Preservation on the Inland Seas

Preservation on the Inland Seas

Preservation on the Inland Seas December 2017

Students Andrew Abbey Brendan Seney Cory Holzerland Janhavi Joglekar Kelley Mosher Te- Cheng Huang Thomas DeGraff Vaibhavi Prajapati

Professor Professor, Kerry Traynor

Acknowledgements Thank you to the following individuals and organizations who have contributed resources, insights and time to this project.

The SS Columbia Project Detroit Historical Society Kathleen Boudreau The Buffalo History Museum The Dossin Great Lakes Museum

Buffalo Harbor Museum Silo City Patrick Livingston Maryanne Schultz William Worden

Table of Contents Introduction

Objective and Project Description

SS Columbia’s Restoration Methodology

Historic Context

Existing Conditions

Historic Conditions

Proposed Restoration

7 8 8 8 8 8 8

A History of Steamboats and Great Lakes Maritime Travel

11 13 14 15 18 19 19 21 21 23 23 25 29 31

Technological advancements

Troubled waters ahead

Owner/Operators of Steamboats

The Detroit Dry Dock Company

SS Columbia (Purpose)

Frank Kirby

Louis Keil Construction Crew Passengers Destinations

Cultural Significance: The People’s Boat

Fate - To Present Day

Showboats and Point Counterpoint

Point Counterpoint II Purpose

American Wind Symphony Architect Construction

Operational Logistics

Cultural Significance

Redevelopment of SS Columbia as a Tourism Initiative in the Hudson River Valley

Planning for Tourism and Economic Development through Maritime Preservation General Maritime Policy SS Columbia City of Kingston Local Waterfront Revitalization Program City of Kingston Waterfron Master Plan Town of Marlborough, NY Comprehensive Plan

33 34 34 34 35 36 37 37` 43 43 43 44 44 44 44 4

Table of Contents

Strategic Partnerships Funding Oppurtunities Business Precedents Financial Feasibility Implications for Columbia Infrastructure Requirements for Columbia Town of Marlborough Milton Landing Routes and Destinations on the Hudson

Interpretation of Drawings

Plan drawings Ceiling plan drawings

Material Analysis

Canvas Ceiling Panels

45 45 45 47 47 48 48 49 49 57 57 59

Decorative Wood Screens Glass Sideboard Columns

Steel Support Columns Beadboard Wainscot Baseboard Floor

Deck Plating Bulkhead

63 63 64 66 70 70 72 73 73 74 75 79 82

Columbia’s Other Preservation Priorities

86

Point Counter Point II’s Existing Condition

89

Feasibility of Preserving and Redeveloping Point Counterpoint II

91

Glossary of Terms

99

Bibilography

101

Appendix

110

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task of their restoration, with consideration of both the physical restoration and implementation of future operation.

SS Columbia and Point Counterpoint II have a myriad of possible uses that suggest the vessels will function as cultural venues.

Although not well-defined as commonplace terminology, the meaning of “cultural venues” is indicative of a linkage between the two terms, that when joined express fragility but have a robust context. From Merriam-Webster, the generallyaccepted definitions for both terms are: Venue – “A place where events of a specific type are held;”1

Introduction Whether along the Great Lakes or the inland rivers of the United States and Canada, water-faring vessels simultaneously provided countless Americans with transportation and a cultural experience. Passenger steam vessels such as SS Columbia played an important role in providing Americans with affordable means of transportation out of congested American cities with tranquil day trips across the Great Lakes.

These excursions did more than provide a quick escape; they provided passengers with a glimpse of high culture, from the ornamentation and decoration of these vessels, to the manner in which they were operated and advertised.

The same could be considered of the vessels that traveled the inland rivers. Point Counterpoint II is a contemporary example of the showboats that dominated the rivers from the mid-nineteenth to early-twentieth centuries. Showboats traveled inland to provide early rural settlers with a taste of entertainment most often reserved for the grand theatres and opera halls in the big cities. Excursion vessels such as Columbia allowed passengers the opportunity to experience a sense of high culture while en route to their desired destinations.

Showboats such as PCPII docked and provided communities with cultural experiences.

As the future of these vessels are considered, they will both serve as cultural venues, though not as originally intended.

Both are in need of a preservation plan to guide the daunting 7

Culture – “The customary beliefs, social forms, and material traits of a racial, religious, or social group; the characteristic features of everyday existence shared by people in a place or time.”2 Venue commonly refers to a physical place, but the term can invoke an implied space wherein there lies opportunity for expression, creation, and experience. Similarly, “culture” has extensive use and meaning that varies with each use. When conversations around culture and tourism ensue, opportunities for revisiting, reimagining and critically engaging both the past and present of the related destinations emerge. This notion is the basis of historic preservation planning3 and has been tested through applied research of arts and culture in planning practice.4 Historic preservation of maritime resources has been limited in application, but recent research has begun to scratch the surface of how culture and maritime history intersect. “[T]he concept of the maritime cultural landscape reinforces the underlying notion that cultural landscapes are marked by an array of physical features, human relationships, as well as the presence of the absence.”5

Objective and Project Description This report aims to provide the documentation and historic context necessary to support the preservation of two historically significant nautical vessels in the United States. Through historic research, field documentation, and interpretation, the report provides the knowledge base on which to build future efforts to reactivate SS Columbia and PCPII as cultural institutions on American waterways.

Although the primary theme of this project is historic preservation, the report represents a comprehensive look at both the strategy for restoration and potential for future use of both boats as cultural assets. During the course of this project, students reviewed the historic contexts of both boats, examining the people who created them, the people who enjoyed them, and the places they traveled. Students examined the existing conditions of the boats through field visits, documentation, and existing reports and literature, to create a strategy for restoring Columbia and PCPII.

An analysis of tourism feasibility of using the boats as cultural destinations began with an examination of the market in the Hudson River and New York City areas, which included a study of precedent boat companies operating in the area.

Precedent studies of similar boat operations from other parts of the country and the world also provided insights into the potential uses of Columbia and PCPII. A review of local, state, and federal policies that have implications for the operation of the vessels determined the legal framework in which the boats need to operate, and an analysis of the existing and required infrastructure for the boats outlined the physical framework in which the boats exist. Students also explored potential funding sources for financing the restoration of Columbia and PCPII.

SS Columbia’s Restoration Due to the constraints of this project as a one-semester student project, this report focuses primarily on the preservation and restoration of Columbia’s dining room, rather than the entire boat. The dining room is the logical place to begin restoration, since it is relatively intact and deterioration from weather and moisture is relatively low. The methods for preservation recommended for the dining room in this report should act as a guide for the restoration of other areas of the boat.

Preservation techniques for materials and recommendations for restoration in the dining room can be applied to other areas of the boat, even though this report does not explicitly examine other spaces aboard Columbia.

Methodology The documentation and analysis of SS Columbia presented in this report was compiled using standards and guidelines set forth by the National Parks Service. Publications referenced include Preservation Brief 9: The Repair of Historic Wooden Windows, Preservation Brief 17: Architectural Character – Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving their Character, Preservation Brief 18: Rehabilitating Interiors in Historic Buildings: Identifying and Preserving CharacterDefining Elements, and Preservation Brief 28: Painting Historic Interiors. Students also referred to the guidelines set forth in the Secretary of the Interior’s Standards for Treatment of Historic Properties as well as the Secretary of the Interior’s Standards for Historic Vessel Preservation Projects.

Historic Context Students conducted historic research of Columbia and Point Counterpoint II through primary and secondary sources.

Primary sources included archival research of historic newspaper articles, advertisements, personal and business documentation, government documents, and historic photographs. Secondary sources such as books, personal accounts, websites, and modern-day news sources were also

consulted. Typologies of both the physical construction of the boats and their uses were examined. Students also examined the cultural importance of the boats across their lifetimes.

Existing Conditions Students created drawings of Columbia’s dining room through a process that began with an examination of existing conditions and original drawings. During several site visits in the fall of 2017, students photographed the existing conditions in Columbia’s dining room, galley, crew quarters, stairwell and watertight bulkhead. Students also took measurements of the existing conditions in these areas while creating hand-sketched preliminary drawings of the space. Students examined the space for indicators of which finishing elements might have been altered or removed after the original construction of the boat. Once preliminary drawings and measurements were complete, students used AutoCAD and Rhinoceros software to create digital elevations, reflected ceiling plans, and floor plans with a cutoff height of approximately seven feet.

Students also examined the materials present in the dining room and created an annotated drawing showing the type of materials used on each element of the room. Each material was analyzed for its use in construction as well as the historic context related to the use of each material. Materials were also used as a tool for helping determine the original time period of specific structural and ornamental elements in the dining room.

Historic Conditions To identify potential alterations to the original conditions, students compared the original 1902 drawings of Columbia’s orlop deck to the newly created existing conditions drawings.

Combined with an analysis of dining room’s architectural “ghosts” as well as the material analysis of the room, students determined which elements of the existing dining room were altered after the original construction of the boat. Using measurements, photography, and analysis of the historic drawings, students created a drawing of the dining room that represents the historic, “as built” conditions. Because some evidence of some of the finishes were completely removed from Columbia’s dining room at some point during her life, and photographs of the original finishes could not be found, the drawing of historic conditions only illustrates the elements that students could identify with absolute certainty.

Proposed Restoration Students created a series of drawings demonstrating multiple approaches to the restoration of the dining room. Research and field documentation failed to reveal the original finishes used on the stern side of the dining room, and because drastic alterations to the boat were made, restoration to the original appearance is impractical. Therefore, drawings illustrating the 8

proposed restoration offer two alternatives. The first strategy provides a way of mimicking the “best guess” at what the original dining room looked like, based on analysis of similar spaces on boats with the same designer and a continuation of the finishes that still exist on Columbia. The second strategy takes the opposite approach, where finishes are reconstructed exactly as they were originally designed, but only altered by the presence of the new bulkhead.

Endnotes 1 Partnership for the Public Good. “Who We Are: About Us.” Partnership for the Public Good https://ppgbuffalo.org/who-we-are/overview/. ____. “Venue.” Merriam-Webster. (2017). Retrieved from: https://www.merriamwebster.com/dictionary/venue.

2 ____. “Culture.” Merriam-Webster. (2017). Retrieved from: https:// www.merriam-webster.com/dictionary/culture.

3 Bradford J. White, Roddewig, Richard J. APA PAS Report #450, “Preparing a Historic Preservation Plan.” (1994). Page 1. Retrieved from: https:// planning-org-uploaded-media.s3.amazonaws.com/publication/download_pdf/ PAS-Report-450.pdf.

4 Kimberley Hodgson, Beavers, Kelly Ann. “Overview: The role of arts and culture in planning practice.” (2011). In: Arts and Culture Briefing Papers; ed. M. Christine Dwyer. Retrieved from: https://planning-org-uploaded-media. s3.amazonaws.com/legacy_resources/research/arts/briefingpapers/pdf/overview. pdf.

5 Ninuk Dwi Agustiningrum; Everdyke, Bradley; Gordon, Casey; Hall, Enjoli; Hart, Jenna; Hewlings, Katharine; Li, Hongkai; Middleton, Crystal; Parylo, Jared; Rogers, Richard; Rooney, Shawn; Tocco, Eric; Wimbardana, Ramanditya; Winters, Corey. “Scajaquada Creek Uncovered: A graduate preservation studio.”

(2016). ed. Kerry Traynor. Page 5.

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the clause to “provide limited patents to promote science and arts.”7 The first successful steamer, by way of regularly scheduled excursion, was Clermont, designed by Robert Fulton in 1807 to make trips between Albany and New York City at a speed of five miles an hour (#1.2).8 Clermont inaugurated the first profitable venture in steam navigation, carrying paying passengers between Albany and New York City.9

A History of Steamboats and Great Lakes Maritime Travel Before trains, automobiles and airplanes dominated human transportation networks, waterways carried people and goods from one destination to another. However, travel and movement by water changed during the 18th-Century with a single engineering innovation: the steam engine. Steampowered machines became wide-spread in the United States in the late 18th-century, then adapted to transportation means such as boats and trains, and quickly became essential to shipping and transportation.1 It is since this time that steamboats have had widespread use in America, impacting the expansion of culture, architecture and technology. 2 (#1.1) John Fitch is credited with the construction of the first steampowered vessel in the United States.3 In 1787, Fitch built a 45-foot steamboat that sailed down the Delaware River in its inaugural voyage, viewed from the riverbank by members of the Constitutional Convention.4 Four additional steamboats were constructed by Fitch, but being expensive to build and to operate, his steamboats were deemed unsuccessful.5 At the beginning of the 19th-Century, many successful steamboats followed John Fitch’s beginning innovations in the field of marine engineering. The significance of Fitch’s inaugural steamboat voyage is that its witnesses – members of the Constitutional Convention – were in the midst of debate about adding a “patent clause” to the young document.6 The steamboat’s impression on the committee members is the inferred decision point for which the convention passed 11

The Great Lakes, also known as the Inland Seas, are some of the United States most valuable resources, providing vital transportation linkages across the country as well as fresh water for local municipalities. In 1817, the first steamboat to sail the Great Lakes was launched in Lake Ontario.10 Three years later, a 340-ton steamboat was launched from Buffalo as a means of transporting traded goods from posts along Lake Erie’s shores.11 In the ensuing decade, well-over sixty-five vessels were operating through the lakes. By the completion of the Erie Canal in 1825, Western New York was no longer a frontier town, but rather the launch for pioneers and settlers hoping to move west. By 1826, seven more steamboats had been launched in the Great Lakes to support burgeoning commerce in the region.12 In the same year, the first steamboat ventured into Lake Michigan as a “pleasure excursion”. By 1833, eleven steamboats sailed the Great Lakes, carrying 61,485 passengers, whom were predominantly travelling from Buffalo to “western” cities like Detroit, Chicago, Toledo, and Cleveland.13 The growth in marine transportation spurred expansion of docking facilities to accommodate passengers and cargo.

The earliest ferry bateaus simply pulled ashore wherever it was most convenient for the boat and the passengers’ destinations.

This progressed into small wooden wharfs extending from streets to the first public dock built by the City of Detroit at the foot of Woodward Avenue in 1806.14 “Upon no inland waters of the world is there to be found a marine comprising so many

1.1

Nicholas Bellin’s 1755 Map of the Great Lakes

https://www.raremaps.com/maps/medium/40417.jpg

and varied types of steam vessels,” is said to describe a typical days scene at the Detroit River harbor in Detroit, MI.15 The Detroit area saw its first horse drawn carts in 1863, used primarily by hotels and businesses looking to transport individuals from the ferry docks and railroad stations. (#1.3)16 These early pre-automobile transportation systems were vital in linking areas of the metropolises emerging across the United States. Beginning in the 1870s, ferries to transport railcars began to appear on the lakes as the result of rail companies competing with each other to secure the rapidly expanding west. Issues arose when trying to establish linkage from the East to West and vice versa. A pivotal point in this link was at the Detroit River. It was inconceivable at the time to propose a bridge linking the American and Canadian sides, leaving a dedicated ferry route as the only practical option. James Cooke Mills in Our Inland Seas (1910), wrote “The big car ferries of the Inland Seas, which operate the missing links in almost a score of trunk lines of the iron trail, are of two classes, - those for river service and those built especially for the lake route.”17 The main decks of these vessels were left relatively clear, providing room for three or four tracks, running lengthwise.

There are different types of steamboats which were used in the past. Side wheelers were the boats with paddles on the side. Sternwheelers are boats with a paddle at rear. Towboats were used to move barges by driving them to and fro in the rivers. ferries were boats used to carry passengers and goods up and won the river generally for a short distance. snag boats were used to remove any obstructions or snags from the rivers or any waterways. Show boats were the most popular type of steamboats. Showboats had floating theatres and were a popular source of entertainment in the 19th and 20th century.

They had galleries, saloons and beautiful ballrooms to give a rich traveling experience to the passengers.18 Before 1843, all steamboats in the Great Lakes were built in “side-wheel” style, propelled by flat paddle wheels on the side of the boat. With the construction of Hercules in 1843, steamboats in the Great Lakes began transitioning to propellers instead of sidewheels due to the better fuel economy of the new technology.19 Early excursion vessels in the Detroit, MI area included Promise (#1.4), Sappho (#1.5), and Pleasure(#1.6), which all operated as ferries around the late 19th and early 20th centuries.20 Compared to their successors, these three ferry steamboats were smaller in length, width, depth, and gross tonnage.

Records show that these three boats, built between 1883 and 1894, were constructed with wooden hulls. Images show a similar style of construction between the more recent of the two, Pleasure and Promise.21 In 1901, the Detroit Belle Island and Windsor Ferry company announced that they were under contract to build a new steel propeller passenger ferry for the Bob-Lo route, to add to the fleet that had recently gained SS Pleasure. The additional steamboat would have a

1.2

Robert Fulton’s Clermont

Digital Public Library of America - https://d2jf00asb0fe6y.cloudfront.net/full-steam-ahead-steam-engine-transportation-nineteenth-century_03_7776e7cfd939ff756bb870dea3488493.jpg

1.3

Horse drawn ferry

Robertsons Landmarks of Toronto - https://upload.wikimedia.org/wikipedia/commons/0/0d/Toronto%27s_ second_Ferry_Horse_Boat.jpg

1.4

SS Promise

http://www.boblosteamers.com/promise.jpg

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navigation throughout the world … such as that of the Great Lakes of America.” – James Cook Mills, 1910

1.5

SS Sappho

https://upload.wikimedia.org/wikipedia/commons/8/8f/SS_Sappho_%281886%29.jpg

1.6

SS Pleasure

https://img1.etsystatic.com/184/0/12514658/il_340x270.1396388967_byzt.jpg

greater carrying capacity than Pleasure, Promise, and Sappho combined.22 The new passenger ferry steamboat was SS Columbia, which was completed and put into service in 1902.23 Expression of the intangible value that steamers added to the inland waterways is described as, “With their broad decks crowded with eager, pleasure-seeking people, with bands playing, and flags flying from the peaks, the swift steamers add a touch of romance to the commercial life to the busy stream.”24

13

“The era of stream, in which there has been witnessed the greatest advance in the mechanical arts since the early civilizations, has wrought many and great changes in the modes of

Although steamers made for idyllic viewing on the waterways, the vessels were precisely constructed to suit the needs of passengers, crew, and services on their voyages, along with engineering specific to the waterway on which they travelled.”25 This became especially apparent in the winter months on the Great Lakes, when regular ferry service was still needed by communities. Victoria, launched by the Detroit and Windsor Ferry Company in 1872, was designed with a specially shaped under-bow to crush and plow through the thick ice.26 In 1894, the Detroit Dry Dock Co. published a book to promote the company and their shipbuilding services and wrote: “Passenger steamers represent a peculiar construction, found to be the most satisfactory for the service required, which consists of making quick trips, with large deck capacity, across Detroit River. They have to encounter considerable ice during the winter and their efficiency in this line is shown by the fact that several of them were charted at an expense of $500 per day to relive a number of the most powerful steamers on the lakes from ice floes at the mouth of the Detroit River.”27

Technological advancements Leading up to the beginning of the twentieth century, the growing industries of Detroit and nearby Windsor, Ontario, resulted in increased lake transportation of freight and passengers. These two urban centers were physically close, but sometimes politically distant, being that the Detroit River acted as an international boundary linking the United States and Canada. Being that the ferries operated over this border, customs officials on both sides were stationed to perform routine counts and bag inspections in the early years. There were several border tensions over the years, many having been documented, that reveal issues relating to alcohol smuggling, illegal alien workforces, and ferrying rights. A congressional

immigration investigation that took place in 1890, interviewed numerous individuals on the American side of the Detroit River ranging from customs officials, district attorneys, and various private laborers. The congressional subcommittee on immigration investigations were suspecting that Canadians were crossing the border to illegally secure jobs, which at the time paid 40% more than wages in their respective provinces.28 Investigators were asking questions such as “About how many Canadians cross over to Detroit each morning at your ferry?,” “State if you know for what purpose these Canadians come over here every morning?,” and “Do many people crossing from Canada have the appearance of being paupers?”29 Thomas Klug’s 2010 article “The INS and the Making of a Border-Crossing Culture on the US-Canada Border, 1891-1941,” discusses congressional concerns of the 1890s that “Europeans thought to be excludable on grounds of disease, criminality, or proclivity to pauperism.”30 Evidence had been found that these individuals were avoiding the main ports along the eastern seaboard of the US by travelling through Canada and entering the states illegally. In response to these concerns, Congress established, in 1891, the Bureau of Immigration in the Department of the Treasury. This would later become the Immigration and Naturalization Service.

