Carlisle.

The town's several bus services include the X6 between Kendal and Barrow-in-Furness via Grange-over-Sands, the X12 to Coniston and Spark Bridge, and the 6A and 6 to Barrow-in-Furness.

Local media
Regional TV news comes from Salford-based BBC North West and ITV Granada. Television signals are received from the Winter Hill TV transmitter, and the Lancaster relay transmitter.

Local radio stations are BBC Radio Cumbria on 96.1 FM, Heart North West on 96.9 FM, Smooth Lake District on 100.1 FM and community based radio stations Cando FM on 107.3 FM and Bay Trust Radio, a DAB station.

The town's local newspapers are The Westmorland Gazette and North West Evening Mail.

Twin towns
Ulverston is twinned with Albert in France. They meet alternately at Easter each year to play football for the Cyril Barker Shield.

In July 2016 Ulverston, as the birthplace of the film comedian Stan Laurel, was officially twinned with Harlem, Georgia, United States, birthplace of Laurel's screen partner Oliver Hardy.

Festivals

The many festivals held at Ulverston include:
 * Another Fine Fest, celebrating Ulverston and the birth of Stan Laurel.
 * Dickensian Festival.
 * Furness Tradition.
 * Retro Rendezvous

Football
Ulverston Rangers association football team has existed since 1945. It currently plays in the West Lancashire Football League and the Furness Football League.

Rugby League
Ulverston Amateur Rugby League Football Club plays home games at Dragley Beck, it belongs to the North West Counties Rugby League. It has produced several professional rugby players, including Derek Hadley.

Other sports
The town's two field hockey clubs, South Lakes and Ulverston, are based at Ulverston Leisure Centre. The town regularly has events run by Lakeland Orienteering Club. A parkrun event has been held every Saturday at Ford Park since 2018.

International links
The Royal Norwegian Honorary Consulate in Barrow-in-Furness, one of the numerous consulates of Norway, is actually located on the outskirts of Ulverston.

The town of Ulverstone in Tasmania, Australia is named after Ulverston and likewise built at the mouth of a River Leven.

Christianity
Ulverston is where George Fox and Margaret Fell established the Religious Society of Friends (Quaker) movement in 1652 at Swarthmoor Hall just outside of Ulverston. One of the founders of the Quaker movement Margaret Fell resided in Swarthmoor Hall and was lady of the hall from 1641. Swarthmoor Hall became a Quaker rest house and later became a Grade II listed building.

Buddhism
The New Kadampa Tradition is headquartered in the Manjushri Kadampa Meditation Centre whom purchased Conishead Priory in 1976. Buddhism is Ulverston's second largest religion after Christianity.

Freedom of the Town
The following people and military units have received the Freedom of the Town of Ulverston.

Individuals

 * Peter Winston: 15 May 2019.
 * Les Tallon: 21 November 2022.

Military units

 * The Duke of Lancaster's Regiment: 7 May 2011.
 * 2223 (Ulverston) Squadron Air Training Corps: 18 April 2015.

Notable people
In alphabetical order:
 * Ella Blaylock Atherton (1860–1933), physician
 * Cuthbert Bardsley (1907–1991), Anglican bishop of Coventry, was born in Ulveston
 * Amelia Edith Huddleston Barr (1831–1919), novelist, was born in Ulverston.
 * Sir John Barrow (1764–1848), statesman, was born at Dragley Beck, he was the Admiralty's Second Secretary. A monument to him; a replica of the third Eddystone Lighthouse, stands on Hoad Hill overlooking the town.
 * Norman Birkett, 1st Baron Birkett (1883–1962), judge, politician and preacher who served as alternate British judge in the Nuremberg Trials, was born in Ulverston.
 * Norman Gifford (born 1940), international cricketer
 * Jess Gillam (born 1998), saxophonist
 * Maude Green, mother of the Rock and Roll music legend, Bill Haley
 * Francis Arthur Jefferson (1921–1982), a Victoria Cross-winning soldier born in Ulverston
 * Stan Laurel (1890–1965), actor born at 3 Argyle Street, Ulverston, the home of his grandparents, George and Sarah Metcalfe, who had previously lived at 32 Oxford Street in the town
 * Kate Lister (born 1981), historian and blogger
 * Selina Martin (1882–1972), suffragette
 * Christine McVie (1943–2022), singer and songwriter born in the nearby village of Bouth
 * James Penny (1741–1799), slave-ship owner, who became a prominent anti-abolitionist
 * Bob Shaw (1931–1996), science fiction writer, lived in Ulverston.
 * William Basil Weston (1924–1945), a Victoria Cross-winning officer, was born in Ulverston. There is a memorial to him in the town's Catholic Church.

title: Ulverston


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Harry Seidler

Harry Seidler (25 June 1923 – 9 March 2006) was an Austrian-born Australian architect who is considered to be one of the leading exponents of Modernism's methodology in Australia and the first architect to fully express the principles of the Bauhaus in Australia.

Seidler designed about 119 buildings (96 of which were in his home state of New South Wales) but some have since been demolished or altered in a non-Seidler manner, and he received much recognition for his contribution to the architecture of Australia. Seidler consistently won architectural awards every decade throughout his Australian career of almost 58 years across the varied categories – his residential work from 1950, his commercial work from 1964, and his public commissions from the 1970s. He was a controversial figure throughout his long career as he regularly publicly criticised planning authorities and the planning system in Sydney.

Early life
Seidler was born in Vienna, the son of a Jewish clothing manufacturer. While a teenager he fled to England soon after Nazi Germany occupied Austria in 1938.

Education
In England, he studied building and construction at Cambridgeshire Technical School. Even though he was categorised by British wartime tribunal as a "Category C – no risk" refugee fleeing the Nazis, because he was born in Austria, on 12 May 1940, he was interned by the British authorities as an enemy alien, where he was in internment camps first at Huyton near Liverpool, then on the Isle of Man before being shipped to Quebec, Canada and continued to be interned until October 1941, when he was released on probational release from internment to study architecture at the University of Manitoba in Winnipeg, where he graduated with first class honours in 1944.

After working briefly for an architectural firm in Toronto, Seidler (at the age of 21) became a registered architect in Ontario, in February 1945.

Although he was ten years old when the Bauhaus was closed, Seidler's analysts invariably associate him with the Bauhaus because he later studied under emigrant Bauhaus teachers in the USA. He attended Harvard Graduate School of Design under Walter Gropius and Marcel Breuer on a scholarship in 1945/46, and during the university winter (Christmas) inter-semester approximate four weeks break Seidler worked with Alvar Aalto in Boston drawing up plans for the Baker dormitory at MIT. He then studied visual aesthetics at Black Mountain College under the painter Josef Albers in mid 1946 for the US summer.

Early career outside Australia
Seidler then worked as the first ever assistant to Marcel Breuer in New York from late 1946 until March 1948. For almost 2 months from shortly after 20 April to early June 1948, Seidler also worked in Rio de Janeiro with the architect Oscar Niemeyer.

Life in Australia
Seidler's parents migrated to Sydney in 1946, and (while he was working for Breuer in New York) in late 1947 or early 1948, his mother wrote to him to commission him to come to Sydney to design their home. Seidler arrived in Sydney on (likely) 20 June 1948 (which was a few days before his 25th birthday), with no intention to remain in Australia, but to stay only until the house was finished. The house became known as the Rose Seidler House (1948–1950), in Wahroonga, in remote bushland of a suburb on Sydney's Upper North Shore. This project was the first completely modern domestic residence to fully express the philosophy and visual language of the Bauhaus in Australia and won the Sulman Award of 1951. From the huge publicity of this house, others approached Seidler to design their homes. With so many clients and his enjoyment of the Sydney climate and harbour views, Seidler decided to stay in Australia. The Rose Seidler House became a house-museum in 1991.

In 1952, Seidler successfully appealed against Ku-ring-gai council's refusal to approve his design of a 'glass house' at Roseville.

In the 1960s Seidler again broke new ground with his design for the Australia Square project (first designs 1961, plaza building 1962–64, tower 1964–67). At the time, the Australia Square tower was the world's tallest light weight concrete building. The design introduced the concept of a large public open plaza and prominent artworks to office towers in Australia.

In 1966, he helped lead the protests to try to keep Jørn Utzon as the principal architect of the Sydney Opera House.

He was a founding member of the Australian Architecture Association. In 1984 he became the first Australian to be elected a member of the Académie d'architecture, Paris and in 1987 was made a Companion of the Order of Australia, an honour which he accepted in his trademark suit and bowtie. Over the years Mr Seidler was also awarded five Sulman Medals by the Royal Australian Institute of Architects, as well as the Royal Australian Institute of Architects Gold Medal in 1976, and the Royal Gold Medal by the Royal Institute of British Architects in 1996.

"For 50 years Harry Seidler has played a vital role in international architecture. His work is widely recognised as an original and intensely creative contribution to the architecture of the second half of the 20th century."

Personal life
Harry Seidler became a Canadian citizen when he was studying in the USA in late 1945. He travelled to Australia in 1948 on his Canadian passport (which he collected in mid-1946). By 1958, he had lived in Australia for ten years, and then sought to renew his Canadian passport but was unable to do so because he had been a naturalised Canadian who had not lived in Canada for more than three years). He became an Australian citizen in late 1958 so he would have a passport to travel for work and his honeymoon. Harry Seidler married Penelope Evatt, daughter of Clive Evatt on 15 December 1958; they had two children.

Seidler enjoyed photographing architecture around the world and some of these are documented in his photography book The Grand Tour. He also enjoyed skiing.

Penelope Seidler, herself an architect, gained her Bachelor of Architecture from the University of Sydney and joined Seidler and Associates in 1964 as architect and financial manager. She co-designed the Harry & Penelope Seidler House in Killara (suburb of Sydney) which won the NSW Wilkinson award of 1967.

On 24 April 2005, Seidler suffered a stroke from which he never fully recovered, and died from septicaemia in Sydney on 9 March 2006 at age 82.

Modernism and principles of design

Seidler said the term "International Style" was a misnomer and so he objected to the term being used to describe modern architecture or his own architectural designs – as both changed over time as social use and building technology developed. Seidler insisted that Modernism was not a style but was in constant flux. Seidler would explain that Le Corbusier's 1920s modern architecture had columns placed 6 metres apart, whereas by mid-1980s pre-stressed concrete technology allowed 34 metre column-free space, resulting in different visual expression and openness in architecture. Harry Seidler oral history with Ken Henderson, 21 April and 21 May 1986, National Library of Australia oral history collection, cassette TRC 2173 transcript page 3 notes "modern architecture set out to solve problems of the time and it must, by definition remain in constant flux, it is not a style, it fought against stylism, ... to call it a style ... is an utter misunderstanding of what it set out to do. To demonstrate that one can still say that we may like or still love buildings Le Corbusier built in the 1920s, but they could not be reasonably built today (ed 1986) because technology has taken giant steps – I mean, you have office buildings that have columns at six metre centres. In other words, to span long distances was not feasible, not technically applicable to that time, it just wasn't known how to do that, economically or efficiently. Therefore those buildings by today's standards are outmoded." (Page 4) "pre-stressed concrete was ... not normally used in building (in early twentieth century). Whereas today, you can build buildings that have giant spans. We just built a building in Hong Kong that has 34 meter spans ... from one side to the other ... (hence no need for) columns everywhere"; Harry Seidler essay "Planning and architecture at the end of our century" sub-heading 'Opposition to Modern architecture' in Harry Seidler: Four Decades of Architecture by Kenneth Frampton and Philip Drew (Thames & Hudson, London & New York, 1992) p. 381; page 384 notes that this essay was based on the lecture entitled "A methodology" at the RIBA in London (10 January 1984) and 1987 Habitat Lecture at the Centre for Human Settlements, University of British Columbia, Vancouver, Canada; Harry Seidler, "Movement Against Style" Keynote address at Royal Australian Institute of Architects' International Convention 'Challenge of Excellence', Melbourne, 9 March 1992 (video at Deakin University) or online ""You know there's a great misconception about that modernism is a style. It isn't. It is a methodology of approach, that is in constant flux, constant change. It was a conviction that what man's eye seeks in our era, in our time, is not the ponderous solidity of traditional architecture where everything was built to four walls around a room and spaces that were finite. But rather our eyes seek transparency, lightness... being able to look through things." at https://vimeo.com/16877925 ; "In the Mind of the Architect", Australian Broadcasting Corporation TV series episode 1 (2000) see full transcript at http://www.abc.net.au/arts/architecture/ep_trn1.htm

Seidler's work shows a mix of influences from four great modern masters under whom he studied or worked with: Walter Gropius, Marcel Breuer, (artist) Josef Albers and Oscar Niemeyer. Seidler maintained relationships with his four mentors even after he came to Australia. Seidler was instrumental in having Walter Gropius address the RAIA Convention in Sydney in 1954. Seidler collaborated with Marcel Breuer for the Australian Embassy in Paris (as Breuer had a Paris office) and Seidler was Breuer's project architect for the Torin Factory in Penrith NSW in the 1970s. Seidler commissioned Josef Albers artworks for MLC Centre in the mid-1970s. Seidler also maintained a close friendship with Oscar Niemeyer through letters and visits to Rio de Janeiro.

Gropius' teachings had a big influence on Seidler. Gropius taught that Modernism was not a style but a methodology of approach which will vary according to different regions and climates. Seidler too insisted that Modernism was not a style ""You know there's a great misconception about that modernism is a style. It isn't. It is a methodology of approach, that is in constant flux, constant change." Seidler's designs upheld a Modernist design methodology, which he considered to be an amalgam of three elements: social use, efficient building construction methods and visual aesthetics. As these three elements were in constantly changing, Seidler always insisted that he had no fixed 'style', and so as building technology and social use changed, the visual expression of his designs constantly evolved throughout his 57 years of designing in Australia.

The form of Seidler's work changed as building technology changed: from his timber houses in the 1950s (many of which echoed Breuer's bi-nuclear house form), to reinforced concrete houses and buildings in the 1960–1980s, and the development of curves (in plan shapes) with advances in concrete technology in the 1980s and later, as well as developments in steel technology that allowed for curved roofs in the 1990s onwards (e.g. Berman House). Seidler is on record (in 1980) as stating that Oscar Niemeyer's interior of the Boavista Bank in Rio of 1946 (which Seidler would have seen in 1948) with its interacting curves must have influenced Seidler's use of interacting curves in exterior playground and retainer walls from the mid 1960s and throughout the 1970s. Upon celebrating 50 years of architectural practice in Australia, Seidler noted that developments in building technology allowed for more richness of form in his then soon-to-be completed Horizon apartment tower: "I could not have built Horizon twenty years ago...in earlier building technology (the way one could) span distances, it was very limited. (But Horizon) is made (possible) by devices such as pre-stressed concrete which is ...economic and quick. And that also gives you greater freedom of the shapes that you can use. Nowadays we can span huge distances and to do so (by) not just putting steel mesh or something into the concrete but to put steel, high tensile steel wire into it and pull it tight and that makes it easy to span distances and give this kind of change of shape of a building which would have been very difficult to achieve any other way."

While some commentators label Seidler's use of (unpainted) off-form concrete in the 1960s and 1970s as "brutalist" (from the French 'beton brut'), Seidler disowned the term as he was critical of British Brutalists as "pathetic imitations of Le Corbusier. The heavy monolithic structures of the 'brutalists', were the opposite of Seidler's visual aesthetic of transparency and lightness and being able to look through the architecture through the voids through the various architectural spaces.

In the 1960s and 70s Seidler worked with the Italian structural engineer Pier Luigi Nervi for the design of the Australia Square and MLC Centre office towers, in Sydney, the Edmund Barton Building (formerly called Trade Group Offices) in Canberra, and the Australian Embassy in Paris in the 1970s. the same Nervi- designed T beams were used by Seidler in his own Seidler Office building in Milsons Point (Sydney) completed in 1973. Seidler later worked with Nervi's successor Mario Desideri for the Riverside Centre in Brisbane.

Seidler learnt from Gropius (as one of the 3 required elements of good architecture) to devise efficient "systems" for constructing buildings – other than for individual houses, this involved "making things easy to build in accordance with a system that allows repetition of identical elements". This is why Kenneth Frampton labelled Seidler's non-house designs "isostatic architecture". In the 1970s and 1980s, Seidler used the geometry of the quadrant which connects the straight line to the curve and allowed for structural beams of the same size spanning across the radius of the quadrant. This is seen in Seidler's design for the Australian Embassy in Paris and Karralyka (previously called Ringwood Cultural) Centre.