Entering the twentieth century, marine navigation on the Great Lakes was still ever growing. Four months prior to Columbia’s maiden voyage in 1902, a successful test run of wireless telegraphy was completed by the innovative design of Thomas F. Clark, of the Electrical Supply & Construction Co. and Walter Campbell, general manager of the Detroit, Belle Isle & Windsor Ferry Co. The L’Anse Sentinel in Baraga County, MI reported: “A transmitting device was placed in the cabin of the steamer and the large screen-like arrangement through which the electrical waves are sent was suspended from the flag staff at the stern… a distance of about sixteen miles, communication was kept up.”31 Wireless communication systems quickly became the norm on any ships in the Great Lakes, as captains and crew were now able to get warnings on weather and communicate with the docks and other ships.

It was reported in 1903 that the American side of the lakes had 446 lighthouses and 709 buoys. Marine engineers were experimenting with diesel propulsion in freight ships, and by 1913 it was reported that four diesel freighters were in service throughout the lakes.32 Joel Stone in Floating Palaces of the Great Lakes (2015), identified that ship design of the early twentieth century was catered specifically to the travel needs of freight and passengers. He notes four typologies of Great Lakes ships at that time which included excursion ferries, car ferries (rail and auto), palace steamers, and palace propellers. Excursion ferries were designed to herald people from port to port in a matter of minutes or an hour or two, while palace steamers

1.7

Ambassador Bridge connecting Canada to Detroit, USA

https://img1.etsystatic.com/184/0/12514658/il_340x270.1396388967_byzt.jpg

and propellers were meant for more long-term travel, marked by their larger size and the addition of sleeper cabins.

Excursion ferries were unique in that they provided wide, open decks making prime seating areas for viewing the passing landscapes, often in the form of collapsible wooden chairs.

Troubled waters ahead In the early 20th century, as the popularity and prevalence of personal automobiles grew, so did the demand for automobile-oriented infrastructure. The Ambassador Bridge was to be completed by 1929, creating a two-mile long direct automobile connection between Detroit, Michigan and Windsor, Ontario, Canada (#1.7). Perhaps in an attempt to combat the anticipated loss in ferry traffic caused by the new bridge, the Detroit-Windsor Ferry Company launched a car ferry in 1928, a year before the bridge was set to open.33 Cadillac, as this new steamer was called, had a six-minute schedule between Detroit and Windsor, with a capacity of 75 autos and 2,500 passengers and the ability to move 900 cars in an hour.34 Newspapers from Rochester, NY in 1930 demonstrates that the Ambassador Bridge was having an affect even on Rochester’s tourism. While tourists from Detroit once had to go through Cleveland to get to Rochester and further east, they now had a much faster automobile route through Canada and into New York at Niagara Falls.35 Not long after the completion of the Ambassador Bridge, work was underway on a vehicular tunnel between Detroit and Windsor. The project was spurred on by the demand for easier and faster travel between the two cities, with 25,000,000 passengers traveling between the two cities each year. The Border Cities Chamber of Commerce declared in 1930 that 15,000 commuters crossed the border every 14

day, 3,000,000 tourists cross the border each summer, and 70,000 automobile passengers cross via car ferry in a single weekend.36 The 1930 completion of the Detroit International Tunnel effectively marked the end of the regular ferry service between the two cities. The tunnel, taking several years to construct in five phases, was the first of its kind to link two countries, and reduced the travel time between the two countries to three minutes, handling over 1000 automobiles per hour.37 Another indication that the steamboat’s days were limited was the overall attitude people had about steamboat travel in general. A 1937 news article from Olean, NY describes how with airplanes, faster trains, automobiles, and improved communications, mean that steamboat travel is an outdated form of travel that is only hanging on to existence to fill in the gaps where people cannot afford newer modes of

1.8

transportation.38 The author stated that “old side-wheelers and lake boats appear woefully outdated, and that it’s “almost too easy to scoff at the occasional brave philosopher who longs for ‘the good old days’”. In the 1919 tourism brochure, and other news articles announcing the arrival of the newest, best steamboat on the Great Lakes, the language used was usually romantic in nature. Yet, here, not even twenty years later, the romanticism of steamboats was replaced by an attitude that looked down upon the naivety of nostalgia for the “good old days” of steamboat travel.39 By 1938, the effects of the bridge and tunnel were hitting the steamboat operators.

Steamers Cadillac and La Salle of the Detroit-Windsor Ferry Company ceased operations, as they could no longer be financially sustained.40 In Buffalo, the Peace Bridge opened up a direct path for tourists to drive from Buffalo to Crystal Beach in 1927.41 Buffalo’s steamboat tourism industry was hit hard by the shift to automobiles, especially as the excursion steamers were not carrying passengers to small islands, but rather to places now easily accessible by automobile. By 1929, the American was no longer needed in Buffalo due to a decline in lake traffic after the opening of the Peace Bridge.42 At the turn of the 20th century, at least 12 steamers carried passengers in and out of Buffalo, in addition to excursion boats and ferries that brought travelers to Crystal Beach, Grand Island, Woodlawn Beach, Fort Erie, and Niagara Falls. Yet in 1946, Canadiana, the last passenger steamboat serving Buffalo, went out of service, ending 64 years of regular steamboat service to Crystal Beach from Buffalo (#1.8).43 The owner of Canadiana stated that operating the boat was no longer financially feasible, especially as people turned to automobiles to get to their tourist destinations.44

SS Canadiana

http://www.riversideclassof1963.com/bhistory/The%20Canadiana.jpg

Owner/Operators of Steamboats Although Robert Fulton designed the first steamer, Louis Davenport is given the credit building the first steampropelled ferry boat, Argo (No. 1) to service between Detroit and the Canadian side(#1.9).45 In 1858, Capt. William P. Campbell brought out the Gem to service between Detroit and Amherstberg, Ontario for $0.01. A competitor in the ferrying business to Campbell, Dr. Russell, owned three vessels, one of them being the Argo (No. 2). In an attempt to gain a monopoly, Russell gained control of shores from Detroit to Milwaukee and Michigan Central Depots. Capt. Campbell circumvented this however by docking at the public, city-owned dock at the foot of Woodward Ave.46

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Ferry Steamer Argo No. 1by Louis Davenport

http://images.maritimehistoryofthegreatlakes.ca/images/EXT00314.jpg

15

In 1863, Queen Victoria granted a ferry lease to the town of Windsor. The terms of the lease gave Windsor the authority to sub-let the rights to operate a ferry within the town’s water limits.47 Windsor began taking applications from ferry

entrepreneurs looking for the chance to gain a monopoly in the ferrying business, as it meant securing their income and future success of their respective companies. George Brady, to gain these rights, formed the Detroit and Windsor Ferry Company in 1873. Competing with this new company was another new ferry business, operated by Campbell, Horn, Henry, and Jenking, who consolidated to form the Windsor and Detroit International Ferry Co.48 In 1877, the smaller competing companies combined interests to form the Detroit and Windsor Ferry Association. As the company grew in size and wealth, it acquired leases from the Windsor Town Council to establish ferrying rights on the Canadian side of the Detroit River, with terms renewing every five years.49 These ferrying rights allowed not only the expansion of accommodating more commuters, but also the expansion of summer excursions, where the trip itself was just as thrilling to the passengers as their destination. From its formation to roughly the 1910’s, ferry service from Woodward Avenue in Detroit to Windsor, Ontario cost patrons only $0.05, this fee later being raised to $0.10 (#1.10). From 1876 to the turn of the century, the ferry company experimented with different resort islands that were scattered throughout the Detroit River. In 1881, the Detroit Dry Dock Co. organized the Detroit Windsor Ferry Co. into the Detroit, Belle Isle & Windsor Ferry Co.50 The new company first established a line from Detroit to the Sandwich Mineral Springs, which operated from 1876-1886, ending when the natural springs stopped flowing. In 1891, Capt. John Pridgeon sold his controlling interest in the company to the present management of the Campbell’s, with Walter E. Campbell as President and General Manager (#1.11). In doing so, the new management was able to embark on an extensive overhaul of the company by repairing docks and rearranging routes to accommodate the ever-growing number of commuting patrons.51 From 1885-1890’s two amusement parks were started by private interests who arranged contracts with the ferry company to establish constant lines from Detroit and Windsor to the parks, which were situated only a few miles downriver from the city ports.52 These, however, did not last and in 1898, Bois Blanc Island, French for “white wood,” was opened to the public as a day trip destination spot. The ferry company helped to develop the island into one of the most attractive spots for people looking to escape the hustle and bustle of industrialized Detroit. In the beginning, the company had purchased a portion of the island to establish their summer resort. Bob-Lo island initially had picnic spots, beaches, athletic fields, bicycle tracks, and Mangels-Illion Carousel (#1.12).53 By the turn of the century, the ferry company commanded a fleet of seven passenger steamers, each with a dedicated captain and route.54 The success of the company allowed them to expand operations at Bob-Lo island, with the park eventually covering 270 acres, though bounded on

1.10

Detroit Windsor Ferry Co. Ticket

https://home.cc.umanitoba.ca/~wyatt/alltime/windsor-on.html

1.11

Photo of Walter E. Campbell

Liz McEnaney, SS Columbia Project

the north and south by cottages and parcels belonging to the Canadian Government.55 The Sanborn Fire Insurance Co. map for the City of Detroit in 1897 shows that the Detroit, Belle Isle & Windsor Ferry Co. occupied the foot of the South side of Woodward Avenue in addition to the original building on the North side by this time (#1.13) It is also evident that a U.S. Customs Office has been established in the building next door to the ferry company.

The decline of the Detroit, Belle Isle & Windsor Ferry Co. can be traced to the latter half of the 1910’s when “the Town of Windsor and the company were in continual conflict over dock facilities, boat conditions, fares, and the franchise.”56 Despite this, however, the company was continually making updates and improvements to their facilities and vessels. A major blow to the company came in 1923 when an overheated stove in a watchman’s shanty caught the dock and the waiting gates on 16

fire, which quickly engulfed the adjoining U.S. Customs Office and several other buildings in the block, ultimately resulting in $1,500,000 in damages.57 The ferry company announced in 1926 that an extension of the motor car pens at the foot of Ferry Street would be built, allowing customs officers to inspect cars much faster, eliminating the usual thirty minute delays.58 In 1928, the Detroit Belle Island & Windsor Ferry Co., placed in commission the largest freshwater car ferry of the time, Cadillac, to run on six minute schedules between Detroit and Windsor and catering to 900 automobiles per hour.59

Library of Congress

In 1929, the Ambassador Bridge was completed that connected Detroit to Windsor, resulting in a complete change in transportation between the two cities and the two countries (#1.14). Up until this point, car ferries were the only means of transportation between the two. Decline was eminent and revenues of the ferry company fell almost immediately.60 Originally, the management of the ferry company was not concerned about competition from the new bridge because its location was farther south from Detroit and Windsor’ downtown areas. Their fears culminated, however, when it was announced that an international bus service would be put in place between the two downtowns, and at a competitive cost of $0.05, the same price as a one-way ticket on the ferries.61 In 1936, the ferries were granted permission by the City of Detroit and Town of Windsor to end winter services. In 1937 the Detroit & Canada Tunnel Corporation, the company responsible for the 1930 tunnel that was built between the two cities, attempted to purchase certain easements from their former competitor, as reported in the New York Times (#1.15).62 The end goal of this purchase was to eliminate the ferry operations altogether. The Detroit, Belle Isle & Windsor Ferry Co., under pressure from completion and generating little revenue, ceased operations following the 1938 season.63 Steamers La Salle and Cadillac made their final trips, ending

1.14

1.15

1.12

Map of Bois Blanc Island

http://cdigs.uwindsor.ca/neighborhood-history/exhibits/show/amherstburg/boblo-island

1.13

Sanboorn Fire Insurance Co. Map of Detroit, MI - 1897

People Aboard Columbia, looking towards Ambassador Bridge

Collection, SS Columbia Project

17

Construction of Detroit and Windsor Tunnel, ca. 1930

Collection, SS Columbia Project

75 years of continuous ferry boat service between the two countries in the Detroit River (#1.16).64 Within one week of the ferry company ceasing operations, the Interstate Commerce Commission barred the Detroit & Canada Tunnel Corporation from purchasing easements from the ferry company, with the New York Times commenting that “a question also appeared to be raised whether the plan was for a ‘lawful purpose,’ as the anti-trust laws appeared to be involved.”65 The remnants of the ferry company can be traced to the various owners of the Bob-Lo steamers, which were the only vessels remaining in operation after the dissolution of the ferry company.

The Detroit Dry Dock Company, its Subsidiaries and Successors (#1.17) In 1852 at Orleans and A Streets in Detroit, MI Campbell, Wolverton & Co. began building vessels to meet the evergrowing needs of the Great Lakes shipping industries. The firm constructed a 260-foot dock at the foot of Orleans Street in 1860, adding a separate 300-foot dock several years later.

The dockyards at which the Detroit Dry Dock Company constructed its vessels had changed ownership several times throughout its nearly eighty-year lifespan, with the company name being changed each time to reflect those changes. Up until 1862, the company manufactured seven known vessels, mainly Schooners with one Bark and one Tug.66 From 1862 to 1874, the company was then known as Campbell & Owen, still only specializing in wooden construction. In this twelve year period twenty-four vessels were constructed ranging from Cargo Ships, Tugs, Schooners, Scows, and Ferries.

As shipping on the Great Lakes was rapidly increasing, the demand for specialized industry was abundant, and in 1866, William Cowie, Edward D. Jones, and Robert Donaldson opened the Dry Dock Engine Works directly across the street from Campbell & Owen’s yards. These two companies would grow to have numerous contacts with each other, beginning with the Dry Dock’s first contract for a high-pressure device for the tug Champion.67 In 1871, Stephen R. Kirby acquired the yards, and in 1874, incorporated it as the ‘Detroit Dry Dock Co.’ In addition to this, located between Orchard and Plum Streets, “the first yard on the lakes to build metal ships, at Wyandotte, Mich., was established by Stephen R. Kirby and his sons, F.A. and Frank E. Kirby, for Captain E. B. Ward.” The Wyandotte Iron Shipbuilding Co. continued to operate under the management of the Kirby sons and was combined with Detroit Dry Dock in 1878. At this point in time, the Detroit yards were in charge of constructing wooden vessels, with the Wyandotte yards constructing only steel vessels. An 1894 publication released by the company noted the departments of the company being The Main Office, Steel Ships, Composite Ships, General Work, Wooden Ships, Repairs, Sheers, Spars, Saw Mill, Jig Mill, Store Room, and Joiner Shop. The company

1.16

Notice of Discontinuance of ferry service between Detroit and Windsor

Collection, SS Columbia Project

1.17

Engraving of Detroit Dry Dock Co. Yards, at foot of Orleans street

http://images.maritimehistoryofthegreatlakes.ca/images/EXT00312f.jpg

continued to grow in size, exemplified by its absorption of nearby competing companies; Springwells Dry Dock Co. in 1884 and Dry Dock Engine Works in 1899.68 A publication released by the Detroit Dry Dock Co. in 1894 commented that passenger steamers made up eight of the one hundred and eighteen vessels constructed by the company at that time.69 The Kirby family sold their holdings of the Detroit Dry Dock Co., valued at $1,428,000, in 1899 to the American Shipbuilding Co., who renamed the company ‘Detroit Shipbuilding Co.’ The American Shipbuilding Co. was a consolidation company formed that same year from three Cleveland dockyards, to be run by a board of directors from New Jersey.70 By 1900 the Detroit Shipbuilding Co. and its subsidiaries were the fourth largest employer of labor in the Detroit area.71 In 1913, The American Shipbuilding Co., in an effort to become more cohesive with its many subsidiaries, 18

eliminated individual yard identities and changed the Detroit Dry Dock to ‘AmShip Detroit.”72 Following World War I, AmShip Detroit built two Lakers, Greater Detroit (#1.18) and Greater Buffalo (#1.19), and was then converted to a repair facility. Finally, in 1929, the American Shipbuilding Co. decided to end operations at the Detroit yards completely.

The complexes shifted hands numerous times throughout the ensuing decades. The city purchased the yards, later converting it into St. Aubin Park.73 In 2004, the State of Michigan gained control of the park, renaming it Tricentennial Park. In 2009, the park was renamed after Governor, William G. Miliken State Park and Harbor.

SS Columbia (#1.20) 1.18

SS Greater Detroit

http://www.historicdetroit.org/image/2/750/0/5/images/dfpd24911.jpg

Purpose From its conception Columbia was designed to serve as a day excursion passenger vessel for the City of Detroit, carrying passengers and crew out of the congestion and immodest conditions of the city and city life. Early day excursion vessels, operated in a way that provided an escape for passengers from the moral ails of the industrial city with trips that offered a certain level of excellence and extravagance only subordinate to those of ocean liners. Columbia was no different.

Frank Kirby (#1.21)

1.19

SS Greater Buffalo

1.20

SS Columbia

http://www.navsource.org/archives/09/46/094608111.jpg

http://newyorkhistoryblog.org/wp-content/uploads/2015/04/ss-columbia.jpg

19

Gordon Pritchard Bugbee’s Lake Erie Sidewheel Steamers of Frank E. Kirby (1955), wrote that Kirby “emerged in the twentieth-century as the new leader in steamer design, and perhaps the final culminator in view of the changing economic trends.” Frank Eugene Kirby was born July 1, 1849 in Cleveland, Ohio to Captain and Shipmaster Stephen Russell Kirby. At the young age of fifteen, he attended night classes in naval architecture at the Cooper Institute in New York City. During the day, he was employed as a draftsman for the Allaire Works and later Morgan Iron Works, working primarily on engine drawings.74 A chance encounter on a train ride back home to Saginaw, Michigan between Kirby and Civil War industrialist, Eber Ward, resulted in Kirby forming his own shipping yard in Wyandotte, Michigan in 1871, which was located several miles south of Detroit (#1.22).75 These docks would come to launch a plethora of the finest steamers and freighters on the Great Lakes throughout its nearly fifty-year history, beginning with its specialization in iron hulls. Eber Ward owned and operated iron mills adjacent to the yards that were contracted to supply the metal as needed. In 1872, the Kirby brothers designed their first vessel, the appropriately named E.B. Ward Jr., a tugboat that helped Kirby gain his initial publicity as a naval architect.

Their second design, Queen of the Lakes, helped launch the young architect into designing passenger vessels (#1.23).

Frank Kirby was invested wholeheartedly in the shipbuilding

industry, as evidenced by his numerous positions and shareholdings. After the Detroit Dry Dock Co. absorbed his Wyandotte yards, Kirby was designated Chief Engineer and Naval Architect with his brother Franz Kirby as superintendent of construction. He helped to form the Detroit Sheet Metal and Brass Works in 1883, with “steamboat work” being one of the company’s specialties. These specialties included any brass fixtures, sheet metal and copper work. Kirby acquired 1700 shares of the Dry Dock Engine Works in 1884, making him the largest shareholder. 1884 was especially important for Kirby because it marked the year when the Wyandotte yards constructed the first large lake steamers with steel hulls. Just shy of his fortieth birthday, Kirby invented the bow propeller in 1888 that was designed to break ice on the lakes by a water intake system. The designs were so effective that the Russian government had contracted him for numerous designs of ships to break ice in the Baltic Sea region.76 His recognition by the United States Government landed him a temporary position in refitting fourteen ships as troop transporters during the Spanish American War. In 1899, Kirby’s engine company was absorbed by the Detroit Dry Dock Co. The Detroit Dry Dock Co. and its subsidiaries were purchased from the Kirby family by the American Shipbuilding Company who renamed the yards the Detroit Shipbuilding Co. After this, Frank Kirby acted as a consultant naval architect, entering the period of his best work. Reflecting his growing success, the regents of the University at Michigan conferred Kirby in 1908 with an honorary Doctor of Engineering degree, marking the first time in the United States that such an honor was given.77 By 1910, Kirby had developed a special relationship with the Detroit, Belle Isle & Windsor Ferry Co. This relationship resulted in the creation of a distinct typology of excursion steamers. Gordon P. Bugbee wrote in 1955: “A distinctive class of short, stubby, single-stacked propeller excursion steamers grew out of the Detroit & Windsor Ferry Company ferry steamers Pleasure and Promise of 1892 and 1894, Columbia of 1902 and Britannia of 1906, comprising with his Tashmoo in 1909.”

These large steamers were constructed from a metal frame that was attached to wood timbering to form and support the upper decks. The wood used to construct these vessels was primarily douglas fir and yellow pine, being very durable wood that can be subjected to long continued stresses in a ship’s structure.78 It was generally standard for shipbuilders to use yellow pine, not only for its strength and durability, but because of its abundance throughout the country and close proximity to the eastern ports where shipbuilding was most active. As was the case with Frank Kirby’s ships, the pine timbers came

1.21

Frank. E. Kirby

1.22

1876 Map of Wyandotte, MI showing location of the Kirby Yards

http://historicdetroit.org/image/2/0/324/2/images/frankkirby.jpg

Library of Congress - Wayne County, MI Atlas

1.23

SS Queen of the Lakes

http://oldshipbuilder.com/Gallery2.html

20

1.24

Frank E. Kirby patent for Steel Sheer Plate Reinforcement

How Wooden Ships Are Built, Harvey Cole Estep

in “sufficiently large sizes so that the principal elements of the ship’s structure can be worked up in a comparatively few pieces, without the necessity of resorting to an abnormal number of butts and scarfs” resulting in vessels that were constructed in record time.79 Kirby was such an expert in his field that he published a series of patents that solved issues relating to steel reinforcement for wood vessels. In #1.24, his patent is showing that a steel sheer plate is connected with a strong angle to a deck stringer plate that rests directly on the timbers of the frames. Iron straps running diagonally around the hull are fastened to the sheer plate.80 The safety and security of Kirby’s vessels were questioned after the 1912 Titanic disaster to which he responded by stating that all of his designs were equipped with wireless communication technology, fire alarms, sprinklers, and an efficient squad of watchmen that maintain every deck for the purpose of detecting and extinguishing any fire that may start. Kirby and his associates were confident in their designs, adding few extra lifeboats where it was deemed necessary.81 He also was the father of modern ice-breaking technology and was appointed

by President Theodore Roosevelt to revise the standards for construction and operation of steamboats throughout the United States.

Throughout his career, Frank E. Kirby would have a number of steamboat day liners and designs attributed to his name across the Great Lakes and the Hudson River Valley. He later died in Bronxville, New York on August 26, 1929.

Louis Keil (#1.25) Ludwig Otto Keil, known as Louis, was born in Detroit, MI on October 8, 1862 to German parents who had immigrated to the country before he was born. In the early 1880’s, Keil was 21

hired as draftsman and fresco painter at William Wright & Co., a well-known interior design company that decorated numerous civic, residential, and commercial buildings throughout Detroit (#1.26). When it was founded, William Wright had occupied the building that would become the waiting room of the Detroit Belle Isle & Windsor Ferry Co., at the foot of Woodward Avenue on the Detroit River. This could help explain how the partnership between Keil and Kirby began, as Kirby was involved with the ferry company by way of designing steamers for them. In the early years of the twentieth century, Keil was setting up his own architectural firm with his son, Arthur. Louis’s brother, Fred J. Keil incorporated the Detroit Ornamental Glass Co. at 6564 Benson Street, having changed the name from Keil & Wangbiehler in 1918, according to the city directory. It could be safe to assume that a partnership existed between the Keil brothers that resulted in “sharing” projects and commissions. Columbia, for example, has distinct ornamental leaded glass patterns of half and quarter circles in the transom windows that is most likely the work of Fred Keil’s glass company. #1.27 illustrates the evolutions of the two companies and how the Keil brothers fit into their respective histories. In 1912, Louis O. Keil and Frank E. Kirby were at the height of their respective and joint careers, having just completed the world’s largest freshwater sidewheel steamer of the time, the City of Detroit III (#1.28). The massive overhanging sides, to enclose the wheels, left ample space for amenities that included state rooms, dining rooms, a winery and an ornate smoking room on the top deck, known as “The Gothic Room.” The space was meticulously designed from top to bottom to be represent the Gothic style and featured various stained-glass decorations and precisely carved woodwork.82 Louis O. Keil would, unfortunately, not be able to assist Kirby in his later works as he passed away September 5, 1918 in Detroit, Michigan.

The interior design of Louis O Keil on Columbia follows the same intention as that of most designers of day excursion vessels.

These vessels were decorated colorfully yet conservatively to reflect the short stay expected by visitors. They were not as lavishly decorated as overnight liners but were decorated to give passengers a sense of the expense and the experience as if they did. The level of detail and choice in design exhibited a hierarchy in terms of the experience that customers had. With day excursion vessels the intention was to design so that the customers felt that they had paid for a commodified level of high luxury that they normally could not afford or have the opportunity to experience.

Construction (1.29) SS Columbia was constructed between 1901, when the contract was put out, and 1902 at the Detroit Dry Dock Company.

1.25

Photo of Loius O. Keil

http://www.historicdetroit.org/image/2/0/324/2/images/screen-shot-2017-04-30-at-11-15-53-pm.png

1.27

Transom Lite above Parlor windows in Columbia

Andrew Abbey

1.28

SS City of Detroit III

https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/SS_City_of_Detroit_III.jpg/1200px-SS_City_ of_Detroit_III.jpg

1.26

Advertisement for the William Wright Co.

Detroit Free Press, Jan 4, 1881

1.29

“Launching Day”

Collection, SS Columbia Project

22

On May 10 1902, Columbia was first launched in Detroit at the Wyandotte yards.83 Between May and July of 1902 the machinery, boilers and superstructure were installed within the vessel. On July 8, 1902 that Columbia made her maiden Voyage (#1.30).

An innovative girder system made a dance floor possible, and so Columbia became the first steamboat in America with a ballroom #1.31

Crew (#1.32)

1.30

News paper article from 1905, Columbia attracts crowd

The Sandusky Star-Journal, September 12th, 1905

1.31

Innovative Girder Design in Ballroom of Columbia

“Detroit Photos: 1902-2004.” (2014). The SS Columbia Project. Published online as a picture gallery.

A firsthand account from a young man who worked aboard Columbia during the summer season in 1967 described the life of the crew in detail. Depending on your level of certification, you could access different jobs aboard a boat. The Coast Guard issued a “Z” card to men who had passed a physical that made them eligible for positions on a boat that require no certification. Such positions include deckhand (on the deck), porter (in the galley), and wiper (in the engine room). Positions that required certification included able-bodied seaman, oiler (in the engine room), or fireman. Other positions include wheelman, captain, band leader/member and cook.84 The crew in 1967 was comprised of all white men, ranging from young to old. Attitudes among some of the crew were negative towards people of color, especially after the Detroit race riots.85 When the crew were not required onboard the boat, they were allowed to disembark and enjoy free access to the attractions on Bob-Lo Island. Crew were fed well on Columbia, with some member claiming that the boat’s food was superior to all other food aboard a Great Lakes steamboat.86 With the exception of the author of the book aside, crewmembers generally thought of finding union jobs aboard boats in the offseason for Bob-Lo. College was not part of the picture crewmembers had for themselves, but some did have the vision of working and saving up their earning to start their own business after 10 or so years as a crewmember.87 In 1967, the summer crew was 30 people. 88 In 1991, the crew size was 31 just before the steamers were sold.89

Passengers (#1.33)

1.32

Photo of Columbia Crew, ca. 1906

Collection, SS Columbia Project

23

Although the fare to ride Columbia was not prohibitively expensive, the boat itself was still an exclusive privilege for whites up until a Supreme Court ruling in 1948. The company that ran the excursion line and owned the boats, Bob-Lo Excursion Co., had a policy that only whites could ride the Columbia. (#1.34). After the supreme court ruling in the matter of Sarah Elizabeth Ray, people of color could ride Columbia.

However, as Livingston points out in his book, most of the passengers of the Bob-Lo boats are still white in 1967, and when people of color did come on the boat, it was often with a specific, segregated group, such as a church.90

Civil Rights Civil Rights SS Columbia carried a massively diverse array of passengers by the end of her lifetime on the Detroit River; from male to female, old to newborn, and black and white; however, this diversity had to be fought for. African American’s in Detroit had repeatedly tried to access Bob-Lo Island’s Amusement Park but due to the Ferry company’s policy to not allow “Negros” in conjunction with “Disorderly persons” to ride their boats they had no access to the amusement park until the case brought to court by Sarah Ray.1 On June 21, 1945, Sarah Elizabeth Ray, an African American woman was denied passage aboard SS Columbia when she was trying to travel from Detroit to Bob-Lo Island on a school trip. Sarah Ray was born in 1921 in Wauhatchi, Tennessee to a large family, when she escaped to Detroit with her husband, Mrs. Ray applied for, was accepted to, and eventually graduated from secretarial school where she was the only African American student in her class.2 Mrs. Ray filed suit and in 1947 the Michigan court upheld the right of Ms. Ray to make an excursion trip from Detroit to Bob-Lo Island. The court ruled that the refusal to carry Ms. Ray violated a state law that provides that “Public Conveyances on land or water shall show no discrimination because of race, creed, or color,” which was a statute in Michigan State law since 1886.3

1.33

Passengers aboard Columbia, ca. 1959

1906, The SS Columbia Project

Endnotes 1 Victoria Wolcott, Race, Riots, and Roller Coasters: The Struggle Over Segregated Recreation in America, (Philadelphia: University of Pennsylvania Press, 2012), Pg, 65.

2 Desiree Cooper, “Sarah Elizabeth Ray, Detroit’s Other Rosa Parks,” Black Life, Arts & Culture, March 2017. Accessed November 2017.

Webpage. http://www.blacdetroit.com/BLAC-Detroit/March-2017/SarahElizabeth-Ray-Detroits-Other-Rosa-Parks/ 3 “Excursion Co. Asks High Court Ok on Jimcrow,” The California Eagle, 4 Dec 1947. And Cooper, “Sarah Elizabeth Ray.”

Images take of passengers also reveal a story of transition in the way the boats were used. Early photos show passengers embarking while wearing what appear to be their best garments. Long dresses, suits, and hats all appear on passengers in figure 14. Crew members in 1906 also wore uniforms that appear formal. Formal clothing among both passengers and crew members indicates that riding Columbia was an occasion, regardless of the relative affordability of the cost to ride.

Another interesting characteristic of most of the photos from

1.34

Sarah Elizabeth Ray

https://i1.wp.com/www.nyacknewsandviews.com/wp-content/uploads/2013/02/NSL_Columbia_Sarah-ERay.png

24

the middle of the 20th century is the lack of diversity. With the exception of a photo of young children of different races (#1.35), all photos show passengers and crew members that were exclusively white. Although changes in clothing trends in the latter half of the 20th century make it more difficult to determine a person’s social status, the lack of diversity in the pictures indicates that the boat may have had a certain level of exclusivity, even if ticket prices were affordable.

Destinations (#1.36) The Bob-Lo Amusement Park was located on the Bois Blanc Island, Ontario in the Detroit River with the size of 272 acres91.

The amusement park was opened on June 20, 1898, operated by the Detroit, Belle Isle and Winsor Ferry Company92.

The formation of the amusement park was on the series of development of recreation facilities around this area and included a sort of competition with other Ferry companies.

The French originally called the island from which the park takes its name “Bois Blanc” (BWAH-blonk - White Woods) because of the many birch, beech, or white-barked poplar trees that dotted the area. As time passed and English settlers became more numerous, the name was eventually unintentionally modified to “Bob-Lo” by persons that mispronounced the French name. The Island changed hands from the French to the local Indian tribes and then transferred to the British colonial government who established fortress on it. The Bois Blanc Island was displayed in a territory dispute between the British colonial government and the U.S. government. The ownership issue finally closed and the island turned back to the British control in 183193.

During the late 19th century period, Both Canadian and American public and private groups were dedicated to

1.35

Young children of different races aboard Columbia

Detroit News_Detroit Newspaper Carriers Waving. The SS Columbia Project

25

Temperance When SS Columbia was construction in 1902, prohibitionist and progressives in the United States sided together to tackle corruption, vices, and the culture of pleasure that were synonymous with the city and the saloon.1 Excursion steamers capitalized on this emerging social shift towards temperance and advertised early in the twentieth century a culture counter to that of the culture found in the city. The allure of Columbia was a tripartite; it provided a brief excursion out of the busy city, an opportunity to experience a space reminiscent of a higher culture through ornamentation and careful decoration, but primarily the allure was the dry tempered culture that this vessel offered passengers.

The 1909 case of Samuel Meisner v the Detroit Belle Isle and Windsor Ferry Company is an indication of how the advertised culture of the boat segregated passengers from the seemingly deplorable and ill-tempered nature of the inner city. The trial cited the refusal to accept Mr. Meisner as a passenger on board Columbia, resulting in a judgment for the plaintiff for the amount paid for the ferry ticket. Samuel was refused admission on two other occurrences; the reason given on each occasion was that he had engaged in a disturbance upon the boat to the annoyance of passengers and crew.2 Reading annoyance here as drunk. The case is a critical example for which one could cite that intent of SS Columbia and other passenger vessels like her was to provide customers with an escape into a truly progressive era.

Mr. Meisner’s court case took place in 1909 yet national prohibition did not take hold until 1920 with the passing of the Volstead Act, otherwise known as the 18th Amendment, however the period in between, which included of the First World War, is important, as it established and exaggerated a push by progressives, women’s rights activist, and others. National prohibition began silently and with little resistance with periods of wartime prohibition as experienced in July of 1919.3 Although the passing of national prohibition appealed to those who have previously looked at means to escape the deplorable nature of the inner cities, much of the country resented the amendment to the constitution and in turn acted out.

Naturally, rum-runners and bootleggers found their homes along border cities across the United States in areas like Buffalo and Detroit. Rum-runners and bootleggers succeeded in their efforts precisely because

they operated with the support of so many people.4 These individuals took to land and water to bring alcohol back into the United States, and due to the confusing wording of the constitutional amendment, action against such activities were rarely enforced. To further complicate the legality of such border crossings, while not exclusively, the actual running of booze across most of the US and Canadian borders was carried out by American citizens.5 Not until 1930 was a beginning made in setting up a stable body of men prepared to enforce prohibition 6 Efforts leading up the 1930’s made exercising the strong arm of the Federal government more prominent in the war on prohibition. In March of 1925 Congress authorized those charged with enforcing prohibition to use any vessel or vehicle seized for smuggling violations.7 Meaning that any vessel caught carrying or smuggling Canadian or Mexican liquor into the US could be seized and used by the coast guard and customs officials to aid in enforcing prohibition. This meant that passenger vessels were pressured to monitor their cargo making SS Columbia and other passenger vessels like her especially forceful about their commitment to dryness. However, these actions by the US only exhausted the US custom officers and coast guard. They were forced now to look over larger geographies. After 1925, rum-running by ship seemed to have diminished somewhat, however, the use of automobiles had increased dramatically with no corresponding increase in resources allotted to defend the land border.8 This increase in illegal rum-running across transnational roadways comes while a shift in transportation reliance occurred nationally in the US and in Canada.

Returning to Detroit, there were instances were custom officers needed to enforce prohibition along the Detroit River. In July of 1931 rum-runners were caught by US custom officers which escalated into a shootout between the two boats, caught in the middle was SS Columbia’s sister ship SS Ste. Claire. A ricocheted bullet shot by one of the US custom officers hit passenger, Arthur Gajeski.9 Violence due to prohibition such as this was common but unlike this case, it was usually fatal. The Association Against Prohibition Amendment (AAPA) claimed that more than a thousand people in ten years had been killed outright in the prohibition war between law enforcers and the violators. The AAPA cited official records that indicated that there was death on both sides of the aisle, but for every death of a law enforcement officer whether that be police, coast guard, or custom control agent, X three citizens were killed.10

develop the west Lake Erie and Lake St. Clair area. Several ferry companies and lines were established in this period, including the White Star Line (#1.37) the Detroit and Cleveland Navigation Company (D&C) and the Cleveland and Buffalo Transit Company (C&B)94.

The purchase and redevelopment of Bob-lo island made

by Walther Campbell, the one of the owners of the Detroit, Belle Isle and Windsor Ferry Company laid in the context of competition between river transportation and streetcars95.

Not only did Campbell had considered that; Charles Bielman, a manager of White Star Line, had paid effort to developed the Tashmoo Park on 189796. Liked the Bob-Lo Park opened later, the Tashmoo Park also Commissioned Frank E. Kirby to construct a passenger steamboat, which was the Steamer Tashmoo. The Steamer Tashmoo was a side-wheel steamer, which sacrificed the space but acquired the appealing on

1.36

Photo of Bob-Lo Island

http://photos.metrotimes.com/wp-content/uploads/2014/07/182335_10151826367705971_42023866_n. jpg

Endnotes 1 Andrew Sinclair, Era of Excess: A Social History of the Prohibition Movement (New York: Harper and Row, 1964). Pg. 4 2 Herschell Bouton Lazell, “Meisner V. Detroit, Etc., Ferry Co.,” Michigan Reports – Cases Decided in the Supreme Court of Michigan From September 10 to November 30, 1908 Vol 154. 1909. Pg. 545 – 549.

3 Sinclair, Era of Excess, Pg.173.

4 Stephan T. Moore, Bootleggers and Borders: The Paradox of Prohibition on a Canada - U.S Borderline (Lincoln, Nebraska: University of Nebraska Press, 2014). Pg. 56 5 Moore, Bootleggers and Borders, Pg.68 6 Sinclair, Era of Excess, Pg. 186 7 Moore, Bootleggers and Borders, Pg. 148 8 Moore, Bootleggers and Borders, Pg. 150 9 “Steamer Hit by Bullets Fired at Liquor Runner,” Amsterdam Evening Recorder, 22 July 1931. And “Hit by Customs Bullets,” Standard Union, 27 July 1931.

10 Sinclair, Era of Excess, Pg. 188

26

appearance (#1.38). On the contrary, the new steamer Columbia, commissioned for the Bob-Lo Amusement Park, had designed using propellers to increase the dance space97.

1.37

White Star Line

Library of Congress https://www.loc.gov/item/det1994021831/PP/

The Bob-Lo Amusement Park used the Steamer Promise and Pleasure as the commute boats in the beginning. The Steamer Promise was a 119.42’ in length, 38.66’ in width and 12’ in depth propeller boat built in 1892 by Detroit Dry Dock Company98; Steamer Pleasure was built in 1894 by Frank W. Wheeler & Co. in a length of 128’, 51’ in width, 12’ in depth and 873 gross tonnage99. To expand the recreation value of the trip and compete with other lines and recreation sites, the Detroit, Belle Isle and Windsor Company decided to construct new ships with entertainment functions. Thus the SS Columbia was made. In 1905, an excursion to Bob-Lo aboard Columbia would cost the passenger 35 cents round trip.100 The cost for a one-day excursion to Bob-Lo Island in 1919 was 40 cents round trip.101 In the 1980s that name came to be converted to the present spelling of “Bob-Lo” (#1.39). The island changed hands a few times after that, but it took the purchase of a small area by The Detroit, Belle Island, and Windsor Ferry Company in 1897 as an investment and as a way to boost patronage during off times to really kick things off. In 1898, this would become The Bois Blanc Excursion Line. In 1919, the destination included attractions such as athletic fields, bathing, boating, dancing, and a “modern café”.102

1.38

SS Tashmoo

https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/SS_Tashmoo.jpg/1200px-SS_Tashmoo.jpg

1.39 Liz McEnaney

27

Aerial view of Columbia and Boblo island

Bob-Lo Island Amusement Park ran from 1898 to 1993.

The only access was via one of two ferries from Detroit or Amherstburg, the SS Ste. Clair and the SS Columbia (#1.40).

Each held about 2,500 passengers. In 1991, those boats were sold and smaller ferries took people from Gibraltar, Mich., to the island, as well as Amherstburg. (Travel 2017) Columbia would serve the Detroit Belle Isle and Windsor Ferry Company carrying passengers from the City to Bob-Lo without incident. However the steamer did experience a minor incident on June 18, 1905 when Columbia ran aground during a midnight cruise due to heavy fog. She and her passengers were eventually rescued by another steamship titled Promise.103 Before automobiles became the preferred means of transportation in the US, steamboats offered city residents a means for recreation beyond the confines of the city limits.

In the early 1900’s, the booming cities along the shores of the Great Lakes took advantage of natural features found offshore as an escape from the congested, industrial life of urban dwelling. Detroit, located on the west shore of the Detroit River, was ideally located near several islands that were only a short steamboat ride away. These islands not only offered natural environs that provided refuge from the city, but also man-made attractions.