Seidler saw parallels of good modern architecture with the underlying structural geometry of baroque architecture, especially the designs of Italian architect Francesco Borromini (which was illustrated in the book Space, Time & Architecture by Sigfried Gidieon which Seidler read as an architecture student). Seidler's designs from 1969 onwards often displayed opposing negative and positive quarter-circle curves (e.g. retaining garden walls of Pettit & Sevitt exhibition house, Westleigh, 1969, and Condominium Apartments, Acapulco 1969–70). From the 1980s, Seidler often incorporated plans with flamboyant curves (e.g. Hannes House, Hong Kong Club) and some commentators have labelled this as the start of Seidler's "baroque" period.

Seidler's visual approach to two-dimensional and three-dimensional spatial arrangement was consistent throughout his whole career and reflected what Seidler learnt from his visual aesthetics teacher Josef Albers. Seidler stated he learnt more about design from Albers than he did at any architecture school. Albers stated that designs which visually had a high centre of gravity were more dynamic than solid earth bound designs – which is why Seidler used (for non-tower designs) "cantilevered slabs hovering in mid-air which seem to 'negate' the fact that mass is something solid and heavy". Seidler would claim "aesthetically we want dematerialisation". Seidler, following Albers, also shunned traditional symmetry or grid-like modern designs as static (and thus dull), instead Seidler "offset" opposing elements to create "scintillation" and "visual tension" to be more visually dynamic and thus interesting to the eye. which is seen in the window pattern of Seidler's Blues Point Tower (1958–62) and three-dimensionally in the syncopated balcony arrangement of this Horizon Tower (1995–98).

Seidler articulated the visual-spatial design principle of modern architecture being "dissolution of conventional solidity" and inter-connecting spatial vistas. Seidler said the visual essence of modern architecture was "not the ponderous solidity of traditional architecture where everything was built to four walls around a room and spaces that were finite. But rather our eyes seek transparency, lightness... being able to look through things". He said of his first work, the Rose Seidler House. "This house explodes the surfaces that enclose a normal house or space, and turns it into a continuum of free standing planes, through which the eye can never see an end, you are always intrigued what's beyond, you can always see something floating into the distance, there is never an obstruction to your vision, it is a continuum (of space), that I believe 20th century man's eye and senses responds positively to that, we crave this". Again referring to Rose Seidler House plan, "(there are) planes of interacting solid walls and glass walls – solids and voids follow each other around, generating flows of space between them". Seidler also explains same principle for three-dimensional spatial arrangement as highly influenced by Theo van Doesburg's painting Space-time construction #3 (1923) in which there is an interpenetration of space and spatial flow between hovering planes which creates "an openness which is so much more subtle than it is when it's totally open and which is so often done" "Architecture in recent times has been immensely concerned about this idiom of the exploitation of the interior space which involves this simultaneous viewing of things, the channeling of vistas between its elements. ... As Le Corbusier has said, 'Instead of the eye and the mind being abruptly halted by edges and containing surfaces, as had been the case in the past, they are now laid continuously on an exploration, never quite comprehending the mystery of layered and veiled space'." Seidler says of the design for his Gissing House: "in three dimensions, the fact that the eye is always tempted to look beyond and never quite experiencing it all. There is a temptation with the seeing of things that are not entirely apparent, the tantalising sense of the beyond which you in fact are denied and which entices a person to move through and try and explore an interior."

In 1991, Seidler acknowledged that his first house (Rose Seidler House) which was built of timber, despite the north facing sunshades "is generally too vulnerable to temperature changes...I didn't fully appreciate the intensity of the Australian sun". Thus, later in his career, he sought to use more thermally stable materials like reinforced concrete and to respond to the Australian climate by the extensive use of sunshades and flamboyantly-shaped rain protecting canopies on his skyscrapers, (such as Grosvenor Place, Riverside Centre, and QV1), large covered balconies in his houses, as well as shaping his designs to maximize views and enjoyment of the outdoors from inside.

Collaboration with visual artists
Seidler was a frequent and enthusiastic collaborator with visual artists in the creation of his buildings. While his artist collaborators include famous or notable figures such as Alexander Calder, Frank Stella, Lin Utzon, Norman Carlberg, Charles O. Perry (the last two were fellow but later student of Josef Albers), Helen Frankenthaler, Sol LeWitt and many others, by far the most important of the collaborators was his mentor Albers. Seidler included works by Albers – perhaps the single person most influential on his design philosophy – in a number of projects (notably the MLC Centre with 'Homage to the Square' (later repurchased by the Albers Foundation, and Albers' last commissioned-design 'Wrestling' on the eastern side of MLC Plaza). Seidler also arranged in 1966 for the Australia Square tower ground lobby to display tapestries by Le Corbusier and Victor Vasarely – these were replaced in late 2003 by the Sol LeWitt mural. Seidler also selected and paid for Australian artworks to be shipped in 1977 to be ready to be displayed for the opening of the Australian Embassy in Paris in early 1978.  As Paul Bartizan indicates in his obituary tribute to Seidler, these works of art were not mere 'plop art'; they were really planned to be integrated with and complementary to the buildings into which they were placed: "In many of his projects, Seidler worked with artists whose works became an intrinsic component of his designs."

List of buildings

 * 1948–50: Rose Seidler House, Wahroonga (earlier publications list suburb as Turramurra) (Sydney)
 * 1949–54 Julian Rose House, Wahroonga – early publications call Rose House, Turramurra (Sydney)
 * 1951–53: Marcus Seidler House, Wahroonga (early publications list suburb as Turramurra) (Sydney)
 * 1950: Meller House, Castlecrag (Sydney)
 * 1952–54: Hutter House, Turramurra (Sydney) – since greatly modified such that hardly anything of Seidler's design remains.
 * 1952–54: Igloo House, also known as the Williamson House, Mosman (Sydney)
 * 1952–54 Thurlow House, Blakehurst (Sydney)
 * 1954 Bowden House, Deakin (Canberra)
 * 1957: Glass House, Chatswood (Sydney)
 * 1959: Canberra South Bowling Club, Griffith (Canberra) – (since demolished)
 * 1960: Ithaca Gardens, Elizabeth Bay (Sydney)
 * 1961: Grimson & Rose Exhibition House, Pennant Hills (Sydney) – (since demolished)
 * 1958–61: Blues Point Tower, McMahons Point (Sydney)
 * 1961: Wood House, Penrith (Sydney) – since mostly demolished and greatly altered
 * 1961–67: Australia Square Tower, Sydney
 * 1962: Ski Lodge, Thredbo
 * 1963: Muller House, Port Hacking (Sydney)
 * 1963–65: Rushcutters Bay Apartments (later called "Aquarius", Rushcutters Bay (Sydney)
 * 1964–67: Rosebery Apartments NSW Department of Housing, Maloney St Eastlakes (Sydney)
 * 1964–68: Garran Group Housing, Canberra – (since demolished)
 * 1965: Ercildoune, 85 Elizabeth Bay Road
 * 1965–68: Campbell Group Housing, Canberra – (since repainted alternating black and white)
 * 1965–66: Links View Apartments, Earlwood (Sydney)
 * 1965–66: Arlington Apartments, Edgecliff (Sydney)
 * 1966–67: Harry and Penelope Seidler House, Killara (Sydney)
 * 1968: International Lodge, Elizabeth Bay (Sydney)
 * 1969–70: Condominium Apartments, Acapulco, Mexico
 * 1970–74: Edmund Barton Building (formerly Trade Group Offices), Canberra
 * 1971–72: Gissing House, Wahroonga (Sydney)
 * 1971–72: Offices, 41 McClaren St, North Sydney (Sydney)
 * 1972–75: MLC Centre, Sydney
 * 1973–77: Embassy of Australia, Paris, France
 * 1973–94: Harry Seidler Offices and Apartments, Milsons Point (Sydney)
 * 1978–80: Karalyka Centre (formerly Ringwood Cultural Centre) (many non-Seidler alterations), Ringwood (Melbourne)
 * 1978–82: 72 Apartments, Broadbeach (Gold Coast) – (now called Broadbeach Waters)
 * 1979–82: Hillside Housing, Augusta Village, Kooralbyn, Queensland.
 * 1980–84: Hong Kong Club Building, Hong Kong Central
 * 1981–83: Merson House, Palm Beach (Sydney)
 * 1982–84: City of Monash (formerly Waverley Civic Centre), Glen Waverley (Melbourne)
 * 1982–84: Lakeview Townhouses (formerly 'Yarralumla Group Houses') Yarralumla (Canberra)
 * 1982–88: Grosvenor Place, Sydney
 * 1983–84: Hannes House, Cammeray (Sydney)
 * 1983–86: Riverside Centre, Brisbane
 * 1984–89: 9 Castlereagh St (formerly Capita Centre), Sydney
 * 1985: Garden Island Dockyard Workshop, Garden Island (Sydney)
 * 1985–89: 1 Spring Street (formerly Shell House), Melbourne
 * 1987: Hilton Hotel, Elizabeth Street, Brisbane
 * 1987–91: QV1, Perth
 * 1989–91: Hamilton House, Vaucluse (Sydney)
 * 1990: Monash Gallery of Art (with non-Seidler additions), Wheelers Hill (outer Melbourne)
 * 1990–98: Horizon Apartments (originally published as ABC Apartments), Darlinghurst (Sydney)
 * 1993–98: Wohnpark Neue Donau, Vienna, Austria
 * 1994–95: Meares House, Birchgrove (Sydney)
 * 1995–96: Gilhotra House, Hunters Hill (Sydney)
 * 1995–00: Grollo Tower project, Melbourne (never built)
 * 1996–98: Elizabeth Street Offices, Surry Hills (Sydney) – occupied by the Australia Council
 * 1996–99: Berman House, (originally published as "House in Southern Highlands", from 2010 marketed by new owner for accommodation as "Seidler House") Joadja, New South Wales
 * 1996–02: Hochhaus Neue Donau, Vienna, Austria
 * 1999–04 Cove Apartments, Sydney
 * 1999–05: Riparian Plaza, Brisbane
 * 1999–00: ARCA Showroom, Perth
 * 2001–06: Meriton Tower, Sydney
 * 2001–03: North Apartments, Sydney
 * 2001–07: Ian Thorpe Aquatic Centre (formerly "Ultimo Aquatic Centre"), Ultimo, Sydney
 * 2004–09: Waves on Hamilton, townhouses, Hamilton Island, Queensland.
 * 2004–09: Alliance Française Building, Sydney – (his last commercial and public design)