Transit Evolution As the rise of the personal automobile became more apparent existing infrastructure had to adapt for this change. Ferries began to not only carry passengers but their automobiles as well. And as the popularity of the automobile began to rise in the interwar and post war periods so did the demand for new public works projects for new infrastructure to accommodate for this cultural change. Between 1928 and 1930 a one-mile long tunnel was constructed to connect Detroit and Windsor, Ontario, Canada. This was the third sub-aqueous roadway to be constructed in the United States, but the first to be constructed internationally and to be jointly operated by the Detroit and Canada Tunnel Company. 1 As Detroit entered the 1930’s there were numerous ways for which individuals could travel across the Detroit River providing both public options and private competition.

The Detroit and Canada Tunnel Corporation applied on May 16, 1937 to the Interstate Commerce Commission (ICC) for permission to acquire the Detroit Windsor Ferry Company for $150,000 in cash and $750,000 in a 5% mortgage bonds maturing in 1966.2 This acquisition would require ferries to cease operation if approved by the ICC; however, the ICC dismissed the application the following year. The ICC argued that: “the chief value of the proposed transaction according to the evidence, lies in the added traffic which it is expected will acquire to the tunnel corporation through the suppression of the competition of the ferry companies.”3 The competition between the Detroit and Canada Tunnel Company and the local Ferry companies is important. In 1930 the Border Cities Chamber of Commerce reported that 25,000,000 people were crossing the Detroit River annually and as many as 70,000 automobile passengers have been carried by ferries over a single weekend.4 The emergence of bridges and tunnels across the Detroit River did indeed impact the ferry corporations significantly. In July of 1938, the Detroit Windsor Company retired two steamboats, SS LaSalle and SS Cadillac, both passenger vessels that carried passengers across the Detroit River.5 As Detroit and the Great Lakes region entered the post war years the number of steamboats being constructed and operating along the inland rivers and seas declined significantly. The rise of the personal automobile, the passenger train, and the airplane significantly decreased the importance of passenger ferries to travel.

Trains and light rail transit threaten the success of steam-

ers as early as 1857, it was this intense and long feuded rivalry between the railroads that resulted in the lavish spending of money on ornamentation, furnishings, and decorations in Steamboats to provide passengers with a competitive excursion option that profited on experiences resembling high end comfort.6 With this shift in transportation culture there existed a change in the culture of the steamboats as well. No longer were the steamboats regarded as an event, but rather the event would be the place where passengers would eventually arrive. The historical change of American transportation is synonymous with the change of American entertainment.

Endnotes 1 Harvey Klemmer, “Detroit Digs under to Canada,” Scientific American 142, no. 3 (1930).

2 “To Buy Ferry Company - Detroit & Canada Tunnel Asks I.C.C.’S Permission for Deal,” The New York Times, May 16, 1937.

3 “Bars Detroit River Deal - I.C.C. Forbids Tunnel to Buy Privileges from Ferry,” The New York Times, 28 July 1938.

4 Klemmer, “Detroit Digs under to Canada.”

5 “Ferry Service Ended: Two Detroit-Windsor Boats Are Withdrawn,” Buffalo Courier-Express, 19 July 1938.

6 Erik Heyl, “The City of Buffalo; Last of the Great Lakes Palace Steamers,” Niagara Frontier Vol 4- 1. 1957. Pg. 7-13.

1.40

St. Claire

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The popularity of “excursions” to these islands is evident from a 1919 Detroit tourism brochure. In it, the authors proclaim that 12,000,000 passengers sailed on the excursion ferries to and from destinations in the Detroit River that season alone.104 The brochure also notes that this number is three times greater than the number of passengers from all other ports in the Great Lakes combined.105 Steamboat destinations from Detroit in 1919 included Belle Isle, Tashmoo Park, St. Clair Flats, Toledo, Ohio, Sugar Island, Putin-Bay, Windsor, Ontario, Bob-Lo Island, Cleveland, OH, and Buffalo, NY.106 Many of these destinations were marketed for “One Day Excursions”, while others (e.g. Buffalo, Cleveland, and Windsor) were marketed with fares for one way and round trip voyages.107 In 1919, tourism promotional material for Detroit describes Belle Island as having “no equal in any part of the world for beauty and refined, attractive, educational features.”108 The island was home to amenities such as an aquarium, horticultural building, zoological gardens, a bathhouse, a bathing beach, yacht and boat clubs, casinos, canals for boating, and boulevards and shore drive for “autoists”.109 Despite the lavish and luxurious amenities, the brochure indicates that the cost of visiting the island getaway was only 15 cents round trip, a cost no greater than riding the streetcars in Detroit. The low cost to travel indicates that visiting Belle Isle in 1919 was an activity that was available to a variety of people, regardless of social status and income. By comparison, a round trip ticket to Buffalo, NY from Detroit in 1919 cost $7.00.110 To contextualize the cost further, the average hourly earningsper-hour of someone working in manufacturing in 1919 in the US was $0.477.111 However, destinations for steamboats in Detroit were not necessarily a physical place. Sometimes, as in the case of moonlight excursion that lasted from 8:30 pm to

11:00pm, the destination was simply a steamboat ride into the river by the light of the moon.112 In 1905, moonlight excursions on Columbia cost 50 cents, 15 cents more than a daylight excursion (#1.41).113 With this knowledge in mind, it appears that an excursion upon Columbia would not have been terribly cost prohibitive for an average manufacturing worker to afford. This of course, does not account for other cost-ofliving factors, but still portrays the relatively affordability of steamboat excursions.

Tourism and excursion steamboats were not exclusive to Detroit. Buffalo, New York, at the other end of Lake Erie, was also home to excursion steamboats that were very similar in function and form to the excursion steamers of Detroit. Lines ran from Buffalo, NY to both Fort Erie and Crystal Beach Ontario in the beginning part of the 20th century. Crystal Beach was a particularly popular destination, with amusement rides, skating rink, dance hall, and scenic railroad, bathing, and event spaces. During the summer of 1907, three steamboats ran the Buffalo-Crystal Beach line, including steamer State of New York.114 In the next year, the steamer Americana was introduced to the Crystal Beach line by the Lake Erie Excursion Company. This boat had a length of 216 feet, width of 56 feet, and triple expansion engines with Scotch boilers and a twin screw propeller (1.42). On its maiden voyage, Americana broke the speed record for the trip between Buffalo and Crystal Beach(#1.43). She held a maximum of 4,000 passengers across three passenger decks fitted with a bandstand and dancing pavilion, a men’s parlor, and a women’s parlor. The cabin of the boat was finished in hand-carved mahogany and the parlors were fitted in Flemish oak.115 Only two years later, the Lake Erie Excursion Company launched the steamer Canadiana into Lake Erie as part of the Crystal Beach line.

Canadian was built as a replica of the Americana) (#1.44).116

Cultural Significance: The People’s Boat

1.41 Liz McEnaney

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Moonlight Excursion

During the early years of Columbia’s life she gained significant attention and praise from the public. On September 14, 1905 Columbia is reported to have raced and won against Kirby in a fifty-minute course from Mamajuda to the end of Ballard’s Reef on the Detroit River. Events such as this were sure to draw great attention and excitement from the public. On September 1 1905, Columbia attracted a large crowd in Sandusky, Ohio where she had made her first appearance carrying 600 passengers and a full orchestra band. 117 Advertisements ran for daylight and moonlight excursions in the Sandusky StarJournal throughout September of 1905 announcing when Columbia would visit the city. These advertisements promoted that the excursions included live music by Zickel’s Orchestra and held a dance floor large enough to accommodate 1000 passengers The overall capacity of the steamers advertised 3566 passengers and the advertisement stressed that no

alcohol would be provided onboard.118 There was plenty of excitement to be had around steamboats in the early twentieth century. This excitement indicated that the culture of these boats was far more about the experience as a whole than the actually destination. Advertisements like these promoted what entertainment would be provided aboard and gave an indication to the nature and etiquette of the people they would find aboard (#1.45). The specific indication that alcohol was strictly prohibited indicates that the culture aboard was one of temperance and spoke to a larger national movement brewing in American society. One article from the Sandusky Star Journal was especially explicit: “An attractive feature of the management is that no liquors are sold on board the boat and no one under the influence of liquors is permitted to board her.”(#1.46). 119 Advertisements such as this insinuated that a large draw towards excursion vessels like Columbia was that it offered an escape from social

1.42

Columbia’s triple expansion steam engine

Crystal Beach, Fort Erie, Ontario

http://a4.pbase.com/o3/30/250930/1/89806145.SDXQ8saE.Pier.jpg

1.45

Group of women aboard Columbiaplaying cards

Liz McEnaney

Liz McEnaney

1.43

1.44

SS Americana

http://sometimes-interesting.com/wp-content/uploads/2011/06/ss-america-5.jpg

1.46

Big Steamer Columbia’ Advertisement, ca. 1906

The Sandusky Star-Journal, 1905

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1.47

Article describing Isabela Stachura giving birth Aboard Columbia

Evening Tribune Times, July 10, 1923

immorality that was probably felt within the City, additional these advertisements appeared a decades before prohibition, showing the influence of temperance within American mainstream culture.

In 1908 questions regarding temperance and passenger perception would enter the legal discourse. The case of Samuel Meisner versus the Detroit Belle Isle Windsor Co. is especial interesting. Samuel Meisner filed suit against the Detroit Belle Isle Windsor Co. for being kicked off Columbia for being known to be disorderly.120 One could assume that he may have been inebriated at the time or simply garnered the reputation of a known drunk. The numerous accounts then of Samuel Meisner’s refusal as passenger indicates that the culture aboard streamliners such as Columbia was one that practiced temperance and the experience aboard was one that offered an escape from immoral behavior found within the public space of the city.

Life aboard Columbia was almost always joyous; the vessel provided both entertainment and an elevated cultural experience as it carried Detroiters to and from Bob-Lo Island.

It is unknown if Columbia ever exceeded its total capacity but on one voyage in 1923, Columbia returned with one passenger more than it had embarked with. On July 8, 1923, Mrs. Isabella Stachura gave birth to her daughter Caroline Columbia Stachura aboard Columbia (#1.47).121

Fate - To Present Day

1.48

Columbia shrink wrapped

http://gossipsofrivertown.blogspot.com/2013/05/shall-we-travel-on-river.html

1.49

Photo of Columbia and St. Claire, dilapidated

http://www.boatnerd.com/pictures/images/bobloboats4-01-mn.jpg

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The later half of the twentieth century was the slow death of Columbia. On November 2, 1979 she was listed on the National Register of Historic Places, later gaining status of a Historic Landmark on July 6, 1992. On September 2, 1991 Columbia was decommissioned and laid up afloat at an industrial facility on the outskirts of Detroit its final after summer run. She was auctioned in 1996, shrink wrapped by the Detroit Riverfront Conservancy in 2004 in a failed attempt to reduce further deterioration, and was finally awarded to a New York based non-profit in 2006 (#1.48). Throughout Columbia’s lifetime she saw first-hand a shift in American culture.

Despite facing similarly caused declines in ridership as the steamers in Buffalo, the Bob-Lo Island steamers Columbia and Ste. Claire lasted well into the latter half of the 20th century (#1.49). This may have had something to do with the fact that as an attraction Bob-Lo Island was only accessible by boat.

However, by 1981, the owners of Bob-Lo Island amusement park, Bob-Lo Island Amusement Co. filed for bankruptcy protection because it owed $9 million. In 1983, the park nearly closed, but was saved when AAA Michigan bought the park for $6.5 million and then invested an additional $15 million into the park and boats to make the business profitable again. By 1988, AAA sold the park (which included the boats)

to International Broadcasting for $20 million. In September 1991, International Broadcasting filed for bankruptcy reorganization, prompting the company to look at selling the boats. 122 The boats were taken out of commission after Labor Day of 1991 in order to save costs. The owners of the park stated that company surveys showed passengers want to spend less time on the boats and more time at the park.123 Instead riding the Bob-Lo steamers for 90 minutes from Detroit, patrons in the 1992 season were only be able to access the park from smaller vessels launching in Gibraltar, MI.124 The consumer preference to want the fastest way possible to the island demonstrates a major mental shift away from the time when the Bob-Lo boat ride was itself an attraction. Interestingly, in the 1991 season, 55% of Bob-Lo Island’s visitors arrived via the Bob-Lo boats.125

effect that sped up the rotting of the 100-year-old wooden superstructure. This has left the boat’s future in jeopardy — and added dramatically to the cost of the efforts to get her sailing again. The vessel’s boilers and much of its wooden superstructure that has rotted would be replaced under the plan. The Columbia changed hands a few times before being transferred in 2006 to the S.S. Columbia Project, a 501c3 non-profit seeking to make her a sightseeing attraction to ply the Hudson River in New York State. (Austin n.d.)

The response to the end of Bob-Lo boat service by members of the Detroit public was a mixture of anger, sadness, nostalgia, and understanding. Readers who wrote in to the Detroit Free Press from around the Detroit area expressed agreement with the mayor that the decision was racial oriented, while others supported the position that the decision was merely a matter of business. One woman, who had worked as a deckhand stated that having experienced Ste. Claire and Columbia firsthand that season, she knew how unsafe and unreliable the boats had become.126 One reader stated that he felt “gutpunched” when he heard about the shutdown of the boats.

The same man went on to say that the “ships have been as much a part of the river as the waves and the wind.”127 Another reader described the closure of the boats as “another slap at Detroit”, right on par with the loss of the Detroit Lions, Pistons, and potentially Tigers.128 On Wednesday, November 14, 1991, Larry Spatz, a nightclub owner, purchased the Bob-Lo boats with a $235,000 bid.

Although the boats likely needed hundreds of thousands of dollars in maintenance, Spatz believed he could acquire private funding in the $5 million to $10 million range to convert the boats into floating boutiques and restaurants that could be docked near one of his nightclubs.129 130 The project quickly ran into financial issues, and by 1992, Spatz and the Detroit Economic Growth Corp. owned the boats. At this point, the boats had not seen significant maintenance in five years, and would probably cost $500,000 to get them into shape.131 The Bob-Lo boat had been tied up at a dock at U.S. Steel in Ecorse, Mich., for years. In December 2005, the Detroit Riverfront Conservancy gave up on its plan to run the Columbia as a moneymaking tour boat in the Detroit River.

Columbia was “shrink-wrapped” around 2004 in an effort to preserve the vessel, but the plastic created a greenhouse type 32

costs of these vessels, operators could not afford to live off the income gained from these rural settlements alone. Therefore, showboats were also a common occurrence within American cities along the Ohio and Mississippi River. These larger communities provided a better opportunity for the families operating these vessels to earn a steadier income.134

Showboats and Point Counterpoint II Unlike day excursion vessels, showboats brought entertainment and examples of high culture to rural communities across the United States by way of the Inland Rivers. These vessels were designed quite differently than those of other river-faring vessels. Showboats were often built on top of or out of a barge, and they did not hold a space to carry passengers. Instead, the large interior spaces provided auditorium style seating facing the stage. Additionally, very few of these vessels were self-propelling and were often towed or pushed by other vessels, such as steamboats.

Showboats came into existence to meet early settlers demand for formal entertainment as western expansion occurred out of the cities of the eastern seaboard.132 Many of these early settlements consisted of small nuclear families that utilized every member of the family to cultivate the land they settled.

They often worked long days, received little education, and had no access to any form of American popular culture without ever traveling east into large towns and cities.

Showboats acted as a literal vessel in importing American high culture to rural settlements. However, they were approachable. Many of these showboats were family operated and charged a low overhead or offered a modest price for the entertainment that they provided.133 This allowed for people with lower incomes to have access to higher culture if only for a short periodic time. However, due to the operating 33

The first showboat to appear on American rivers was the Chapman Floating Theatre built in 1831 by Cyrus Brown for British-born William Chapman Sr. of Pittsburgh, Pennsylvania (#2.1).135 The Chapmans traveled American waterways via the Ohio and Mississippi River, moving from Pittsburgh to New Orleans. The Chapman Floating Theatre boat was eventually junked in New Orleans and the family ferried back to Pittsburgh to prepare for their next performance season. While the Chapmans were trained in the classical British tradition of theatre and performed works by William Shakespeare, other showboats populating the inland rivers of the United States were much more extravagant. The Floating Circus Palace by Spaulding and Rodgers, built in 1851, featured large-scale equestrian shows (#2.2).136 While the performances and level of entertainment that these showboats provided ranged in scale, they were all received well. Critics of the time regarded the Chapman family as one of the most remarkable theatre families in America.137 Since Chapman first pioneered the showboat on American waterways, external forces often influenced the history of these vessels. The early years of showboats offered by Chapman and Spaulding and Rogers provided rural communities with both classical theatre and equestrian spectacles. As America entered 1861 and the country fell into Civil War, these boats essentially disappeared. It was not until late into the nineteenth century that these boats returned, reaching their zenith a little after the turn of the century.138 The revival of floating theatres and palaces saw a shift in the form of culture and entertainment they provided. By 1878, many showboats specialized in vaudeville and melodramas.139 Although many of these vessels survived Reconstruction, few managed to survive the shift in entertainment and culture, or even the very rivers they traversed. Over time, a majority of these vessels were lost to the river or junked. Very few managed to survive into the Interwar period of the twentieth century. The decline of showboats can be attributed to the rise of other forms of entertainment in America, such as that of the radio, television, and film. Audiences who did go to the showboats did not come to be genuinely entertained, but rather to scoff and to be amused by the entertainment of a past, and notably lost generation.140 By the 1940s, in spite of the family operated floating theaters’ best efforts floating theaters practically disappeared for good. That is, until Louis Kahn unveiled his Point Counterpoint II for the American Wind Symphony in Pittsburgh, Pennsylvania, where the showboat first began.

Point Counterpoint II (#2.3) Point Counterpoint II (PCPII) is a one-of-a-kind floating concert hall designed by Louis Kahn and commissioned by conductor Robert Austin Boudreau in the mid-1960s. Launched in 1976 for the United States’ bicentennial celebration, it carried an orchestra through American and European waterways for five decades.141 Robert and Kathleen Boudreau, owners of PCPII, have decided they can no longer pay for upkeep and wishes to sell the vessel. Unless a buyer appears soon, the boat will be broken down for scrap in a Louisiana shipyard.142

Purpose PCPII was built with the purpose of carrying culture and entertainment across American waterways, making it a modern reincarnation of the American showboat of an earlier age. Robert Austin Boudreau, the musical director of the American Wind Symphony, commissioned Kahn to create the original Point Counterpoint, a symphony barge designed to play in the River Thames in England (#2.5). The original Point Counterpoint was created in 1961, but after it proved to be too difficult to navigate the canals and locks of American waterways, a new barge was commissioned: Point Counterpoint II.143 Kahn designed the second barge during the early 1970’s but passed away in 1974, two years before PCPII was completed.144 Although Kahn is credited with the vessel’s design, Tidewater Equipment constructed the vessel in 1976 with architect George Djurkovic overseeing and realizing the final project after Kahn’s death.145

American Wind Symphony (#2.5) Robert Boudreau, a 1952 graduate of the Julliard school of Music in New York, founded the American Wind Symphony in 1957 with the financial assistance of numerous funders and elites within the city of Pittsburgh, Pennsylvania. H.J Heinz II, head of the Heinz Company, entrusted Boudreau with $15,000 that was later matched by Duquesne University to fund the beginning of the American Wind Symphony and its first vessel, which was previously used to construct locks on the Monongahela River.146 Before commissioning PCPII, Boudreau held concerts from a floating barge at the confluence of the Monongahela and Allegheny Rivers as early as 1959.147 After PCPII was launched in 1976, Boudreau was assisted by hundreds of volunteer musicians throughout the vessels history. The Courier-Standard Enterprise of Fort Plain, NY wrote in 1976 that the average age of orchestra members who played on PCPII was 23, and that they traveled by bus to each concert destination.148PCPII and the American Wind Symphony, led by Boudreau, embarked on a three-year tour

2.1

Photo of Chapman’s Floating Theatre

https://sites.google.com/site/pittsburghmusichistory/_/rsrc/1301211489514/pittsburgh-music-story/teachersand-schools/Chapman-floating-theatre-300x219.jpg

2.2

Photo of The Floating Circus Palace by Spaulding and Rogers

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2.3

Photo of Point Counterpoint II

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34

named “Ocean Blue Odyssey,” that took musicians through 30 European Cities in ten nations. The tour focused primarily in the northern part of Europe, sailing through Irish and Baltic Seas and the Seine, Thames, and Rhine Rivers.149 PCPII was designed for rivers and canals, it was loaded into a seafaring dry dock ship that carried it across the Atlantic Ocean.

However, in journeys to the Caribbean, PCPII was able to navigate under her own power (2.6).150

2.4

Point Counterpoint

Appel, Allan. “Aboard the Point Counterpoint II.” New Haven Independent, http://newhavenindependent.org/ archives/2007/06/the_boats_of_su.php.

The American Wind Symphony provided both free and paid performances wherever they landed. In most cases, communities subsidized the cost of bringing the vessel to their shores through local governments and business owners who helped cover most of the cost, as well as assisting the captain overcome navigational obstacles in the way.151 The American Wind Symphony orchestra drew in large crowds and received highly favorable public attention. In a 1986 concert in Medina, New York, the boat was reported to have drawn in crowds of over a thousand people.152

Architect (#2.7)

2.5

Photo of the American Wind Symphony Orchestra Aboard PCPII on Thames River

https://www.philadelphiabuildings.org/pab/iiif.cfm/369DC37B-016D-4300-AD504B02598A8066/ full/400,/0/default.jpg

2.6 Photo of Point Counterpoint IIamongst other vessels on way to Leningrad http://cdn.archinect.net/images/1028x/ev/evf6u3gkldcotoqc.jpg

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Louis Isadore Kahn, born to a lower class Jewish family on February 20, 1901 in Pärnu, Estonia, came to the United States at a young age, with the family settling in Philadelphia.153 He attended the School of Architecture at the University of Pennsylvania, being trained primarily in the Beaux Arts movement, leading him to avoid the emerging modernist movement. Instead of imitating the styles of the past, Kahn applied the basics of Beaux Arts (symmetry, grand spaces, and balanced geometry) to his architectural designs. Paul Goldberger, writing for the New York Times on Kahn’s death in 1974, wrote, “his somewhat fundamentalist approach led aim toward strong, simple geometric forms and basic materials, which he often left in its unfinished state as a better means of expressing the material’s nature.”154 Eventually, his school of thought focused on creating a linkage between what he called “served” and “servant” spaces of a building or structure. The “servant” spaces are composed of the mechanical innards of a building, with the “served” spaces being what was left.

Visually, this theory resulted in Kahn leaving the heating and cooling systems along with lighting and electrical exposed on the ceilings of many of his designs. In his mind, these components were integral parts of buildings that should not be hidden, but exposed for view, enhancing the overall “purity” of a building.155 This is evidenced in PCPII’s rooms that feature the skeleton of the vessel on the ceilings, with lighting and HVAC components clearly visible (#2.8).

Although Kahn was the original architect of PCPII, J. J. Henry Co. Inc. was the naval architectural group that made the vessel a reality #2.9. The Tidewater Equipment Corporation was

responsible for the physical construction of the vessel. James J. Henry was introduced to architecture and construction at a young age, as his father was a Henry established his architectural firm in 1946 in Manhattan, and being a graduate of the Naval Architecture program at the Webb Institute, was focused on maritime projects and commissions.156 Henry had supervised design and construction of naval attack transports in Long Beach, CA during World War II and later large freighters designed to carry shipments of liquefied natural gas.157

Construction (#2.10) Point Counterpoint II originated from a salvaged barge that Louis I. Kahn redesigned to fit the needs of the American Wind Symphony as a floating showboat featuring a large, expandable stage supported by hydraulic lifts. Aboard the ship, interior spaces consisted of quarters for the captain and his family, with most of the musicians traveling via bus to each destination. PCPII includes rooms for up to 13 crewmembers, staff, and the director to live. Since the living space aboard PCPII is limited, other personnel in the large group must travel by land and stay in overnight accommodations provided by members of the community.158 Although disseminating music to the public was PCPII’s primary function, the boat was a celebration of art beyond music as well. On each tour, a resident artist and poet were among the crew. The space beneath the large orchestra stage held a gallery for an art museum that contained the Boudreau’s private collection reportedly valued at $3 million (#2.11).159 The gallery also displayed art for sale from the resident floating artists and others.160 Performance art was included in PCPII’s artistic repertoire through a small theater in the boat’s interior where special patrons’ concerts took place.

2.7

Photo of Louis I. Kahn

http://www.post-gazette.com/.media/2/2017/07/07/4cb8ab03-4b46-4b57-aedd-873319bad603.jpg

2.8

Point Counterpoint IITheatre with exposed lighting and HVAC

https://americanwindsymphonyorchestra.org/pictures/point-counterpoint-ii-in-various-locations/

2.9

Elevation Drawing of PCPIIby Louis I. Kahn

https://archinect.imgix.net/images/1028x/oq/oqf3w5kfupuenqjx.jpg?auto=compress%2Cformat

2.10

Model of PCPII by Louis I. Kahn

https://www.design.upenn.edu/louis-i-kahn/barge-american-wind-symphony-orchestra

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2.11

Photo of PCPII’s Below Deck Art Gallery

https://americanwindsymphonyorchestra.org/pictures/point-counterpoint-ii-in-various-locations/

The Point Counterpoint II measures 195-feet long and 38feet wide and features a large overhead canopy to shelter performers and diffuse the sound. The underside of the hinged canopy shows a series of square, circular-domed, and pyramidal cavities, similar to the ceiling of the Yale University Art Gallery building, an iconic design by Kahn (2.12). The overhead structure can be lowered over the barge for protection and easier transport. As a flourish, the Boudreaus liked to start performances with Aaron Copland’s “Fanfare for the Common Man” while the hinged canopy gradually opened, revealing the performers.161 The streamlined steel vessel is equipped with a 75-foot-wide stage, the roof of which is raised up by hydraulic lifts at performance time (2.13).

Once open, the canopy doubles as an acoustic shell for the performance.162 Within the stage are an array of pedestal seating designed by Japanese sculptor Yasuhide Kobashi.

These stools were designed in such a way that every member of the orchestra would be clearly visible to the audience on shore.163 Other interior finishes feature the custom work from other designers and artists. A woodworker from Maine handcrafted the oak tables that are set into the ship’s office and galley, and Finnish artist Eino Ruutsalo created the kinetic light sculpture that forms one wall of the art gallery in the lower deck.

Operational Logistics

2.12

Underside of Point Counterpoint II’sAcoustic Shell

http://www.atlantamusiccritic.com/2012/07/the-american-wind-machine.html

In her travels around the United States, the Caribbean, and Europe, PCPII navigated under her own power. However, according to owner Kathleen Boudreau, PCPII was loaded onto a floating dry dock (a large ship designed to carry smaller ships and boats) and was transported to Europe across the Atlantic Ocean. A Holland-based company called Dock Express performed the transportation for the three-year 1986 “Ocean Blue Odyssey” tour. When operating under her own power, PCPII was propelled by two diesel engines, which are still onboard. However, the propulsion units have been removed.164 According to owner Kathleen Boudreau, the most expensive part of operation is fuel. Maintenance costs are also around $10,000 per year. However, permits for shows have traditionally been covered by the municipality in which the PCPII docks. In 1996, Robert Boudreau estimated the annual operating costs at $150,000.165

Cultural Significance 2.13

Point Counterpoint IIwith shell open

August 18, 2009, Kit Doyle - Southeast Missourian

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The significance of Point Counterpoint II as a cultural institution is both banal and profound. On the one hand, the floating arts center brought music, visual art, and performance art to

communities around the world. People who might not have had an opportunity to travel to a place with an orchestra or museum or theater could experience all three of those things at once.166 The traveling orchestra performed special concerts in churches, community centers and schools in addition to the nightly concerts to the public. Tours of the vessel, including the vessel’s art gallery were provided to the community.167 At the other end of the spectrum, Point Counterpoint II has also participated in major events in history. In 1976, it toured the US as a celebration of the nation’s 200th birthday. In 1986, PC2 sat in the New York Harbor and played the national anthems of 13 nations as their corresponding ships sailed by to celebrate the bicentennial of the Statue of Liberty. While in Leningrad during the 1989 European tour, the Soviet Union allowed musicians to stay in the homes of Leningrad citizens despite the tensions of international politics at the time.168 In total, PCPII has visited 272 port of calls, including locations in Europe, the Caribbean, and across the United States (2.14).169

2.14

Point Counterpoint II Locations

American Wind Symphony Orchestra

As an architectural piece, PCPII is unique in that it was specially commissioned by the late renowned architect Louis Kahn.

Famous cellist Yo-Yo Ma, who has publicly called for the boat to be saved, feels that the boat is “a powerful, living testament to American creativity and to the elemental role that culture plays in human life.”170 Philip Graham’s 1951 book ends with a chronology of principal showboats that occupied the rivers of the United States since the Chapman Floating Theatre. His showboat chronology ends with the Dixie Queen, built by Al Cooper in 1939 but later sold and converted into an excursion vessel in 1943.171 As Dixie Queen demonstrates the potential convenience of converting showboats into excursion vessels, one wonders if Graham announced the death of the showboat prematurely.

Just a few decades after Dixie Queen, Louis Kahn designed Point Counterpoint II, regarded as a modern display of the showboat typology. Kahn’s boat continues the transition started by Chapman in the United States by providing citizens with a water-faring vessel that brings modern culture and entertainment to populations across the country. Boats such as Kahn’s proved to be boats for the people. Vessels such as these provide a better look at how entertainment and tourism along American waterways evolved and fared over time despite the numerous changes that occurred in popular culture and transportation preferences.

38

Endnotes 1 William Rosen, The Most Powerful Idea in the World, First ed. (New York City: Random House, 2010).

2 Claire Profilet Cothren, “Rolling on the River: Preserving America’s Steamboats.”

3 Rosen.

4 Ibid.

5 “A History of Steamboats.”

6 .

7 Ibid.

8 D. H. Bedford and Francis Cleary F. J. Holton, “History of the Windsor and Detroit Ferries,” Ontario Historical Society XVI (1918).D. H. Bedford and Francis Cleary</author></authors></contributors><titles><title>History of the Windsor and Detroit Ferries</title><secondary-title>Ontario Historical Society</secondary-title></titles><periodical><full-title>Ontario Historical Society</full-title></periodical><volume>XVI</volume><dates><year>1918</ year></dates><urls><related-urls><url>https://babel.hathitrust.org/cgi/ pt?id=mdp.39015020933373;view=1up;seq=7</url></related-urls></urls></ record></Cite></EndNote> 9 Editors of the Encyclopedia Britannica, “Clermont: Steamboat,” (Encyclopedia Britannica, 1998 ).

10 Fred Erving Dayton and John Lipton Lochhead, Steamboat Days (New York: Frederick A. Stokes company, 1925).

11 Ibid.

12 Ibid.

13 Ibid.

14 William Oxford, The Ferry Steamers: The Story of the Detroit-Windsor Ferry Boats (Toronto: Stoddart Publishing Co. Limited, 1992).

15 James Cooke Mills, Our Inland Seas : Their Shipping & Commerce for Three Centuries (Chicago: A. C. McClurg & co., 1910).

16 Ibid. The discussion of changes to transportation around the Detroit River is attributable to information from this source material.

17 Ibid., 232.

18 “A History of Steamboats.”

19 Dayton and Lochhead.

20 “Shipping News of the Lakes: Detroit,” The Minneapolis Journal 1901.

21 Anastasia Tokmakova, “Archinect News,” (2017).

22 “Shipping News of the Lakes: Detroit.”

23 “Steamer Columbia Launched,” The Buffalo Courier, 11 May 1902 1902.

24 Mills.

25 Ibid.

26 Ibid.

27 Detroit Dry Dock Co., Around the Lakes (Cleveland: Marine Review Print, 1894).

28 “The Reports of Committees of the House of Representatives for the Second Session of the Fifty-First Congress, 1890-‘91,” ed. Department of the Interior (Washington: Government Printing Office, 1891).

29 Ibid.

30 Thomas A. Klug, “The Immigration and Naturalization Service (Ins) and the Making of a Border-Crossing Culture on the Us–Canada Border, 1891– 1941,” The American Review of Canadian Studies 40, no. 3: Culture and the Canada-US Border (2010).

31 “Steamer Columbia Launched.”

32 Joel Stone, Floating Palaces of the Great Lakes: A History of Passenger Steamships on the Inland Seas (Ann Arbor: University of Michigan Press, 2015).

33 “New Car Ferry Starts,” The Buffalo Courier-Express, 22 April 1928 1928.

34 Ibid.

35 “City Receives Unprecedented Volume of Motor Tourist Traffic,” Democrat Chronicle, 28 July 1930 1930.

36 Harvey Klemmer, “Detroit Digs under to Canada,” Scientific American 142, no. 3 (1930).

37 “A History of Steamboats.”

38 Bruce Catton, “Two ‘Good Oldtimers’ Still in the Harness,” Olean Times-Herald, 17 July 1937 1937.

39 Ibid.

40 “Ferry Service Ended: Two Detroit-Windsor Boats Are Withdrawn,”

39

Buffalo Courier-Express, 19 July 1938 1938.

41 Roger Ripa, “Peace Bridge Facts,” Buffalo and Fort Erie Public Bridge Authority, http://www.peacebridge.com/index.php/about-us-sp-1874923374/ peace-bridge-facts2.

42 “Peace Bridge Dooms Beach Boat,” Democrat and Chronicle, Sept. 21 1929.

43 “Steamer Canadiana Retired,” Buffalo Evening News, Nov 27 1946.

44 Ibid.

45 F. J. Holton.

46 John Brandt Mansfield, History of the Great Lakes (Chicago: J. H. Beers & co., 1899), 998.1899 47 Oxford.

48 Ibid., 45.

49 F. J. Holton.

50 Mansfield.

51 Ibid.

52 F. J. Holton.

53 Mark Sommer, “The Ss Columbia, Ghost Ship on the Buffalo River,” The Buffalo News, July 29, 2017 2017.

54 Mansfield.

55 Sommer.

56 Oxford, 93.

57 “$1,500,000 Loss in Detroit Dock Fire”,” Rome Daily Sentinel, 28 November 1923.

58 .

59 “New Car Ferry Starts.”

60 “Ferry Service Ended: Two Detroit-Windsor Boats Are Withdrawn.”

61 .

62 “To Buy Ferry Company - Detroit & Canada Tunnel Asks I.C.C.’S Permission for Deal,” The New York Times, May 16, 1937.

63 “Ferry Service Ended: Two Detroit-Windsor Boats Are Withdrawn.”

64 Ibid.

65 “Bars Detroit River Deal - I.C.C. Forbids Tunnel to Buy Privileges from Ferry,” The New York Times, 28 July 1938.

66 Tim Colton, “Detroit Shipbuilding, Detroit Mi and Wyandotte Mi,” http://shipbuildinghistory.com/shipyards/large/amshipdetroit.htm.

67 Thomas A. Klug, “Historic American Engineering Record: Dry Dock Engine Works,” (Washington, D.C.: National Park Service, 2002).

68 Richard J Wright, Freshwater Whales; a History of the American Ship Building Company and Its Predecessors (Kent State University Press, 1970), 103.

69 Co. 70 C.P. Labadie and Minnesota Historical Society. State Historic Preservation Office, Minnesota’s Lake Superior Shipwrecks (A.D. 1650-1945) (Minnesota Historical Society, State Historic Preservation Office, 1990).

71 Klug, “Historic American Engineering Record: Dry Dock Engine Works.”

72 Colton.

73 Ibid.

74 Kathy Warnes, “Frank Kirby’s Great Lakes Legacy and the Bob-Lo Boats,” Weebly, http://meanderingmichiganhistory.weebly.com/frank-kirbysgreat-lakes-legacy-and-the-bob-lo-boats.html#_ednref2.

75 Gordon Pritchard Bugbee, The Lake Erie Sidewheel Steamers of Frank E. Kirby (Detroit: Great Lakes Model Shipbuilders’ Guild, 1955).

76 Ibid.

77 “Doctor’s Degree for Frank E. Kirby,” New York Times, 1857-1922 1908.

78 Harvey Cole Estep, How Wooden Ships Are Built: A Practical Treatise on Modern American Wooden Ship Construction with a Supplement on Laying Off Wooden Vessels (Cleveland: Penton Publishing Company, 1918), 7.

79 Ibid.

80 Ibid., 5.

81 “The Seamen’s Bill,” The Square Deal XIII, no. Augut 1913 (1913).

82 Lucy Hamilton Nola Huse Tutag, Discovering Stained Glass in Detroit (Wayne State University Press, 1987).

83 “Steamer Columbia Launched,” The Buffalo Courier, 11 May 1902.

84 Patrick Livingston, Eight Steamboats: Sailing through the Sixties (Detroit, MI: Wayne State University Press, 2004).

85 Ibid.

86 Ibid.

87 Ibid.

88 Ibid.

89 Barry Rohan, Vickie Elmer, and Darryl Fears, “Boblo Docks Its Boats, Ends Rides from Detroit,” Detroit Free Press, Oct 24 1991.

90 Livingston.

91 Patrick Livingston, “Summer Dreams: The Story of Bob-Lo Island”, Wayne State University Press, 2008 92 Ibid 93 Ibid 94 Ibid 95 Ibid 96 Ibid 97 Ibid 98 “Great Lakes Vessels Online Index”, Bowling Green State University 99 Ibid 100 “Big Steamer Columbia: Daylight and Moonlight Excursions,” The Sandusky Star-Journal, 19 Sep 1905 1905.

101 Beautiful Detroit, Illustrated. Where to Go--How to Get There, ([Detroit: Detroit Convention and Tourists Bureau, 1919).

102 Ibid.

103 “Off to the Rescue,” The Philadelphia Inquirer, 18 June 1905.

104 Beautiful Detroit, Illustrated. Where to Go--How to Get There.

105 Ibid.

106 Ibid.

107 Ibid.

108 Ibid.

109 Ibid.

110 Ibid.

111 “Employment and Earnings, August 1960,” ed. Department of Labor Division of Manpower Statistics and Employment (FRASER, 1960).

112 Beautiful Detroit, Illustrated. Where to Go--How to Get There.

113 “Big Steamer Columbia: Daylight and Moonlight Excursions.”

114 “Crystal Beach,” The Buffalo Commercial, Mar 28 1907.

115 “New Boat a Dandy,” The Buffalo Commercial, May 28 1908.

116 “Canadiana,” The Buffalo Commercial, Mar 5 1910.

117 “Steamer - Columbia Attracted Large Crowd First Appearance Here,” The Sandusky Star-Journal, 12 Sep 1905 1905.

118 “Big Steamer Columbia: Daylight and Moonlight Excursions,” The Sandusky Star-Journal, 19 Sep 1905 1905.

119 “Will Visit Sandusky - the Steamer Columbia,” The Sandusky StarJournal, 1 Sep 1905 1905.

120 Herschell Bouton Lazell, “Meisner V. Detroit, Etc., Ferry Co.,” Michigan Reports - Cases Decided in the Supreme Court of Michigan from September 10 to November 30, 1908 154 (1909).

121 “Columbia, 8 Pounds, Found Soon after Stork Visits River Boat,” Evening Tribune-Times, July 10, 1923 1923.

122 Rohan, Elmer, and Fears.

123 Ibid.

124 Ibid.

125 Ibid.

126 “The Boblo Boats Will Cruise No More:Is It a Matter of Racism or Business?,” ibid.

127 “Hearts Sank When the Boblo Boats Stopped,” Detroit Free Press 1991.

128 Ibid.

129 Gregory Huskisson, “Baja Owner Is Gaga for Old Boats,” ibid.

130 Cecilia Deck, “Nightclub Owner Buys Boblo Boats,” ibid.

131 Pete Waldmeir, “I’d Be Glad to Walk on Water If They Get the Boblo Boats Running Again,” ibid., Dec 20 1992.

132 Bryant, Here Comes the Showboat!, Pg. 185.

133 Bryant, Here Comes the Showboat!, Pg. 3.

134 Bryant, Here Comes the Showboat!, PAGE MISSING 135 Phillip Graham, Showboats: The History of an American Institution (Austin, Texas: University of Texas Press, 1951). Pg, 9. : Betty Bryant, Here Comes the Showboat! (Lexington, Kentucky: The University of Kentucky Press, 1994). Pg. 185.

136 “Showboat,” Encyclopedia Britannica.

137 Graham, Showboat, Pg. 10.

138 Bryant, Here Comes The Showboat!. Pg. 185.

139 “Showboat”, Encyclopedia Britannica.

140 Graham, Showboat, Pg. 196.

141 Tokmakova.

142 Patrick Sisson, “Louis Kahn’s Fantastical Floating Concert Hall in Danger of Demolition,” Curbed (2017), https://www.curbed.com/2017/7/14/15973434/ symphony-louis-kahn-historic-preservation-point-counterpoint.