Honours

 * 1951, 1967, 1981, 1983, 1991 Sir John Sulman Medal
 * 1965, 1966, 1967, 1999 Wilkinson Award
 * 1966 Honorary Fellowship from the American Institute of Architects (AIA)
 * 1967 Civic Design Award
 * 1968 Pan Pacific Citation of the American Institute of Architects (AIA)
 * 1976 RAIA Gold Medal from the Royal Australian Institute of Architects
 * 1984 Member of the Académie d'architecture, Paris
 * 1984 Honorary Member of the Society of Graphic Artists of Austria (Künstlerhaus)
 * 1985, 1987, 1989, 1991, 1992, 2001 various honours of the Royal Australian Institute of Architects (RAIA)
 * 1985 Honorary Citizenship of Austria
 * 1987 Companion of the Order of Australia (AC) (Australia's highest honour)
 * 1990 Gold Medal City of Vienna
 * 1992 Officer of the Order of the British Empire
 * 1996 Gold Medal of the Royal Institute of British Architects (RIBA)
 * 1996 Austrian Decoration for Science and Art
 * 2002 Golden Badge of Honour for Merits for Vienna
 * 2004 Honour for International Highrises of the city of Frankfurt for "Cove Apartments" in Sydney

by Harry Seidler

 * Houses, Interiors, Projects (1954) Associated General Publications, Sydney. Reprint Horwitz, Sydney1959 (out of print)
 * Internment: The Diaries of Harry Seidler May 1940 – October 1941, Allen & Unwin, Sydney 1986; Unwin Hyman 1987, ISBN 0-86861-915-9, in co-operation with Janis Wilton, Judith Winternitz (out of print)
 * The Grand Tour, Travelling the World with an Architect's Eye, Taschen 2004, ISBN 978-3-8228-2555-6 (English, 704 pages). editions in other languages.

about Harry Seidler

 * Rayner Banham (Introduction): Harry Seidler 1955/63: Houses Buildings and Projects (1963) Horowitz, Sydney; Freal, Paris; Hate, Stuttgart (English, French & German text) (out of print)
 * Peter Blake: Architecture for the New World: The Work of Harry Seidler, Sydney 1973, ISBN 3-7828-1459-2
 * Kenneth Frampton, Philip Drew: Harry Seidler: Four Decades of Architecture, Thames & Hudson, 1992, ISBN 0-500-97838-7 (out of print)
 * Dennis Sharp (introduction): "Harry Seidler: Selected and Current Works", The Master Architect, Series III, Images Publishing 1997, ISBN 1-875498-75-3 (out of print)
 * Chris Abel (introduction): Harry Seidler – Houses & Interiors, Volume 1 (1948–1970) & Volume 2(1970–2000), Images Publishing, Mulgrave (Melbourne) 2003, (Vol. 1) ISBN 1-86470-104-8, (Vol. 2) ISBN 1-86470-105-6, Boxed Set ISBN 1-920744-16-9 (out of print)
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.
 * Dennis Sharp (introduction): "Harry Seidler: Selected and Current Works", The Master Architect, Series III, Images Publishing 1997, ISBN 1-875498-75-3 (out of print)
 * Chris Abel (introduction): Harry Seidler – Houses & Interiors, Volume 1 (1948–1970) & Volume 2(1970–2000), Images Publishing, Mulgrave (Melbourne) 2003, (Vol. 1) ISBN 1-86470-104-8, (Vol. 2) ISBN 1-86470-105-6, Boxed Set ISBN 1-920744-16-9 (out of print)
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.
 * (film) Frozen Music: Rose Seidler House and the Work of Harry Seidler (2004) (22 minutes) – film screened on loop at Rose Seidler House during opening hours.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Harry Seidler


text:
Historical cost

The historical cost of an asset at the time it is acquired or created is the value of the costs incurred in acquiring or creating the asset, comprising the consideration paid to acquire or create the asset plus transaction costs. Historical cost accounting involves reporting assets and liabilities at their historical costs, which are not updated for changes in the items' values. Consequently, the amounts reported for these balance sheet items often differ from their current economic or market values.

While use of historical cost measurement is criticised for its lack of timely reporting of value changes, it remains in use in most accounting systems during periods of low and high inflation and deflation. During hyperinflation, International Financial Reporting Standards (IFRS) require financial capital maintenance in units of constant purchasing power in terms of the monthly CPI as set out in IAS 29, Financial Reporting in Hyperinflationary Economies. Various adjustments to historical cost are used, many of which require the use of management judgment and may be difficult to verify. The trend in most accounting standards is towards more timely reflection of the fair or market value of some assets and liabilities, although the historical cost principle remains in use. Many accounting standards require disclosure of current values for certain assets and liabilities in the footnotes to the financial statements instead of reporting them on the balance sheet.

For some types of assets with readily available market values, standards require that the carrying value of an asset (or liability) be updated to the market price or some other estimate of value that approximates current value (fair value, also fair market value). Accounting standards vary as to how the resultant change in value of an asset or liability is recorded; it may be included in income or as a direct change to shareholders' equity.

The capital maintenance in units of constant purchasing power model is an International Accounting Standards Board approved alternative basic accounting model to the traditional historical cost accounting model.

Historical cost basis (original cost)
Under the historical cost basis of accounting, assets and liabilities are recorded at their values when first acquired. They are not then generally restated for changes in values.

Costs recorded in the Income Statement are based on the historical cost of items sold or used, rather than their replacement costs.

For example,
 * a company acquires an asset in year 1 for $100
 * the asset is still held at the end of year 1, when its market value is $120
 * the company sells the asset in year 2 for $115

At the end year 1 the asset is recorded in the balance sheet at cost of $100. No account is taken of the increase in value from $100 to $120 in year 1. In year 2 the company records a sale of $115. The cost of sales is $100, being the historical cost of the asset. This gives rise to a gain of $15 which is wholly recognized in year 2.