143 Allan Appel, “Aboard the Point Counterpoint Ii,” New Haven Independent, http://newhavenindependent.org/archives/2007/06/the_boats_of_ su.php.

144 Ibid.

145 Urs Büttiker and Louis I. Kahn, Louis I. Kahn: Light and Space (New York: Whitney Library of Design, 1994), 126.

146 “‘Point Counterpoint Ii’, a Floating Concert Stage, Goes through Canal,” Courier-Standard-Enterprise, 20 July 1976. : “Wind Orchestra Coming,” Finger Lakes Times, 22 May 1987.

147 “‘Point Counterpoint Ii’, a Floating Concert Stage, Goes through Canal,” Courier-Standard-Enterprise, 20 July 1976 1976.

148 Ibid.

149 “American Wind Symphony Orchestra Returns to Keokuk,” Mississippi Valley Publishing, May 31, 2001.

150 Kathleen Boudreau, “Email Correspondence to Author,” (New York2017).

151 “American Wind Symphony: More to This Concert than Musicians,” Tonawanda, 7 Aug 1985.

152 Norma Huth, “Well over 1,000 Turn out for Concert on the Canal,” The Journal-Register, 27 May 1986.

153 Paul Goldberger, “Louis I. Kahn Dies; Architect Was 73,” New York Times, 20 March 1974.

154 Ibid.

155 Ibid.

156 “James J. Henry, 73, Designer of Containerized Cargo Ships,” ibid., 4 November 1986.

157 Ibid.

158 Ibid.

159 “Duchess Charter Yacht - Prestige Yacht Charters,” Prestige Yacht Charters, https://www.prestigeyachtcharters.com/yacht_duchess.asp.

160 “New Haven Independent | Aboard The Point Counterpoint II.” 161 “Point Counterpoint II / FOD.” 162 “Architecture | American Wind Symphony Orchestra.”

163 “Point Counterpoint ii, a Floating Concert Stage Goes Through the Canal” 164 “Condition & Valuation Survey,” in Specialty Barge, “Point Counterpoint II”, With Stage and Quarters (Milwaukee, WI: A3Pi Services LLC, 2017).

165 Catherine Crownover, “Symphony Barge for Sale to Jacksonville,” The Florida Times Union, 1996/02/05/ 1996.

166 Appel.

167 “Wind Orchestra Coming,” Finger Lakes Times, 22 May 1987 1987.

168 “American Wind Symphony Orchestra Returns to Keokuk.”

169 Boudreau.

170 Sisson.

171 Graham, Showboat, Pg. 202.

40

“$1,500,000 Loss in Detroit Dock Fire”.” Rome Daily Sentinel, 28 November 1923 1923, 1.

“American Wind Symphony Orchestra Returns to Keokuk.” Mississippi Valley Publishing, May 31, 2001 2001.

The Florida Times Union, 1996/02/05/ 1996, A-5.

“Crystal Beach.” The Buffalo Commercial, Mar 28 1907.

Dayton, Fred Erving, and John Lipton Lochhead. Steamboat Days.

New York: Frederick A. Stokes company, 1925.

Appel, Allan. “Aboard the Point Counterpoint Ii.” New Haven Independent, http://newhavenindependent.org/archives/2007/06/the_boats_of_su.php.

Deck, Cecilia. “Nightclub Owner Buys Boblo Boats.” Detroit Free Press, 1991, 1B.

“Bars Detroit River Deal - I.C.C. Forbids Tunnel to Buy Privileges from Ferry.” The New York Times, 28 July 1938 1938.

“Doctor’s Degree for Frank E. Kirby.” New York Times, 1857-1922 1908.

Beautiful Detroit, Illustrated. Where to Go--How to Get There.

[Detroit: Detroit Convention and Tourists Bureau, 1919.

“Employment and Earnings, August 1960.” edited by Department of Labor Division of Manpower Statistics and Employment: FRASER, 1960.

“Big Steamer Columbia: Daylight and Moonlight Excursions.” The Sandusky Star-Journal, 19 Sep 1905 1905.

Bob-Lo Excursion Co. V. People of State of Michigan, (1948).

“The Boblo Boats Will Cruise No More:Is It a Matter of Racism or Business?”. Detroit Free Press, 1991.

Boudreau, Kathleen. “Email Correspondence to Author.” New York, 2017.

Britannica, Editors of the Encyclopedia. “Clermont: Steamboat.”

Encyclopedia Britannica, 1998 Bugbee, Gordon Pritchard. The Lake Erie Sidewheel Steamers of Frank E. Kirby. Detroit: Great Lakes Model Shipbuilders’ Guild, 1955.

Büttiker, Urs, and Louis I. Kahn. Louis I. Kahn: Light and Space.

New York: Whitney Library of Design, 1994.

“Canadiana.” The Buffalo Commercial, Mar 5 1910, 1.

Catton, Bruce. “Two ‘Good Oldtimers’ Still in the Harness.” Olean Times-Herald, 17 July 1937 1937, 14.

“City Receives Unprecedented Volume of Motor Tourist Traffic.”

Democrat Chronicle, 28 July 1930 1930, 17.

Co., Detroit Dry Dock. Around the Lakes. Cleveland: Marine Review Print, 1894.

Colton, Tim. “Detroit Shipbuilding, Detroit Mi and Wyandotte Mi.” http://shipbuildinghistory.com/shipyards/large/amshipdetroit.htm.

“Condition & Valuation Survey.” In Specialty Barge, “Point Counterpoint II”, With Stage and Quarters, 6. Milwaukee, WI: A3Pi Services LLC, 2017.

Cothren, Claire Profilet. “Rolling on the River: Preserving America’s Steamboats.”

Crownover, Catherine. “Symphony Barge for Sale to Jacksonville.”

41

Estep, Harvey Cole. How Wooden Ships Are Built: A Practical Treatise on Modern American Wooden Ship Construction with a Supplement on Laying Off Wooden Vessels.

Cleveland: Penton Publishing Company, 1918.

F. J. Holton, D. H. Bedford and Francis Cleary. “History of the Windsor and Detroit Ferries.” Ontario Historical Society XVI (1918).

“Ferry Service Ended: Two Detroit-Windsor Boats Are Withdrawn.”

Buffalo Courier-Express, 19 July 1938 1938, 16.

Goldberger, Paul. “Louis I. Kahn Dies; Architect Was 73.” New York Times, 20 March 1974 1974, 1.

“Hearts Sank When the Boblo Boats Stopped.” Detroit Free Press, 1991.

“A History of Steamboats.”

Huskisson, Gregory. “Baja Owner Is Gaga for Old Boats.” Detroit Free Press, 1991, 1A, 13A. “James J. Henry, 73, Designer of Containerized Cargo Ships.” New York Times, 4 November 1986 1986.

Klemmer, Harvey. “Detroit Digs under to Canada.” Scientific American 142, no. 3 (March 1930 1930): 216-18.

Klug, Thomas A. “Historic American Engineering Record: Dry Dock Engine Works.” Washington, D.C.: National Park Service, 2002.

———. “The Immigration and Naturalization Service (Ins) and the Making of a Border-Crossing Culture on the Us–Canada Border, 1891–1941.” The American Review of Canadian Studies 40, no. 3: Culture and the Canada-US Border (30 Jul 2010 2010): 395-415.

Labadie, C.P., and Minnesota Historical Society. State Historic Preservation Office. Minnesota’s Lake Superior Shipwrecks (A.D. 1650-1945). Minnesota Historical Society,

State Historic Preservation Office, 1990.

Livingston, Patrick. Eight Steamboats: Sailing through the Sixties.

Detroit, MI: Wayne State University Press, 2004.

Demolition.” Curbed (2017). Published electronically July 14, 2017. https://www.curbed.com/2017/7/14/15973434/ symphony-louis-kahn-historic-preservation-point-counterpoint.

Mansfield, John Brandt. History of the Great Lakes. Chicago: J. H. Beers & co., 1899.

Sommer, Mark “The Ss Columbia, Ghost Ship on the Buffalo River.” The Buffalo News, July 29, 2017 2017.

Mills, James Cooke. Our Inland Seas : Their Shipping & Commerce for Three Centuries. Chicago: A. C. McClurg & co., 1910.

“Steamer Canadiana Retired.” Buffalo Evening News, Nov 27 1946, 1.

“A Musician and His Boat.” Finger Lakes Times, 29 July 1985.

“Steamer Columbia Launched.” The Buffalo Courier, 11 May 1902 1902.

“New Boat a Dandy.” The Buffalo Commercial, May 28 1908, 1.

“New Car Ferry Starts.” The Buffalo Courier-Express, 22 April 1928 1928.

Nola Huse Tutag, Lucy Hamilton. Discovering Stained Glass in Detroit. Wayne State University Press, 1987.

Oxford, William. The Ferry Steamers: The Story of the Detroit-Windsor Ferry Boats. Toronto: Stoddart Publishing Co. Limited, 1992.

“Peace Bridge Dooms Beach Boat.” Democrat and Chronicle, Sept. 21 1929. “‘Point Counterpoint Ii’, a Floating Concert Stage, Goes through Canal.” Courier-Standard-Enterprise, 20 July 1976 1976.

“The Reports of Committees of the House of Representatives for the Second Session of the Fifty-First Congress, 1890‘91.” edited by Department of the Interior. Washington: Government Printing Office, 1891.

Ripa, Roger. “Peace Bridge Facts.” Buffalo and Fort Erie Public Bridge Authority, http://www.peacebridge.com/index. php/about-us-sp-1874923374/peace-bridge-facts2.

Rohan, Barry, Vickie Elmer, and Darryl Fears. “Boblo Docks Its Boats, Ends Rides from Detroit.” Detroit Free Press, Oct 24 1991, 1A, 15A.

Stone, Joel. Floating Palaces of the Great Lakes: A History of Passenger Steamships on the Inland Seas. Ann Arbor: University of Michigan Press, 2015.

“To Buy Ferry Company - Detroit & Canada Tunnel Asks I.C.C.’S Permission for Deal.” The New York Times, May 16, 1937 1937.

Tokmakova, Anastasia. “Archinect News.” 2017.

Waldmeir, Pete. “I’d Be Glad to Walk on Water If They Get the Boblo Boats Running Again.” Detroit Free Press, Dec 20 1992.

Warnes, Kathy. “Frank Kirby’s Great Lakes Legacy and the Bob-Lo Boats.” Weebly, http://meanderingmichiganhistory.weebly.com/frank-kirbys-great-lakes-legacy-and-the-bob-loboats.html#_ednref2.

“Wind Orchestra Coming.” Finger Lakes Times, 22 May 1987 1987, 7A. Wright, Richard J. Freshwater Whales; a History of the American Ship Building Company and Its Predecessors. Kent State University Press, 1970.

Rosen, William. The Most Powerful Idea in the World. First ed. New York City: Random House, 2010.

“The Seamen’s Bill.” The Square Deal XIII, no. Augut 1913 (1913).

“Shipping News of the Lakes: Detroit.” The Minneapolis Journal, 1901.

Sisson, Patrick. “Louis Kahn-Designed Floating Concert Hall in Danger of Demolition.” Curbed (2017). Published electronically 14 July 2017. https://www.curbed. com/2017/7/14/15973434/symphony-louis-kahn-historic-preservation-point-counterpoint.

———. “Louis Kahn’s Fantastical Floating Concert Hall in Danger of 42

research into practice.5

General Maritime Policy

Redevelopment of SS Columbia as a Tourism Initiative in the Hudson River Valley Region Planning for Tourism and Economic Development through Maritime Preservation Tourism can be an economic driver for communities, functioning to stimulate an influx of outsider dollars into a local economy.1 Tourism activities render opportunity for additional economic stimulus in other sectors, such as retail, food and beverage, hospitality, and so on.2 It is crucial to understand the possible, and impossible, economic opportunities for an area, particularly related to a niche opportunity like tourism, to examine the potential of the opportunities in context of surrounding local, regional, and state economies.3 Tourism as it relates to cultural and historic resources is also a primary purpose for preservation planning,4 as presented previously for Columbia and Point Counterpoint II. Tourism planning and development require broader considerations of more than the economic implications of an opportunity. Deliberation must include accounts of community perception and support of a project, financial feasibility, infrastructure implications, policy support or limitations, and sustainability or longevity of a proposed project. Research suggests that management of knowledgesharing must occur between academic and public institutions that actively research and engage in tourism development and tourism destination management, to effectively translate 43

Foremost, SS Columbia and Point Counterpoint II are watercraft vessels, that if operating in New York State (NYS) must adhere to NYS Navigation Law. However, each vessel is classified as “documented”6 by the United States Coast Guard (USCG).7 This classification overrides the NYS Navigation Law and requires Columbia and Point Counterpoint II adhere to United States Code of Federal Regulations (“U.S. CFR”) Title 46.

U.S. CFR Title 46 regulates shipping activity through its eight subtitles which establish law8 for:

- Vessels and Seamen;

- Maritime Liability;

- Regulation of Ocean Shipping;

- Merchant Marine;

- Clearance, Tonnage Taxes, and Duties;

- Security and Drug Enforcement; and, Miscellaneous, which covers wrecks, salvage, ice influence, and international cargo containers.

Columbia’s intention to carry passengers requires compliance with U.S. CFR Title 46, Chapter One, Subchapter H legislation, as well.9 This section of Title 46 is pursuant to regulations setforth for the specification of uniform standards necessary for passenger vessels. There are seven sections of Title 46 which specify: 1. General provisions; 2. Inspection and certification; 3.

Construction and arrangement; 4. Fire protection equipment; 5. Vessel control, miscellaneous systems, and equipment; 6.

Operations; and 7. Disclosure of safety standards, country of registry. General provisions standards include: capacity equivalents; marine engineering; electrical engineering; lifesaving appliances and arrangements; and, those for the American Bureau of Shipping. Given that there are no official plans for the use of Point Counterpoint II, it is yet to be determined if Title 46 will apply to its operation.

Operation on the water of Columbia and Point Counterpoint II under United States law is regulated by U.S. CFR Title 33, “Navigation and Navigable Waters.”10 Similarly to the NYS Navigation Law, U.S. CFR 33 designates rules for navigation on U.S. waterways, and describes duties and requirements for vessels and operators on those waterways. Chapter 3, “Navigation rules of harbors, rivers, and inland waters generally,” offers majority of the law that dictates general operation as it relates to Columbia and Point Counterpoint II. Chapter 3 regulates demarcation lines, towlines, lighting requirements, rules and signals, precautionary measures; and orders.11 These codes are enforced by the United States Coast Guard, which has stations established at all applicable navigable waterways of the United States.

Federal policy that regulates conservation of Columbia and Point Counterpoint II is the National Maritime Heritage Act (NMHA), designated under USC Title 54, “National Park Service and Related Programs,” chapter 3087.12 NMHA defines the conditions by which maritime resources and their history are preserved and utilized in modern society.

Leadership in preservation of maritime resource history, specifically at the state and local government levels, and privately funded preservation projects are also heavily encouraged through NMHA.13 Governed by the United States Department of the Interior (USDOI), and administered by the National Parks Service (NPS), NMHA established the National Maritime Heritage Program (NMHP). NPS and the Maritime Administration (MarAd) jointly administer the grants program. The program provides funding for education and preservation projects designed to preserve historic maritime resources, and to increase public awareness and appreciation for the maritime heritage of the United States.

The grant is funded through a percentage of the proceeds from the sale or scrapping of obsolete vessels of the National Defense Reserve Fleet (NDRF). Education projects are funded in amounts between $15,000-$50,000; preservation projects are funded in amounts between $50,000-$200,000. Grant awards are disbursed at the state-level by an assigned State Historic Preservation Office (SHPO).14 15 All grants awarded must be matched on a 1-to-1 basis with assets, including cash or fairly valued donated services, non-Federal in nature.

SS Columbia The following are a compilation of locally-specific policies that can, and likely will, influence the efforts of The SS Columbia Project (“The Project”) to refurbish and implement Columbia along the Hudson River as a cultural tourism venue. Columbia, during her first commission and through peak operation, was personified as “The People’s Boat” to her travelers,1 and operated as a servicer of socio-cultural activities. Columbia operating on the Hudson River will be a reincarnation of her former self, providing again an opportunity for all to experience maritime recreational travel, but now infusing the rich history of maritime culture into a variety of uses on those journeys.

City of Kingston Local Waterfront Revitalization Program16 In July 1992 the City of Kingston adopted a Local Waterfront Revitalization Program. The program was supported 1

Detailed information of this cultural and experience description is available in the Introduction and Chapter X about Columbia’s historical context.

financially and in adoption by New York State government and United States federal government, where it was incorporated into the NYS Coastal Management Program. The goals of the LWRP are to protect and enhance local coastal resources through city implementation; achieve set objectives for coastal management with access to technical assistance from Department of State; and attract public and private investment in waterfront and coastal area projects. The plan included a comprehensive inventory of the waterfront conditions in the LWRP boundary, of which there were 52 documented structural evaluations. A portion of the LWRP is devoted to applicable local and state policies in Kingston and NYS, respectively. Of these policies, six are identified as “Development Policies,” and are germane to the economic development of Kingston.

City of Kingston Waterfront Master Plan17 A direct outcome of more recent efforts of the City of Kingston LWRP is the adoption of the City of Kingston Waterfront Master Plan, volume 2, in April 2016 (“Waterfront Master Plan”). The overall goal of the Waterfront Master Plan is to improve accessibility, usability, and appeal of the many miles of waterfront in the City of Kingston. This objective will be implemented through a variety of zone-specific projects, of which there are six zones and 138 proposed projects.

Land access for implementation of projects is an essential component of the feasibility of the Waterfront Master Plan.

City of Kingston cites their Planning Act as the legislative power by which policies are enacted, and it is by these policies that the City of Kingston can acquire waterfront property or the rights-of-use. One of these policies is in reference to tourism: “the City will support a range of initiatives designed to expand the City’s tourism potential, following sustainable tourism practices,” with particular recognition given to those sites that are of cultural or natural heritage significance.

Town of Marlborough, NY Comprehensive Plan18 Marlborough, NY is a township that borders a section of the Hudson River on its western banks in Ulster County. The Comprehensive Plan (“Plan”) for Marlborough was prepared in May 2017 as an update to the Comprehensive Master Plan, developed concurrently with a new Local Water Revitalization Program (LWRP). The Plan identifies tourism as an historic and modern economic driver for the town, referencing wellestablished agritourism and emerging “heritage tourism”19 industries. The Plan’s recommendations for agricultural land and natural resource conservation highlight the importance of the environment in providing fundamental value to the tourism draw of the town. Meanwhile, the community and economic 44

development schemes in the same chapter probe the tourism discussion further. Lodging and overnight accommodations are identified as an opportunity area for development that will support the expanding tourism efforts of the town, and recreational tourism development is proposed in the form of a trail project that will highlight unique place-based historic and natural features.

Pertinent to The Project is a dock rehabilitation effort currently underway in Marlborough, which could act as a primary docking facility for Columbia during runs along the Hudson River. These efforts are a portion of the recommendation for increased connectivity and waterfront development, specifically between Milton Landing, Marlboro Landing, and the town’s many hamlets, in connection to the area’s rich arts and cultural connections. Funding for these development areas is encouraged through utilization of the New York State consolidated funding application (CFA), explicitly as it applies to harnessing the potential of The Project.

Strategic Partnerships The Project operates to actively involve and recruit community partners to participate in the preservation and planning of Columbia’s future. Current project partners are representative of educational groups, local government, historic preservation organizations, and private funders.20 In addition to these partners and sponsors are pre-existing relationships between The Project, Hudson Valley region local governments, and professionals in the maritime industries, which assist to advertise and assess The Project at length.

Partnership opportunities are guided by the vision of The Project, which aims to: “revive NHL Columbia and excursion steamboat tradition; inspire flourishing communities with tourism economic development; connect arts and culture between the Hudson Valley and New York City; teach physical works using the boat’s machinery as a laboratory; and, self-sustain a world-class event venue.”21 The expansive list of partners and sponsors provided above has room for strategic growth within The Project to fulfill this vision. In addition to the existing project partners, relationships must be developed between Hudson River region arts and cultural organizations, educational groups, maritime resources, and supporting businesses within the communities where Columbia will operate. Strategic partnerships at the local level will encourage collaborative economic development planning and bolster feasibility of The Project. Additionally, communityspecific partnership will support the efforts recommended by plans and policies of the region’s local governments, such as Town of Marlborough and City of Kingston.