Inventory
It is standard under the historical cost basis to report the cost of inventory (stock) at the lower of cost and net realisable value. As a result:-
 * A decrease in the realisable value of inventory to an amount below its historical cost is recognised immediately
 * An increase in the realisable value of inventory is not recognised until the inventory is sold.

Property, plant and equipment
Property, plant and equipment is recorded at its historical cost. Cost includes:- In IFRS, cost also includes the initial estimate of the costs of dismantling and removing the item and restoring it. Cost may include the cost of borrowing to finance construction if this policy is consistently adopted. The historical cost is then depreciated: it is systematically reduced to the recoverable amount, over the estimated useful life of the asset, to reflect the asset's usage. The depreciation (reduction of historical cost) is charged to expense. In most cases the "straight line" depreciation method is used, resulting in the same depreciation charge each year until it is expected to be sold or no further economic benefits obtained from it. Other patterns of depreciation are used if assets are used proportionately more in some periods than others.
 * Purchase price, including import duties and non-refundable purchase taxes, after deducting trade discounts and rebates;
 * Any costs directly attributable to bringing the asset to the location and condition necessary for it to be capable of operating. These can include site preparation, delivery and handling costs, installation, assembly, testing, professional fees and the costs of employees directly involved in these activities.

Financial instruments
Certain financial items may be recorded at historical cost which is the basic method of financial accounting. Any initial issue premium or discount is amortized to interest over time, and the resulting value is often described as amortized cost.

Revaluation of property, plant and equipment
Under IFRS it is acceptable, but not required, to re-measure the values of property, plant and equipment at their fair (current) values. 'Fair value' is the amount for which an asset could be exchanged, or a liability settled, between knowledgeable, willing parties in an arm's length transaction. Such a policy must be applied to all assets of a particular class. It would therefore be acceptable for an entity to revalue freehold properties every three years. The revaluations must be made with sufficient regularity to ensure that the carrying value does not differ materially from market value in subsequent years. A surplus on revaluation would be recorded as a reserve movement, not as income.

Derivative financial instruments
Under IFRS and US GAAP derivative financial instruments are reported at fair value, with value changes recorded in the income statement.

Financial reporting in hyperinflationary economies
IFRS requires IAS 29 Financial Reporting in Hyperinflationary Economies which prescribes capital maintenance in units of constant purchasing power in currencies deemed to be hyperinflationary. The characteristics of a hyperinflation include the population keeping its wealth in non-monetary assets or relatively stable foreign currencies, prices quoted in foreign currencies or widespread indexation of prices. This might arise if cumulative inflation reaches or exceeds 100% over three years. An entity operating in a hyperinflationary economy:-
 * Records a gain or loss on its 'net monetary position' in its income statement.
 * Records non-monetary items (for example, property, plant & equipment) in the balance sheet by applying indexation to their historical cost.

Management accounting techniques
In management accounting there are a number of techniques used as alternatives to historical cost accounting, including:-
 * measuring profit on sale of inventory by reference to its replacement cost. If inventory with a historical cost of $100 is sold for $115 when it costs $110 to replace it, the profit recorded would be $5 only based on replacement cost, not $15;
 * charging economic rent for assets, particularly property. If a business uses a 20-year-old property which it owns, depreciation on a historical cost basis might be insignificant. However, the management accounts could show a notional rent payable, being perhaps opportunity cost - the amount the business could receive if it let the property to a third party.

IASB approved alternative to historical cost accounting
The IASB's Framework introduced Capital Maintenance in Units of Constant Purchasing Power as an alternative to Historical Cost Accounting in 1989 in Par. 104 (a) where it states that financial capital maintenance can be measured in either nominal monetary units - the traditional HCA model - or in units of constant purchasing power at all levels of inflation and deflation: the CMUCPP model.

The specific choice of measuring financial capital maintenance in units of constant purchasing power (the CMUCPP model) at all levels of inflation and deflation as contained in the Framework for the Preparation and Presentation of Financial Statements, was approved by the International Accounting Standards Board's predecessor body, the International Accounting Standards Committee Board, in April 1989 for publication in July 1989 and adopted by the IASB in April 2001.

"'In the absence of a Standard or an Interpretation that specifically applies to a transaction, management must use its judgement in developing and applying an accounting policy that results in information that is relevant and reliable. In making that judgement, IAS 8.11 requires management to consider the definitions, recognition criteria, and measurement concepts for assets, liabilities, income, and expenses in the Framework. This elevation of the importance of the Framework was added in the 2003 revisions to IAS 8.'"

IAS8, 11: "In making the judgement, management shall refer to, and consider the applicability of, the following sources in descending order: (a)	the requirements and guidance in Standards and Interpretations dealing with similar and related issues; and (b)	the definitions, recognition criteria and measurement concepts for assets, liabilities, income and expenses in the Framework."

There is no applicable International Financial Reporting Standard or Interpretation regarding the valuation of constant real value non-monetary items, e.g. issued share capital, retained earnings, capital reserves, all other items in Shareholders Equity, trade debtors, trade creditors, deferred tax assets and liabilities, taxes payable and receivable, all other non-monetary receivables and payables, Profit and Loss account items such as salaries, wages, rents, etc. The Framework is thus applicable.

The CMUCPP model is chosen by hardly any accountant in non-hyperinflationary economies even though it would automatically maintain the real value of constant real value non-monetary items, e.g. issued share capital, retained income, other shareholder equity items, trade debtors, trade creditors, etc., constant for an unlimited period of time in all entities that at least in real value at all levels of inflation and deflation - all else being equal. This is because the CMUCPP model is generally viewed by accountants as a 1970s failed inflation accounting model that requires all non-monetary items - variable real value non-monetary items and constant real value non-monetary items - to be inflation-adjusted by means of the Consumer Price Index.

The IASB did not approve CMUCPP in 1989 as an inflation accounting model. CMUCPP by measuring financial capital maintenance in units of constant purchasing power incorporates an alternative capital concept, financial capital maintenance concept and profit determination concept to the Historical Cost capital concept, financial capital maintenance concept and profit determination concept. CMUCPP requires all constant real value non-monetary items, e.g. issued share capital, retained income, all other items in Shareholders Equity, trade debtors, trade creditors, deferred tax assets and liabilities, taxes payable and receivable, all items in the profit and loss account, etc. to be valued in units of constant purchasing power on a daily basis. Variable real value non-monetary items, e.g. property, plant, equipment, listed and unlisted shares, inventory, etc. are valued in terms of IFRS and updated daily.

The IASB requires entities to implement IAS 29 which is a Capital Maintenance in Units of Constant Purchasing Power model during hyperinflation.

Advantages and disadvantages of historical cost accounting
Advantages
 * Historical cost accounts are straightforward to produce
 * Historical cost accounts do not record gains until they are realized
 * Historical cost accounts are still used in most accounting systems

Disadvantages
 * Historical cost accounts give no indication of current values of the assets of a business
 * Historical cost accounts do not record the opportunity costs of the use of older assets, particularly property which may be recorded at a value based on costs incurred many years ago
 * Historical cost accounts do not report/account the loss of real value of nominal monetary items as a result of inflation or the gain in real value in nominal monetary items during deflation.

title: Historical cost


text:
Appreciation

Appreciation may refer to:

 * Financial
 * Capital appreciation
 * Currency appreciation and depreciation

 * Other
 * Gratitude
 * Art criticism

title: Appreciation


text:
Wikipedia:Naming conventions (Korean)

In naming Korea-related topics and article titles, please follow these conventions. For infoboxes, templates, romanizations, and other style issues, see also Manual of Style (Korea-related articles).

Romanization of names
Personal, organization, and company names should generally be romanized according to their common usage in English sources. If there is no established English spelling, then Revised Romanization should be used for South Korean names and McCune–Reischauer for North Korean and pre-1945 Korean names.

Generally, Korean templates should be used to show the native script and both romanizations. Please be sure to create redirects from both romanizations and any other likely romanizations and common misspellings.

Name order
Unless the subject is known to prefer otherwise, family name should be written first.

Family name
For many family names, such as Kim, Lee, and Park, there is a single clear common spelling. In cases where the subject has no known personal preference and there is no established English name for the subject, family names are romanized according to the surname's common spelling, which may not necessarily be the Revised Romanization or McCune–Reischauer romanization.

Given name
Koreans variously spell two-syllable given names as a joined word or separated by a hyphen or a space, with the second syllable occasionally capitalized. If there is no personal preference and no established English spelling, hyphenate the syllables, with only the first syllable capitalized (e.g., Hong Gil-dong).

Royalty
The article titles for monarchs should use the format Name (the Great) of Kingdom. For example: Queen Seondeok of Silla; Sejong the Great; Gojong of Korea.

See List of Korean monarchs formatted as above, together with Wikipedia links to the articles for the individual monarchs.

Appropriate infobox templates should be used.

Place names
Articles about places should use the appropriate infobox templates.

Generally, place names are romanized according to the official romanization system of the country the place is a part of. Thus, North Korean place names use McCune-Reischauer Romanization, while South Korean place names use the Revised Romanization of Korean.

Provinces
Translate the terms for administrative divisions "-do". For example, North Gyeongsang Province, not Gyeongsangbuk-do.

Cities
For cities, use the romanization of the city name, without the "-si" (e.g., Seoul, Busan). If disambiguation is needed, "City" may be added.

Counties
For counties, use the romanization of the county name with "County" as the translation for "-gun" or "-kun". If disambiguation is needed, the upper level administrative division's name may be added as the generic class (e.g., Unsan County, South Pyongan).

Districts
There are two kind of districts, autonomous districts (자치구) and non-autonomous districts (일반구). For autonomous districts, use the romanization of the district name with "District" translated the "-gu". Non-autonomous districts are named "X-gu". For North Korean locales, use the romanization of the district name with the "-guyok". For North Korean locales -ku, -chigu, use the romanization of the county name, without the "-ku, -chigu".

Towns, neighbourhoods and villages
For clarity, non-autonomous divisions' articles should be titled with the full name. Towns are named "X-eup" (although "-eup" can be omitted), Townships "X-myeon", Neighbourhoods "X-dong" and villages "X-ri".

Mountains
If there is no clear WP:COMMONNAME for a mountain, apply the following:
 * If the mountain's Korean name ends with either of the terms "san" (산) or "bong" (봉), title their articles with their full unhyphenated Korean names. For example, Seoraksan and Moranbong.
 * If disambiguation is needed, "mountain" can be added—see Disambiguation.
 * If the mountain's name ends in "oreum", split the name. For example, Yongnuni Oreum and not Yongnunioreum.
 * Splitting appears to be the general WP:COMMONNAME convention for oreum. Splitting also results in fewer spelling ambiguities and more segmented names that are easier to quickly parse.

Rivers
Articles about rivers should be named with the river's short Korean name (without gang or kang) followed by the word River. Thus the article on the Nakdong (Nakdonggang) is at Nakdong River.

If disambiguation with a non-Korean river is needed, "(Korea)" can be added -- see Disambiguation. An example of this would be Han River (Korea).

Islands
For islands, the full unhyphenated Korean name including do or seom should be used, as in Baengnyeongdo. If disambiguation is needed, "island" can be added -- see Disambiguation.

This convention applies to islands without an accepted English name. If a different name has been established in common English usage, it should be used, per Use common names.

Sea of Japan
For all articles use:  which is the common name for the sea among English-language sources.

Temples
For Buddhist temples, the full unhyphenated Korean name including sa should be used, as in Bulguksa. If disambiguation is needed, "Temple" can be added -- see Disambiguation.

This convention applies to temples without an accepted English name. If a different name has been established in common English usage, it should be used, per Use common names.

This convention may be applied mutatis mutandis to Confucian and other shrines which lack common or official English names, such as the Jongmyo.

External references

 * dictionary.seoul.go.kr - Seoul City Government Web site giving official English names and romanizations for various concepts, including places, foods, railway lines, etc.
 * Korean Romanization Converter
 * Culture Ministry sets guideline for Romanizing Korean names

title: Wikipedia:Naming conventions (Korean)


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Bob Elliott (comedian)

Robert Brackett Elliott (March 26, 1923 – February 2, 2016) was an American comedian and actor, one-half of the comedy duo of Bob and Ray. He was the father of comedian/actor Chris Elliott and grandfather of actresses and comedians Abby Elliott and Bridey Elliott. He is most remembered for the character of radio reporter Wally Ballou.

Life and career
Elliott was born in Winchester, Massachusetts, the son of Gail Marguarite (née Brackett), a needleworker, and Fred Russell Elliott, who worked in insurance. Bob Elliott served in the U.S. Army in Northern Europe during World War II. On radio, he appeared in programs with his long-time partner Ray Goulding. These were in different series and time slots over decades, beginning in the late 1940s at Boston's WHDH radio on the show Matinee with Bob and Ray.

On television, Elliott and Goulding hosted Bob and Ray from 1951 to 1953. He appeared on a number of other television programs, including Happy Days; Newhart; and Bob & Ray, Jane, Laraine & Gilda in 1979 (with Goulding, Jane Curtin, Laraine Newman and Gilda Radner); The David Steinberg Show; and Saturday Night Live. In 1982, Elliott was in Author! Author! as Patrick Dicker. He would star in made-for-TV-Movie's such as Between Time and Timbuktu and FDR: A One Man Show. Elliott also made television commercials, and co-wrote some humor articles with Ray Goulding for Mad Magazine in the 1950s.

In 1970, the duo debuted in The Two and Only on Broadway. Bob and Goulding worked together up until Goulding's death in 1990.

Solo works
In 1990, Elliott portrayed a bank guard in Quick Change. In 1990, he portrayed "Fred Peterson" in the television series Get a Life, which starred Chris as his son. Four years later, the elder Elliott appeared in the Tim Burton production Cabin Boy, playing Chris's father again. In 2004, he appeared in a skit on the Air America radio program The O'Franken Factor. Elliott appeared on radio with Garrison Keillor in The American Radio Company of the Air.

Personal life
Elliott married Jane Underwood in 1943. They divorced in 1953, having no children. Bob and Ray writer Raymond Knight died in 1953. In 1954, Elliott married Knight's widow, Lee (née Peppers). They were married for 58 years until her death in 2012. They had two sons, Chris Elliott and Bob Elliott Jr., and one daughter, Amy Andersen. They adopted Lee and Ray Knight's two children, Colony Elliott Santangelo and Shannon Elliott. They had 11 grandchildren and five great-grandchildren.

In 1989, Elliott co-authored son Chris's mock autobiography, Daddy's Boy: A Son's Shocking Account of Life with a Famous Father.

Death
Elliott died in Cundy's Harbor, Maine on February 2, 2016, from throat cancer at the age of 92.

title: Bob Elliott (comedian)


text:
Talk:Falling Down

References to use

 * Please add to the list references that can be used for the film article.

D-FENS, AKA William "Bill" Foster
I think the lead and cast section should include both monikers to make it clear to the reader up front or scanning the cast. I haven't seen the end credits recently, but many sources say the character is listed as "D-FENS" or "D-Fens". The trailer says "Bill Foster". The mother's end credits are also "D-FENS's mother". I don't remember where his name is said in the film, but guessing one or more of these: when he runs the plates, with the mother[ http://www.script-o-rama.com/movie_scripts/f/falling-down-script-transcript-douglas.html ] or in the bedroom, interacting with his ex-wife (live or on tape). I think whatever the end credits say should be first, followed by the extra names. If you think it should be something else, please explicitly point out some guideline (like in MOS:Film) or significant examples. — Preceding unsigned comment added by StrayBolt (talk • contribs) 14:05, August 2, 2018 (UTC)

Film category
People seem to have different ideas of the correct category for this film. It changes every few weeks (or even days) between action, thriller, satire, ... — Preceding unsigned comment added by 213.251.76.42 (talk) 09:41, 2021 August 24 (UTC)

The Woke Cancel Culture can't even leave a classic like this alone.
I don't think that the opinion of a single critic, April Wolfe, written in the heat of the hopefully temporary Woke madness has a place on the wikipedia about this classic.

I saw the movie (back then) and there is no racism, or far-right, or white-whatever in it. It's just a good movie in the setting of that time. Who cares that the main character is "white". People who pay attention to that are racists. It's tiresome, and I think that paragraph should be removed as distasteful.