45

Funding Opportunities Columbia is the sole asset of The Project, valued at approximately $2.5 million,22 and The Project estimates overall costs to fulfill the mission and vision of Columbia will be about $29 million.23 The Project began funding outreach in 2014.

The following year, The Project utilized the New York State Consolidated Funding Application (NYS CFA) to apply for grant funds from Empire State Development (ESD) and Office of Parks, Recreation, and Historic Preservation (OPRHP). ESD funds are allocated by economic development region from the NYS budget,24 and OPRHP manages federal funds of the Environmental Protection Fund (EPF) Grant Program.25 The Project was awarded the EPF Grant in the 2015 application cycle for the maximum amount of $500,000.26 This grant is focused on Phases II and III of The Project’s scope.27 Phase II has a one year projected timeline focused on the future siting of Columbia in Marlborough, NY.28 Phase III is a projected to be about 3.5 years and is the “bulk” of the physical construction and restoration of Columbia.29 EPF Grants, similar to the NMHG Program, require a project sponsor match: this match is not required to be in kind, but can include expenses for or donation of rental equipment, professional services, labor, materials, or real property value.30 The nature of projects that are eligible for funding through EPF grants allows for phases of work and therefore creates the opportunity for projects to receive multiple grant awards throughout a project’s lifecycle.

Untapped funding opportunities exist for The Project from Local, State, and National programs. The City of Kingston was recently awarded a $10 million Downtown Revitalization Initiative grant from the Mid-Hudson Regional Economic Development Council (“Mid-Hudson REDC”) of New York.31 Three projects currently have claim over the funding, one of which is tied to waterfront redevelopment and tourism.32 MidHudson REDC identifies tourism projects as an economic development stimulus, supporting this through funding of “Play”-oriented priority projects, one of which is located in Milton, Ulster County, NY, which is in close proximity to Columbia’s proposed docking location.33 REDC grant funds are available annually through the NYS CFA, specifically to projects that connect funded CFA projects in identified “opportunity areas.”34

Business Precedents When Columbia operates in New York City and the Hudson River, she will have to do so with consideration to competing businesses, market demand, and logistical realities such as docking infrastructure and weather. The following precedents provide insight into current service offerings and operational conditions of existing businesses. These insights are crucial in determining the limitations and opportunities of Columbia’s potential future uses.

Hudson River Valley Precedents An analysis of currently operating Hudson River cruises reveals that most operate May through October, with a few only offering seasonal excursion service in September and November. Services offered by existing excursion businesses vary, but most offer sightseeing tours and private charters. A few businesses offer limited ferry service, but is not usually the primary function. Aside from private charters, other services offered include themed events including dance nights, murder mystery dinners, holiday excursions and so on. One excursion company also offers week-long cruises with sleeping quarters.

Costs for sightseeing tours on the Hudson River range from around $15 - $40 depending on the length of tour. Sightseeing tour services range from one-hour unguided excursions, to two and three hour guided tours with food and beverage service.

Private cruises and charters in the Hudson Valley also range a great deal, depending on the duration of the trip and size of group, from around $500 to $1,400. The weeklong excursions with overnight stays range from $3,730 to $4,975. Figure xx details examples of boats that are available for private charter and excursions in the Hudson River and New York City.

New York City Precedents Rates for other boat rentals in New York City vary depending on the capacity, duration, and features. Charter boats in New York City range from small sailboats to large luxury yachts, with a variety of amenities and capacities. Websites like Sailo. com provide information about the diverse selection of rental boats in the New York City area. Larger rental boats are about 200 ft. long with capacities of 300 to 1,000 guests, and prices that range from $14,000 to $40,000 for a quarter day rental, captain included.35 Hornblower Infinity is a 200 ft. luxury rental yacht in New York City with a capacity of 1,000, meaning it is a close example of the size and capacity that Columbia will have when she returns to service. Hornblower Infinity offers three enclosed, climate-controlled decks, stereo systems, WiFi, TVs, dining rooms, and bars. This company offers various dining and wedding packages, with prices ranged from $60 per person to $250 per person, depending on food, extra services, and duration of trip.

Other comparable boats in the New York City area include Duchess, Cornucopia Majesty, and Spirit of New York. Duchess is a 160 ft. charter yacht that can accommodate up to 500 passengers, with amenities such as a dining salon, dance floor, a sound system, two baby grand pianos, and enclosed climate-controlled decks.36 Spirit of New York has a capacity of 600 passengers for charters for lunch and dinner cruises, tours of New York Harbor and New York City, and other group events. She includes three enclosed decks and several outdoor

strolling and lounging areas.37 With a length of 210 ft. and a capacity of 1,200 passengers, Cornucopia Majesty is a close match to the potential use of Columbia. Her amenities include five dance floors, five bars, a glass elevator, and a VIP room.

According to her listing on Prestige Yacht Charters’ website, Cornucopia Majesty is the largest yacht in New York Harbor available for up to 1,200 passengers.38 A company called Classic Harbor Line in the New York City area offers private ferry service from New York City to several other destinations in the New York Metropolitan area, including ports in Connecticut, New Jersey, and the Hudson River Valley. The company offers two 1920’s era yachts with capacities of 65 and 130 for private ferry service to these destinations.39 Classic Harbor Line also provides three, full-day excursions into the Hudson Valley aboard their yachts. The first is a full day cruise that travels to Bear Mountain State Park from New York City. Fare is $182 for adults and $98 for children, and includes a breakfast meal for the trip north, a snack for the hike at Bear Mountain, and a dinner for the return trip to New York City. Each leg of the trip lasts three hours, with guests disembarking for three hours at Bear Mountain.

Classic Harbor Line’s second full day excursion is a one-way trip north from New York City to Poughkeepsie, NY. Fare is $156 for the four-hour trip and includes food. Although it does not appear that fare includes the cost of any offshore activities or accommodations, the company’s website states that passengers can choose from a list of suggested activities and special events in Duchess County. The boat then offers a separate return trip to New York City from Poughkeepsie, NY in the latter half of the day for the same cost and duration, but with a dinner included instead of breakfast/lunch.40

Precedents in the United States Creole Queen is a paddle wheeler in New Orleans that provides short-term tours with music and meals on deck. The boat itself is a 190-foot long, 40-foot wide, 397-ton riverboat with three decks and a capacity around 1,000 passengers.41 The ship features the historic landscape of the Mississippi River and New Orleans jazz culture. In a one-hour guided historic tour, it sails downriver to the Jean Lafitte National Historical Park and the historic Chalmette Battlefield at the price of $34. It also provides a 2.5-hour dinner jazz cruise with a ticket price of $79. The boat also rents out for weddings and private parties, and other special events such as holiday excursions.42 The steamer Natchez is another paddlewheel riverboat in New Orleans. She was built in 1975, based on its 19th century predecessor, and operates as a tour ship. Natchez provides 46

daytime excursions on the Mississippi River for a price of $32 per adult, with meals added at extra cost. The boat also offers a jazz excursion and private rentals. Natchez aims to create an atmosphere of that celebrates the history of Mississippi River steamboats. She has an “engine museum”, which opens her engine room to visitors. Like Creole Queen, the boat’s location in the historic port of New Orleans enables it to provide a historic backdrop for patrons.43

Precedents around the World The Saxon Steamship Company provides historical steamboats for river tours on the Elbe River in Germany. It is a company with a long history in Germany that it was founded 1836 and once owned 36 paddle steamers – the biggest steamer fleet in 1901. It later shrank to eight paddle steamers.

In 1993 and 1994, the fleet was preserved and became the oldest steamer fleet in the world. Today, the company sails eight historical paddle steamers and one new steamer. The company offers river sightseeing tours, lunch, and evening cruises.44 In addition to provide non-stop sightseeing excursion, the Saxon Steamboat Company offers ticketed round-trip visits to nearby destinations near a Swiss village. Passengers are able to disembark from the boat to explore the area, and then embark later to return to their origin point.

The French Brothers Co. operates tour boats on River Thames, with both short-term non-stop excursions and commute tour boats. The commute lines include Runnymede to Windsor, Maidenhead to Windsor and Runnymede to Hampton Court. On the Runnymede-Windsor line, a boat departs from Runnymede at 11:00 am and arrives at Windsor at 12:30 pm; it then returns at 4:00 pm to 5:30 pm. A single ride is £15.60 per adult on way, or £20 per adult for a round trip. Trips offered by the company are seasonally offered, with some not available during winter months.45 The boats of French Brother Co. are mostly small steamboats with two layers, a small capacity and short deck. The length of the boats ranges from 55ft to 85ft; the capacity ranges from 50 to 100 people; thus, the company aims at small groups and short-term trip. Still, the excursion sometimes includes simple lunch or tea; the boats also offer small snack and drink bars, and in some cases equipped gallery, dance deck or saloon room.46

Financial Feasibility The financial standing of some of these existing businesses provide insight into the stability of competitors in the 47

market. Among a sampling of businesses reviewed in the previous sections, competitor companies have, on average, 12 employees and an annual sales volume of $1,782,182 (Table 1). The average sales volume per employee of these 11 businesses is about $154,000. Interestingly, most of these businesses have been in the ReferenceUSA database for over ten years, with an average of 15 years (Table 1). Only one of the examples, Prestige Yacht Charters, has a credit score below a B (C+). This company is a yacht brokerage service in New York City and has only been in the ReferenceUSA database for one year, which may have a relation to the business’s credit score (Table 1). The most valuable comparisons to investigate in the sampling is likely between Columbia and Hornblower Cruises and Classic Harbor Line. Hornblower Cruises offers boats with similar capacities to Columbia, while Classic Harbor Line offers point-to-point service for passengers, similar to existing plans for Columbia. From the point of sales volume per employee, Hornblower Cruises is ranked highest, although Classic Harbor Line has both ten times the number of employees and eight times the sales volume of Hornblower Charters. Unfortunately, without access to actual business expenses, determining the net income of these businesses is difficult. It is worth noting, however, that Classic Harbor Line has a credit score of “A+” and Hornblower Cruises has a score of “B” (Table 1).

Although actual business expenses are not available for each company, expense ranges for different categories are provided.

Among all 11 businesses, the highest expense is from payroll and benefits, followed by, surprisingly, office supplies (Table 2). However, office supply expense may include expenses related to tools and materials needed for maintenance and repair of the fleet (Table 3).

Implications for Columbia Some of the challenges that Columbia faces from competitors arise because Columbia was designed for a very specific purpose: ferrying passengers on a relatively short journey from one point to another. Modern competitors have the advantage of enclosed, climate-controlled decks, ensuring passenger comfort is unaffected by inclement weather.

Modern yachts in New York City are also designed to seat most of their passengers comfortably for dining or lounging.

Columbia, on the other hand, does not have permanent seating. Historically, foldable wood or plastic chairs were used on Columbia since the journey to Boblo Island was relatively short. Columbia’s decks are also open, with very little usable space in the enclosed portions of the boat. If Columbia plans to make journeys that take three to four hours, passengers will expect comfortable seating arrangements and a way to avoid unpleasant weather.

Because almost all the competition in the New York City and Hudson River area include food and beverage options, Columbia will need to offer catering and beverage options onboard in order to be competitive and meet the expectations and needs of potential customers. Point-to-point excursions, like those offered by Classic Harbor Line, are not common.

Although it is difficult to say exactly why these types of trips are not common, it is possible that the logistical or financial limitations of embarking and disembarking at ports other than the homeport make point-to-point travel impractical for most companies. If Columbia were to follow Classic Harbor Line’s example, her operators may want to consider arranging deals with other tourism-oriented businesses at the destination points. Packages that include trip itineraries, lodging, meals, events, or other activities on land may make the journey aboard Columbia more marketable.

Attempting to work through the many tourism bureaus in the Hudson River Valley may make package deals easier to put together. Several counties (such as Orange and Duchess Counties) have their own tourism initiatives, but websites like ILoveNY.com and the Hudson Valley regional counterpart, TravelHudsonValley.com are good jumping off points for exploring tourist activities in the target area.

Infrastructure Requirements for Columbia For passenger boats, it is important to consider available infrastructure on the route, number of passengers, marine environment and so on. Port infrastructure is necessary in order to embark and disembark passengers, sell and collect tickets, and provide places for passengers to either park or access transportation. Stops should also accommodate passengers with facilities such as shore-side eateries, shopping, restrooms, and other amenities.47 Passenger ships require different kinds of port infrastructure: a berth used to place vessel safely along the quay and a dock or pier for carrying out required activities, usually connected to a port by rail or road. A port of call is an intermediate stop, which is very important for passenger ships for longer journeys; for example, to collect supplies or fuel. There are various kinds of docking systems: basin dry docks, floating dry docks, marine railways, vertical lifts, and marine travel lifts.

Columbia has specific dock requirement because of her curved shape. She requires deep enough water and a wide enough channel for the boat to pull up to the dock, unload, and continue out in the same direction out without turning about.

Columbia requires a dock length of 250 feet to provide space for a head and stern line tie-up, with at least 50 feet of contact space on the dock for the boat. The most difficult aspect of adequate docking is to have a dock that can accommodate Columbia at both high and low tides. In most of cases, the

existing docks are flat and Columbia needs a solid-face dock with pilings, with the outer rim of the guard being 7 ½ feet above the water line and the pilings rising about 18 feet above the waterline. Without these conditions, Columbia risks riding up onto the dock during high tides. Presently, there are no docks that exist on the Hudson River that can accommodate Columbia. With existing infrastructure, the boat can be taken to various destinations for “touch-and-go” stops, but cannot be docked because of inadequate docking conditions.

Currently, a dock is being retrofitted in Marlborough, NY that will be able to accommodate Columbia.48

Town of Marlborough Marlborough is located in southeast of Ulster County, New York. The town is bounded by the Hudson River on the east and connected by the NY State 9W running from north to south having railway tracks along eastern border. As per the Town of Marlborough Comprehensive Plan, “there are two historic riverfront hamlets: Marlboro and Milton both located within the 9W corridor on the eastern side of the town.”49 In 1812, Milton Landing was an important port for river trade in agricultural and lumber products that was developed by the Farmer’s Bridge and Turnpike Company. It was the main access point to Hudson River used by settlers in the Hudson Valley. “After development of steamboats in the 1820s, Milton, half way between New York City and Albany, became a regular stop for boats including the famously fast Mary Powell.”50 The history of New York State is tied to the Hudson River and equally to Marlborough, as it is situated within the Hudson River estuary zone. However, the town’s residents have limited access to the water due to a lack of infrastructure and challenging topography to support recreational activities.

The town’s Local Waterfront Revitalization plan focuses on enhancing opportunities to reconnect residents with the waterfront.51 “The town has a history of shipping on the Hudson River where steamboats and tugboats once docked at Milton Landing. Since shipping practices have moved away from water-based modes of transport and placed on roadway freight travel, the facilities on the water are no longer adequate.”

There is a significant opportunity for waterfront tourism at Marlboro and Milton Harbor. The town has unique opportunities to be tapped, especially waterfront tourism activities at both Marlboro and Milton Harbor landings.

48

Currently, Marlboro Harbor landing accommodates over 200 boats and possesses capacity for visitor docking. Both Marlboro and Milton landings are located at higher elevations and can be secured from both inland and coastal flooding.

The landscape plays an important role while planning for infrastructure and thus, The Multi-Jurisdictional Natural Hazard Mitigation Plan prepared for Ulster County (2009) addresses numerous potential weather and climate related hazards; it also covers hydrologic hazards such as flooding, drought and dam failures.

Milton Landing 3.1

Existing Pier Conditions at Milton, NY

Town of Marlborough LWRP (Matt Kierstead, 2017)

Milton Landing (#3.1) has great potential to be a tourist destination due to location and available transport connectivity advantage. Milton Landing already has a potential dock, which can accommodate the needs of a vessel such as Columbia. In early 2016, the town received a grant from New York State of $40,000 to carry out an engineering study in order to evaluate the existing condition of the pier, and to perform a feasibility study for the restoration of the southern pier at Milton Landing. The study examined the potential to provide a deep-water mooring location for larger vessels like Columbia, enabling the waterfront to act as a platform for education, arts, and entertainment for passengers.

The primary issue to focus on here is to provide direct connectivity from berth to the Milton Waterfront Park for passengers, as there are railway tracks that act as a barrier between residents and the waterfront. (#3.2)

3.2

Railroad Tracks Blocking Access to Riverfront In Milton, NY

Town of Marlborough LWRP (Matt Kierstead, 2017)

Current Design Proposal The proposal of a docking berth at Milton Landing accommodates a floating landing of 10â&#x20AC;&#x2122;x72â&#x20AC;&#x2122;. The plan covers ADA requirements to make it more accessible and thus the aluminum walkways supported by concrete slabs have a slope of 5%. In addition, many repairs and replacement of structures have been proposed in order to make the berth more efficient and accessible for Columbia and other uses. A proposed complete plan for Milton Landing Park is also being made under the LWRP, in order to revitalize the area for the residents and strengthen the visual accessibility to the river. The plan below shows the existing condition of the area and the area being covered under the project and the proposed designed plan for the area as well proposed restored pier (3.3).

Routes and Destinations on the Hudson 3.3

Proposed Design for Milton Landing Park

Town of Marlborough LWRP (Behan Planning & Design, 2017)

49

Places of Interest in the Hudson Valley 52

Several sites along the Hudson River celebrate the everchanging history of the United States, including sites that commemorate the American Revolution, the abolition of slavery, and Franklin and Eleanor Roosevelt. With much of the focus on these sites important to the preservation of history, art, and culture located along the mid- and lower - Hudson corridor.

Mid-Hudson Located along the Mid-Hudson River are numerous sites that celebrate the history of the United States. The City of Kingston situated on the Hudson celebrates its early military history and has deep Dutch roots from the early settlers who came to populate the region through colonialization.

Hyde Park and Poughkeepsie commemorate Franklin and Eleanor Roosevelt and their residence, which is an elaborately furnished and decorated, beaux-arts mansion. The town of Marlboro similarly, shares in this celebration of early to modern American historic period.

Lower-Hudson Along the Lower-Hudson are points of interest such as West Point, which houses the U.S. Military Academy that offers guided tours. Boscobel is another beautiful estate built in 19th century that is a remarkable specimen of Federalstyle American Architecture with beautiful furniture and decorations. It also hosts the Hudson Valley Shakespeare Festival every year in the summer months. Pier 25 and Battery Park are important to the early history of New York and New York City. They became world’s first immigrant depot. It is popular today because it offers a magnificent view of the city.

It also has a dock for ferries to statue of Liberty and Ellis Island.

Docking Conditions 53 Because of Columbia’s docking conditions, it would need a long dock with enough bearing space. Columbia needs a dock of length 250 ft. with pilings that are at least 18 ft. above the waterline and mean water height. This kind of docking requirement does not exist anywhere right now on Hudson River except for Pier 25, which has pilings high enough to accommodate Columbia. Only “touch and go” stops can currently be made, allowing passengers to disembark and embark. A dock at Marlboro is being custom built and retrofitted specially for Columbia. The next port of call for Columbia will be port in Kingston and although it does not have the docking requirements for Columbia, the city has applied for funding to start the retrofitting process to create

a dock suitable for Columbia at Kingston. When she is not cruising, the Columbia will be docked at New York City on the Hudson River near Battery Park.

Connectivity Passengers who ride Columbia north into the Hudson Valley may need transportation options to get back to New York City.

The Hudson Valley is served by the New York State Thruway via Interstate 87, Interstate 95, Interstate 287, and Interstate 684. Commuter rail service in the region is provided by MetroNorth Railroad. In the Hudson Valley, Amtrak serves Rhinecliff, Poughkeepsie, Hudson, and Croton-On-Hudson.54

Recommendations The boat will potentially carry 200 passengers per trip and will take about six hours one-way to its destination. Since adequate public and road transportation is available from Poughkeepsie, the town can also be a suitable tourist drop off point. The boat can sail once a week on a Thursday and drop the passengers off to either Kingston, Poughkeepsie, Marlboro, or other destinations that can accommodate the vessel and can sail back with different passengers back to NYC; returning to pick the passengers after the weekend is over. Columbia in this respect would offer a unique package for tourists. Allowing tourists to spend their weekend on one of the ports and enjoy the ride back and forth by way of the Hudson River. Transportation packages could be offered allowing passengers to take the vessel up river and return to New York City by way of Amtrak or bus. This will most likely increase the number of passengers willing to take an excursion aboard Columbia. Passengers could have the option to take the vessel to any port along their route allowing passengers to choose their destination. Having a stop at Marlboro will not only utilize the new port but may also aid in the economic development of Poughkeepsie and Kingston. When the boat is not sailing, it will be a venue for marriages, corporate meetings, and parties. This way it will help to raise funds for maintenance and operation of the boat.