Carlo Wood (talk) 00:17, 26 November 2021 (UTC)

title: Talk:Falling Down


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VBR

VBR may refer to:

Computing

 * Variable bitrate, in telecommunications and computing, a non-constant sound or video encoding bitrate
 * Volume boot record, in computer disks, a type of boot sector that contains code for bootstrapping programs
 * Vouch by Reference, a standard way for email certification providers to vouch for outbound email sent by others

Other

 * Reverse breakdown voltage, a diode characteristic in electronics

title: VBR


text:
Calvert DeForest

Calvert Grant DeForest (July 23, 1921 – March 19, 2007), also known by his character name Larry "Bud" Melman, was an American actor and comedian, best known for his appearances on Late Night with David Letterman and Late Show with David Letterman. He was the great-nephew of inventor Lee de Forest.

Early life
DeForest grew up in Bay Ridge, Brooklyn. He was born to Calvert Martin DeForest, M.D., a physician who died in 1930 at the age of 49, and Mabelle (Taylor) DeForest. His father was a cousin of radio pioneer Lee de Forest.

DeForest attended Poly Prep Country Day School in Brooklyn, New York. He was employed for many years as a file clerk at the pharmaceutical company Parke-Davis, which was later acquired by Pfizer. He had aspirations of acting but was discouraged by his mother, who was briefly an actress herself. After her death in 1969, DeForest did part-time backstage work, which eventually led to acting work, and is credited with appearing in five films from 1972 to 1982. He worked part-time as a receptionist at a drug rehabilitation center until February 1984, when his supervisor learned of his employment with NBC and his resulting ineligibility for the position (as it was part of a program designed for those who made under $6,000 a year) and asked him to resign.

Work with David Letterman
In early 1982, DeForest was hired to appear on the new NBC program Late Night with David Letterman. His late-blossoming television career began with a New York University student film project called King of the Zs, by future Letterman writers Stephen Winer and Karl Tiedemann, who brought him along when they joined the Late Night writing staff. The Associated Press noted: "DeForest's gnomish face was the first to greet viewers when Letterman's NBC show debuted on February 1, 1982, offering a parody of the prologue to the Boris Karloff film Frankenstein. 'It was the greatest thing that had happened in my life,' he once said of his first Letterman appearance."

On Late Night, DeForest played the role of Larry "Bud" Melman. Late Night talent coordinator Sandra Furton described him as a "mascot", but Melman had no real fixed or defined role on the show. He was simply an older, short, portly man with thick black-framed glasses who was seen relatively frequently, especially in the early years. In the first few years of the show, the Melman character was somewhat of an entrepreneur, appearing in ads for "Melman Bus Lines" as well as for "Mr. Larry's Toast On A Stick" ("Bread's answer to the Popsicle!"). He was also ostensibly the producer of the show as the head of "Melman Productions", although this facet of the character was soon dropped. The character's teenage son, Troy "Chipper" Melman (who rarely spoke, and usually just coughed uncontrollably) was seen occasionally alongside his father in various ads.

Outside the pre-taped ads, Melman would sometimes be given odd chores to perform by Letterman, such as handing out hot towels to arrivals at the Port Authority Bus Terminal. At other times, Melman would give pre-scripted answers to unlikely audience questions, or appear unexpectedly to heckle Letterman or the audience. Melman also appeared numerous times as "Kenny The Gardener," offering dubious gardening advice to home viewers, followed by a song performed in a tuneless-but-enthusiastic style. Occasionally, Melman would just simply wander onto the stage during Letterman's monologue as if lost, then leave without saying anything.

A hallmark of the Melman character was his seemingly genuine lack of acting polish. Melman's scripted lines were clearly read from cue cards and usually delivered in a forceful shout—but when Letterman or others forced "Melman" into ad-libbing, the actor's naturally more soft-spoken and polite demeanor came to the forefront. Melman routinely flubbed or mangled lines, but gamely persevered with whatever sketch he was in. He was also noted for his remote interviews in which he would ask the interviewee a question, but pitch the microphone to the interviewee too quickly, resulting in the last part of the question being inaudible to Dave and the audience. As a result of his frequent appearances, he became hugely popular with fans of Late Night, often being greeted with loud cheers and applause before even speaking.

When Letterman moved from NBC to CBS in 1993, the Melman name was retired, as NBC insisted that the character of "Larry 'Bud' Melman" was their intellectual property. However, starting from the first edition of Late Show with David Letterman, DeForest continued to play exactly the same character he had played on Late Night, now simply using his real name. DeForest often "drew laughs by his bizarre juxtaposition as a Late Show correspondent at events such as the 1994 Winter Olympics in Norway and the Woodstock anniversary concert that year." One of DeForest's more memorable skits came on Letterman's May 13, 1994 show in Los Angeles. The host stated Johnny Carson would announce the evening's Top 10 list, at which point DeForest appeared as "Johnny Carson." Shortly after DeForest's exit, the real Johnny Carson appeared in what would prove to be Carson's last television appearance.

DeForest continued to appear on Letterman's show until his 81st birthday in 2002 before retiring from acting. He had appeared in 15 outside films or TV shows since he began his association with Letterman in 1982.

Letterman noted after DeForest's death: "Everyone always wondered if Calvert was an actor playing a character, but in reality he was just himself: a genuine, modest, and nice man. To our staff and to our viewers, he was a beloved and valued part of our show, and we will miss him." When asked how he'd like to be remembered, DeForest responded, "Just being able to make people laugh and knowing people enjoyed my humor. I also hope I haven't offended anyone through the years."

Other appearances
He was co-host (in charge of the digital switcher) on the local SF Bay Area radio program, 10@10, on KFOG with Dave Morey.

In 1985, he appeared in the music video for the Run-DMC song "King of Rock" as a security guard.

In 1989, he appeared in the Special Ed video for the song "Think About It" as the villainous Dr. Norecords.

In 1994, he wrote a humor book called Cheap Advice.

In 1994, he appeared in the music video for the Vince Gill song "What The Cowgirls Do" as a cowboy sidekick.

In 1997, he made a cameo appearance in episode 164 of Wings (16th episode of the 8th season) entitled "Escape from New York".

In the late 1990s, he often appeared in various television ads including ones for Tropicana Twister, 1-800-Collect and Little Caesars.

In 1999, he recorded the lounge compilation CD Calvert DeForest's Erotic Experience, a collection of cover songs, published October 12, 1999 by Mars Entertainment.

DeForest also appeared on the albums Americana and Ixnay on the Hombre by The Offspring, doing some of the voices that can be heard before and after certain tracks (examples are: “Hand Grenades,” “Change the World,” and “Cocktails”.) In late March 2007, a 20-minute clip of DeForest recording the voices for their album was posted on The Offspring's website.

He appeared at Woodstock '94 to announce Nine Inch Nails' late night set by proclaiming, "Ladies and gentlemen, punch your balls off and please welcome Nine Inch Nails!"

He appeared on the first episode of the 1996 series The Dana Carvey Show on ABC.

He appeared as Rusty in the 1986 episode The Gang's All Here of the television show Pee-wee's Playhouse.

Death
After years of poor health, DeForest died at Good Samaritan Hospital in West Islip, New York, on Long Island, on March 19, 2007. Per his request, no funeral services were held; he was cremated and his remains were interred at Pinelawn Cemetery, Farmingdale, New York. By all press accounts, he left no surviving relatives.

Filmography

 * While the Cat's Away, movie (1972)
 * Mrs. Barrington, movie (1974)
 * Apple Pie, movie (1976)
 * Blond Poison, movie (1979)
 * Waitress!, movie (1980)
 * Late Night with David Letterman (1982–1993) as "Larry 'Bud' Melman"
 * The First Time, movie (1982)
 * Nothing Lasts Forever, movie (1984)
 * "Cleanin' Up the Town", The BusBoys music video (1984)
 * "King of Rock", Run-DMC music video (1985)
 * Heaven Help Us, movie (1985)
 * Pee-wee's Playhouse, (1986) (Episode 12), as "Rusty"
 * My Demon Lover, movie (1987)
 * Leader of the Band, movie (1987)
 * The Couch Potato Workout, video (1988), as "Larry 'Bud' Melman"
 * Freaked, movie (1993), as "Larry 'Bud' Melman"
 * Late Show with David Letterman (1993–2002)
 * Mr. Write, movie (1994)
 * "What The Cowgirls Do", Vince Gill music video (1994)
 * Encino Woman, TV movie (1996)
 * Wings, cameo, (1997)
 * "American Psycho", Misfits music video (1997)
 * "Closure", Nine Inch Nails music video (1997)

title: Calvert DeForest


text:
Murray Hill, New Jersey

Murray Hill is an unincorporated community located within portions of both Berkeley Heights and New Providence, located in Union County in northern in the U.S. state of New Jersey.

It is the longtime central location of Bell Labs, having moved there in 1941 from New York City. The first working transistor was demonstrated in Bell Labs' Murray Hill facility in 1947.

The neighborhood shares its ZIP Code 07974 with the neighboring borough of New Providence.

Murray Hill was named and founded by Carl H. Schultz, founder of a mineral water business once located at First Avenue between 25th and 26th Streets in the Murray Hill district of Manhattan. Schultz purchased a large tract of land there during the 1880s where he built a residence for his family and donated land to be used for a train station with the condition that the area be known as "Murray Hill".

Economy
Businesses and organizations based in Murray Hill include:
 * C. R. Bard, a manufacturer of surgical equipment.
 * Bell Labs, pioneering research center that's had nine Nobel Prizes awarded to its work.
 * The Linde Group's (formerly The BOC Group) United States headquarters, the world's largest industrial gases company.

Transportation
Mass transit to Murray Hill is available via the New Jersey Transit Gladstone Branch train line to the Murray Hill or Summit stations. Passengers heading to Bell Labs can take the 986 bus route to shuttle between the facility and the train station.

title: Murray Hill, New Jersey


text:
Talk:Murray Hill, Manhattan

Naming
Or should this be Murray Hill, New York City? Either form seems reasonable...
 * Well... there are certain districts (like Chinatown and Koreatown) for which the "XXX, Manhattan" name would be more convenient, since there are instances in both Manhattan and other boroughs. In any case I've renamed some (yet-to-be-done) neighborhood links in the Manhattan node using your convention.  Sounds good for now. -k.lee

If anyone really knows all the NYC neighborhoods well it might be worthwhile to standardize a format. I think most viewers are either residents or, like me, prospective residents. A standard box showing neighborhood borders, subway and bus service, etc. would be appreciated in addition to history sections. Wish I knew enough to help with that though. --Mister Tattle 01:59, 24 Jun 2005 (UTC)

How about some information about the actual neighborhood itself, instead of the history of the family for whom it's named? --Michael J. West

All of these sound like good ideas...I can try to put a bit together on Murray Hill as I have some forty years familiarity with the area, but I don't have a lot on other neighborhoods in Manhattan. Doc 03:56, 14 November 2005 (UTC)

Telephone exchange
The general explanation of how alphanumeric telephone numbers worked is out of place here, mainly because it belongs in an article about the history of telephone service. Moreover, the "MUrray Hill" exchange name isn't the best example; those unfamiliar with old number formats might think the "H" had to be worked into the number also.Pithecanthropus (talk) 06:57, 2 January 2012 (UTC)

Bold text== Who's a New Yorker? ==

''Since the late 1990s, however, many professional New Yorkers in their twenties and thirties have begun to move into the area. ''

How are these people New Yorker's? Because they moved from another state, maybe went to college in the area and decided to stay? That's very lenient to say who's a New Yorker. This implies that New Yorker's, from either other boroughs or the metropolitan area moved into Murray Hill. Maybe that's true for a few people, but the majority, like anywhere else in lower Manhattan or Mid-Town, is predominantly of young profession out-of-state born white American's and wealthy foreigners. I'll be revising this to say out of state born. According to the U.S. Census, within U.S. citizens, 62 percent of residents in Manhattan were born in the state of New York. Above 96th street consists of half of Manhattan's probably. It's probably about 80-85 percent native there, while it's about 35-40 below, which includes Murray Hill. TomNyj0127 (talk) —Preceding undated comment added 20:36, 25 May 2009 (UTC).

Your own municipal leaders seem to disagree with you. Who said you have to be a native? If you've been there long enough to say you live there, you can call yourself a New Yorker or Angeleno or what have you. I do recognize that the question of "how long is long enough?", in itself, can be a contentious other issue. Yet I'm sure most people would concede that moving somewhere for college and then staying on at least a few years would be sufficient. — Preceding unsigned comment added by Pithecanthropus (talk • contribs) 01:52, 3 January 2012 (UTC)

 * Near the end of Midnight Cowboy Joe is asked where he's from and he replies in his longest Texas drawl, "Nyeew Yorrk". And he's right. Jim.henderson (talk) 21:59, 6 January 2012 (UTC)

Supposedly disruptive changes
Can you please explain why you described this edit as disruptive? I don't see any blatantly unconstructive edits in that revision. All I did was add a reference, shift some sentences in the "20th Century" section so that we don't have a list of structures in the middle of the section describing the subject's history, moved some further reading links to the references section, and formatted the "Diplomatic missions" sections for extra spaces. Are there other, flagrant issues with this addition? Epicgenius (talk) 00:08, 28 December 2014 (UTC)
 * (Don't ping me, it's turned off) I never used the word "disruptive", so your question is based on a fallacy. BMK (talk) 00:24, 28 December 2014 (UTC)
 * You have described my other recent edits as disruptive and "fucking up the layout" (your words, not mine). You reverted about 50 of my edits in the past two days without much explanation other than a chiding on my talk page. Meanwhile, I'd simply like to know why my additions to this page (and to others) have been reverted. Is it because of an actual layout issue, or is it because you actually see a factual error in my additions? Epicgenius (talk) 00:32, 28 December 2014 (UTC)
 * This is the page to discuss the Murray Hill article, not for general discussion. BMK (talk) 00:45, 28 December 2014 (UTC)
 * I'm not asking for general discussion. To rephrase the above: Why did you undo my additions to this article? Epicgenius (talk) 01:46, 28 December 2014 (UTC)
 * Because they did not improve the article. BMK (talk) 01:57, 28 December 2014 (UTC)
 * I would still like to know how they were not improvements. Is the addition untruthful in some way, or stylistically messed up? In any case, it's unclear how I did not improve the article, given that I added sources and content concurrent with said sources. BTW, my edit didn't introduce an Asian POV. The sentence about Curry Hill is the same length as before. Epicgenius (talk) 02:05, 28 December 2014 (UTC)
 * But you moved to to an inappropriately prominent place. BMK (talk) 02:15, 28 December 2014 (UTC)
 * It was simply in chronological order. Epicgenius (talk) 02:22, 28 December 2014 (UTC)
 * Huh? BMK (talk) 02:24, 28 December 2014 (UTC)
 * For the 20th Century section: Basically, "For much of the 20th century, the neighborhood was a quiet and rather formal place, with many wealthy older residents. [But since the late] 1970s, the area gained the nickname "Curry Hill," [and] since the late 1990s, many young people in their twenties have moved to the area from the suburbs of New York." In other words: first, it was a quiet area. Then, many South Asians set up shop there. Finally, young professionals started moving here. Is that more clear? Epicgenius (talk) 22:21, 28 December 2014 (UTC)
 * For hopefully the last time, Murray Hill has never been called "Curry Hill", because the area lightly known as "Curry Hill" (a joking reference to the form of the name "Murray Hill")  is not located in Murray Hill . BMK (talk) 22:45, 28 December 2014 (UTC)
 * OK... (On a pedantic note: What last time? I don't recall you ever saying this. If you meant "only", say "only". "Last" is for two or more times.) Epicgenius (talk) 23:31, 29 December 2014 (UTC)

Why not a map?
Could anyone please post a map of this borrough, marking the location in NYC? Thank you in advance, Matteo --151.42.188.220 (talk) 18:37, 28 November 2015 (UTC)

External links modified (February 2018)
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Article suggestion: Murray farm
Feels like an article candidate: Murray Farm, aka Inclenberg. Distinct from the Murray Farm in Tennessee. Photograph shows of a plaque on a wall. It reads, "This tablet marks the geographic center of the farm known in Revolutionary days as 'Inclenberg,' owned by Robert Murray whose wife, Mary Lindley Murray (1726-1782), rendered signal service in the Revolutionary War. Erected by Mary Murray Chapter Daughters of The American Revolution 1926". Source: Library of Congress: [Plaque marking the location of a Revolutionary farm] photograph of original plaque that was replaced with this one in 1994 here's another pic of the areplacement plaque.

I don't know where to find property maps from the 1750s--but would love to find out! --CmdrDan (talk) 18:57, 18 November 2023 (UTC)

title: Talk:Murray Hill, Manhattan