To engage the passengers on boat while cruising through Hudson technology can play an important role to offer information about different historic destinations. Passengers can be given the option to install a geotourism app on their phone. This application would use passenger geo location to offer audio tours on the smartphone. This application can also help one to create personalized audio tours to include destinations on the route. The use of barcode scanners on smartphones will be able to scan a barcode of a particular place a passenger would like to learn about on the boat itself.

50

The boat will have an interactive screen that will not only inform the passengers the historic places they are visiting or passing by but also of the places they would want to learn about along the route. Although it is important to allow the experience of the ride itself to be the main attraction for passengers, providing an optional, subtle, and personal tour experience through an app allows passengers to choose how they experience the boat without forcing a specific kind of experience on passengers.

Endnotes 1 Stuart Meck Terry Moore, James Ebenhoh, “An Economic Development Toolbox: Strategies and Methods,” in PAS Reports, ed. James Hecimovich (Chicago, IL2006). Page 14.

2 Ibid.

3 Ibid.

4 Richard J. Roddewig Bradford J. White, “Preparing a Historic Preservation Plan,”ibid. (1994). Page 2, 36, 51.

5 Lisa Ruhanen, “Progressing the Sustainability Debate: A Knowledge Management Approach to Sustainable Tourism Planning,” Current Issues in Tourism 11, no. 5 (2008).

6 The term “documented vessel” means a vessel for which a certificate of documentation has been issued by the United States Coast Guard, as set forth by United States Code of Federal Regulations.

7 46 U.S. Code, Section 106 “Documented vessel.” Retrieved from: https://www.law.cornell.edu/uscode/text/46/106.

8 46 U.S. Code, “Shipping.” Retrieved from: https://www.law.cornell. edu/uscode/text/46.

9 46 U.S. Code, “Passenger Vessels.” Retrieved from: https://www.law. cornell.edu/cfr/text/46/chapter-I/subchapter-H. 10 33 U.S. Code, “Navigation and Navigable Waters.” Retrieved from: https://www.law.cornell.edu/uscode/text/33.

11 33 U.S. Code Chapter 3, “Navigation Rules for Harbors, Rivers, and Inland Waters Generally.” Retrieved from: https://www.law.cornell.edu/uscode/ text/33/chapter-3; https://www.law.cornell.edu/uscode/pdf/lii_usc_TI_33_CH_3. pdf.

51

12 U.S. Code 54 Chapter 3087, “National Park Service and Related Programs.”

Retrieved from: http://uscode.house.gov/view. xhtml?req=granuleid:USC-prelim-title54-chapter3087&edition=prelim.

13 U.S. Code 54, Chapter 3087, Section 308701.

14 National Parks Service, “National Maritime Heritage Grants,” https:// www.nps.gov/maritime/grants/intro.htm.

15 The Maritime Executive, “U.S. Awards Grants for Maritime Heritage Preservation,” (2016).

16 City of Kingston, “City of Kingston Local Waterfront Revitalization Program,” (Kingston, NY1992).

17 “Kingston Waterfront Master Plan,” (Kingston, NY2016).

18 Behan Planning and Design, “Town of Marlborough, Ny Comprehensive Plan,” (Saratoga Springs, NY: Town of Marlborough, 2017).

19 Ibid. Page 14.

20 The SS Columbia Project, “Sponsors and Partners,” (2014).

21 “The Vision,” (2014).

22 Internal Revenue Service, “The Ss Columbia Project Form-990,” (Department of the Treasury, 2015).

23 The SS Columbia Project, “Project Overview Presentation,” ed. Ann Loeding (Digital2017).

24 New York State Regional Economic Development Council, “Consolidated Funding Application,” New York State, https://apps.cio.ny.gov/ apps/cfa/.

25 Recreation New York State Office of Parks, and Historic Preservation, “Historic Preservation Grant Program,” New York State, https://parks.ny.gov/ grants/historic-preservation/default.aspx.

26 “2015 Grant Awards: Environmental Protection Fund,” (New York State, 2015).

27 The SS Columbia Project, “Ss Columbia Project Consolidated Funding Application,” in Excel, ed. 2015 CFA (Web: Ann Loeding, 2015).

28 Ibid.

29 Ibid.

30 New York State, “Environmental Protection Act,” in Project sponsor’s match, ed. New York State Codes Rules and Regulations (Web.: New York State Office of Parks, Recreation, and Historic Preservation).

31 Mid-Hidson Regional Economic Development Council, “Progress with Purpose: Future Forward,” (Web2017).

32 Ibid.

33 Ibid.

34 Mid-Hudson Regional Economic Development Council, “Guidelines for the Mhredc Opportunity Agenda,” (Web.2013).

35 Sailo Inc, “Boat Rentals, Charter Boat Rentals, and Yacht Rentals on Sailo,” http://www.sailo.com.

36 “Duchess Charter Yacht - Prestige Yacht Charters,” Prestige Yacht Charters, https://www.prestigeyachtcharters.com/yacht_duchess.asp.

37 New York State Office of Parks, “Historic Preservation Grant Program”.

38 “Cornucopia Majesty Yacht Charter,” Prestige Yacht Charters, https:// www.prestigeyachtcharters.com/yacht_majesty.asp.

39 “Hudson River Cruises,” Classic Harbor Line, https://www.sail-nyc. com/browse-by-theme/hudson-river-cruises/.

40 Ibid.

41 “Paddlewheeler Creole Queen,” http://www.creolequeen.com/.

42 Ibid.

43 “Steamboat Natchez,” http://www.steamboatnatchez.com/.

44 “Dampfbahn-Route,” https://www.steam-route-saxony.com/.

45 “Riverboats on the Thames,” https://www.frenchbrothers.co.uk/.

46 Ibid.

47 Chambers, Matthew. “Making Sense of Passenger Vessel Data.” BUREAU OF TRANSPORTATION STATISTICS, U.S. Department of Transportation, https://www.bts.gov/archive/publications/special_reports_and_ issue_briefs/special_report/2011_07_11/entire.

48 Ann Loeding, interview by Studio Team, November 14, 2017, Buffalo, NY. Docking information in this paragraph was all provided by this source.

49 Town of Marlborough, NY. “Town of Marlborough Comprehensive Plan Update - Draft.” 2017.

50 Town of Marlborough LWRP and Comprehensive Plan Advisory and with assistance from Behan Planning and Design Committee, “Local Waterfront

Revitalization Program Comprehensive Plan and Draft Generic Environmental Impact Statement,” (2017).

51 Advisory, Town of Marlborough LWRP and Comprehensive Plan, and with assistance from Behan Planning and Design Committee. “Local Waterfront Revitalization Program Comprehensive Plan and Draft Generic Environmental Impact Statement.” 2017.

52 “Hudson River Valley National Heritage Area,” ed. Hudson River Valley Greenway (Albany, NY: New York State Parks, Recreation and Historic Preservation).

53 Loeding, “Discussion of Docking Requirements.”

54 “Amtrak | Northeast Train Routes,” Amtrak, https://www.amtrak.com/ regions/northeast.html.

52

Company Name

# of Employees

Annual Sales Volume

Sales Volume per Employee

Years In Credit Database Score

Hornblower Cruises

5

$985,000

$197,000

6

B

Seastreak

12

$2,287,000

$190,583

18

A

Prestige Yacht Charters Inc

9

$1,667,000

$185,222

1

C+

Manhattan Yacht Charters

15

$2,511,000

$167,400

7

A

Classic Harbor Line

50

$8,370,000

$167,400

17

A+

River Rose Tours & Cruises

7

$1,070,000

$152,857

16

B+

Captain J P Cruise Lines Inc

4

$471,000

$117,750

28

A

Hudson Cruises Inc

12

$1,144,000

$95,333

13

A

Hudson River Cruises

3

$280,000

$93,333

16

B+

Dutch Apple Cruises Inc

5

$466,000

$93,200

27

B

Hudson River Adventures

6

$463,000

$77,167

17

A

Averages 12 $1,792,182 $154,016 15 Table 1 General business info of boat rental/excursion companies in the Hudson River and New York City area. Source: ReferenceUSA Business Database, Infogroup, 2017.

Management/Ad ministration Package Container Company Name Expenses Expense Hornblower Cruises $10,000 to $25,000$1,000 to $5,000 Seastreak $5,000 to $10,000 $5,000 to $10,000 Prestige Yacht Charters Inc $5,000 to $10,000 $5,000 to $10,000 Manhattan Yacht Charters $25,000 to $50,000$1,000 to $5,000 Classic Harbor Line Over $100,000 $1,000 to $5,000 River Rose Tours & Cruises $10,000 to $25,000$1,000 to $5,000 Captain J P Cruise Lines Inc Less than $2,500 $1,000 to $5,000 Hudson Cruises Inc $5,000 to $10,000 $1,000 to $5,000 Hudson River Cruises Less than $2,500 $500 to $1,000 Dutch Apple Cruises Inc $5,000 to $10,000 $500 to $1,000 Hudson River Adventures $5,000 to $10,000 Less than $500

Payroll and Purchase Print Benefits Expenses Expenses $250,000 to $500,000$2,500 to $5,000 $500,000 to $1 Million $1,000 to $2,500 $250,000 to $500,000$500 to $1,000 $500,000 to $1 Million $10,000 to $25,000 $1 to $2.5 Million Over $25,000 $250,000 to $500,000$2,500 to $5,000 $100,000 to $250,000Less than $500 $250,000 to $500,000$500 to $1,000 Less than $100,000 Less than $500 $100,000 to $250,000$1,000 to $2,500 $100,000 to $250,000$2,500 to $5,000

Rent Expenses Telcom Expenses Utilities Expenses $10,000 to $25,000 $5,000 to $20,000 $2,000 to $5,000 $25,000 to $50,000 $2,000 to $5,000 $5,000 to $10,000 $25,000 to $50,000 $2,000 to $5,000 $5,000 to $10,000 $100,000 to $250,000$5,000 to $20,000 $25,000 to $50,000 $250,000 to $500,000$20,000 to $50,000Over $100,000 $10,000 to $25,000 $5,000 to $20,000 $2,000 to $5,000 $10,000 to $25,000 Less than $2,000 Less than $2,000 $25,000 to $50,000 $2,000 to $5,000 $2,000 to $5,000 Less than $10,000 Less than $2,000 Less than $2,000 Less than $10,000 $2,000 to $5,000 Less than $2,000 $10,000 to $25,000 $2,000 to $5,000 $5,000 to $10,000

Table 2 Business expenses of boat rental/excursion companies in the Hudson River and NYC area. Source: ReferenceUSA Business Database, Infogroup, 2017.

Company Name Hornblower Cruises Seastreak Prestige Yacht Charters Inc Manhattan Yacht Charters Classic Harbor Line River Rose Tours & Cruises Captain J P Cruise Lines Inc Hudson Cruises Inc Hudson River Cruises Dutch Apple Cruises Inc Hudson River Adventures

Accounting Expenses $2,500 to $5,000 $2,500 to $5,000 $2,500 to $5,000 $5,000 to $10,000 Over $25,000 $2,500 to $5,000 $500 to $1,000 $1,000 to $2,500 Less than $500 $1,000 to $2,500 $1,000 to $2,500

Advertising Expenses $10,000 to $20,000 $20,000 to $50,000 $20,000 to $50,000 $50,000 to $100,000 $100,000 to $250,000 $10,000 to $20,000 $5,000 to $10,000 $20,000 to $50,000 $5,000 to $10,000 $5,000 to $10,000 $5,000 to $10,000

Computer Expenses $5,000 to $10,000 $2,500 to $5,000 $2,500 to $5,000 $10,000 to $50,000 $10,000 to $50,000 $5,000 to $10,000 $500 to $1,000 $1,000 to $2,500 Less than $500 $2,500 to $5,000 $2,500 to $5,000

Contract Labor Expenses $10,000 to $50,000 $1,000 to $10,000 $1,000 to $10,000 $10,000 to $50,000 $100,000 to $250,000 $10,000 to $50,000 $1,000 to $10,000 $1,000 to $10,000 Less than $1,000 $1,000 to $10,000 $1,000 to $10,000

Insurance Expenses $5,000 to $10,000 $25,000 to $50,000 $10,000 to $25,000 $50,000 to $100,000 Over $100,000 $5,000 to $10,000 $5,000 to $10,000 $10,000 to $25,000 $2,500 to $5,000 $2,500 to $5,000 $10,000 to $25,000

Legal Expenses $1,000 to $2,500 $1,000 to $2,500 $1,000 to $2,500 $5,000 to $10,000 Over $25,000 $2,500 to $5,000 Less than $500 $1,000 to $2,500 Less than $500 $1,000 to $2,500 $1,000 to $2,500

Office Supplies Expense $20,000 to $50,000 $100,000 to $250,000 $50,000 to $100,000 $100,000 to $250,000 Over $250,000 $20,000 to $50,000 $20,000 to $50,000 $50,000 to $100,000 $10,000 to $20,000 $20,000 to $50,000 $10,000 to $20,000

Table 3 Additional expense ranges of excursion/boat rental companies in the Hudson River and NYC area. Source: ReferenceUSA Business Database, Infogroup, 2017.

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“Amtrak | Northeast Train Routes.” Amtrak, https://www.amtrak. com/regions/northeast.html.

“Hudson River Valley National Heritage Area.” edited by Hudson River Valley Greenway. Albany, NY: New York State Parks, Recreation and Historic Preservation.

Loeding, Ann. “Discussion of Docking Requirements.” By Studio Team (November 14, 2017).

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“American Shipbuilding Co.”. In Encyclopedia of Cleveland History: Case Western Reserve University.

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“Cornucopia Majesty Yacht Charter.” Prestige Yacht Charters, https://www.prestigeyachtcharters.com/yacht_majesty. asp.

Council, Mid-Hidson Regional Economic Development. “Progress with Purpose: Future Forward.” 63. Web, 2017.

Council, Mid-Hudson Regional Economic Development. “Guidelines for the Mhredc Opportunity Agenda.” Web., 2013.

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Chambers, Matthew. “Making Sense of Passenger Vessel Data.”

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“Dampfbahn-Route.” https://www.steam-route-saxony.com/.

Loeding, Ann. “Discussion of Docking Conditions.” By Kerry Traynor (11/14/2017 2017).

“Duchess Charter Yacht - Prestige Yacht Charters.” Prestige Yacht Charters, https://www.prestigeyachtcharters.com/ yacht_duchess.asp.

———. “Discussion of Docking Requirements.” By Studio Team (November 14, 2017).

“Ports and Harbours.”

Robert Heger, HEGER DRY DOCK, INC. . “Dockmaster Training Manual.” 2005.

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“Hudson River Cruises.” Classic Harbor Line, https://www.sail-nyc. com/browse-by-theme/hudson-river-cruises/.

Town of Marlborough, NY. “Milton Landing Park Presentation.”

2017.

“Hudson River Valley National Heritage Area.” edited by Hudson River Valley Greenway. Albany, NY: New York State Parks, Recreation and Historic Preservation.

———. “Town of Marlborough Comprehensive Plan Update Draft.” 2017.

Inc, Sailo. “Boat Rentals, Charter Boat Rentals, and Yacht Rentals on Sailo.” http://www.sailo.com.

Advisory, Town of Marlborough LWRP and Comprehensive Plan, and with assistance from Behan Planning and Design Committee. “Local Waterfront Revitalization Program Comprehensive Plan and Draft Generic Environmental Impact Statement.” 2017.

Kingston, City of. “City of Kingston Local Waterfront Revitalization Program.” 220. Kingston, NY, 1992.

“Amtrak | Northeast Train Routes.” Amtrak, https://www.amtrak. com/regions/northeast.html.

“Bob-Lo Island.” In Encyclopedia of Detroit: Detroit Historical Society, 2017.

Bradford J. White, Richard J. Roddewig. “Preparing a Historic Preservation Plan.” In PAS Reports, edited by James Hecimovich, 64. Chicago, IL, 1994.

Chambers, Matthew. “Making Sense of Passenger Vessel Data.”

———. “Kingston Waterfront Master Plan.” 64. Kingston, NY, 2016.

Loeding, Ann. “Discussion of Docking Conditions.” By Kerry Traynor (11/14/2017 2017).

———. “Discussion of Docking Requirements.” By Studio Team (November 14, 2017).

New York State Office of Parks, Recreation, and Historic Preservation. “2015 Grant Awards: Environmental Protection Fund.” New York State, 2015.

———. “Historic Preservation Grant Program.” New York State, https://parks.ny.gov/grants/historic-preservation/default.

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aspx.

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by Ann Loeding, 25 slides. Digital, 2017.

———. “Sponsors and Partners.” 2014.

———. “Ss Columbia Project Consolidated Funding Application.” In Excel, edited by 2015 CFA. Web: Ann Loeding, 2015.

———. “The Vision.” 2014.

“Riverboats on the Thames.” https://www.frenchbrothers.co.uk/.

Robert Heger, HEGER DRY DOCK, INC. . “Dockmaster Training Manual.” 2005.

Ruhanen, Lisa. “Progressing the Sustainability Debate: A Knowledge Management Approach to Sustainable Tourism Planning.” Current Issues in Tourism 11, no. 5 (2008 2008): 28.

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Department of the Treasury, 2015.

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State, New York. “Environmental Protection Act.” In Project sponsor’s match, edited by New York State Codes Rules and Regulations. Web.: New York State Office of Parks, Recreation, and Historic Preservation.

“Steamboat Natchez.” http://www.steamboatnatchez.com/.

Terry Moore, Stuart Meck, James Ebenhoh. “An Economic Development Toolbox: Strategies and Methods.” In PAS Reports, edited by James Hecimovich. Chicago, IL, 2006.

Town of Marlborough, NY. “Milton Landing Park Presentation.”

2017.

———. “Town of Marlborough Comprehensive Plan Update Draft.” 2017.

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56

which added a watertight door between the two spaces .

Interpretation of Drawings Historic Conditions Plan Drawing: Frank Kirby’s original 1902 plan drawings of the Orlop Deck (“Str. No. 148 - Orlop Deck - D.S.Co. - Feb. 20-1902”) focusing on the dining room were initially analyzed to have a better understanding of the architect’s initial designs and intentions. Field measurements and sketches were then taken on site by members of the studio team and transferred to AutoCAD. The CAD drawing was then overlaid with the originals to compare and contrast the state of conditions.

The original layout of Columbia’s dining room is larger than the current conditions. Original drawings from 1902 (#4.1) show that the distance between the bottom of the staircase leading to the dining room and the original bulkhead was 42’.

However, the distance from the base of the staircase to the existing bulkhead is only 33’. This discrepancy in distances indicates that at some point, the bulkhead was moved further in towards the middle of the boat and away from the stern.

Other indications that the existing bulkhead is not original were identified in the analysis of the bulkhead construction, which is detailed in the Material Analysis Section.

These drawings also reveal that the original bulkhead was sealed off from the Orlop Deck at the dining room, making the Lazaret inaccessible until the 1940’s crew quarters additions, 57

Frank Kirby’s original drawing does not detail the locations of columns other than three running from bow to stern (#4.2).

The historic conditions drawing includes the placement of the additional columns that are thought to have been there at the time of construction(#4.4) . It is possible that Kirby’s drawing of the dining room was drafted before Columbia was completed and that certain structural elements such as the columns were added during construction. The original drawing details the wood grain of the sideboard running along the port and starboard sides of the vessel, but lacks overall interior design details (#4.3). Louis O. Keil, interior designer for the majority of Kirby designed vessels, would have been responsible for the ornamentations and furnishings of Columbia. At this time, our resources include a few of Keil’s original blueprints for other areas in Columbia that detail the wood paneling and pilasters (#4.5), but none that show the original decorative scheme of the dining room. The Historic conditions drawing reflects what the cabinetry and paneling might have looked like based on measurements and ghosts of elements and features that have been removed. The distance between the glass cabinet on the starboard side closest to the stern and the ghost of a removed cabinet in the crew quarters was found to be approximately 11’. The drawing is representative of this and places another identical set of French casement cabinets at the site of the ghost in the crew quarters on the port and starboard sides, keeping in mind the symmetry that went into the original layout of the dining room. Similarly, the engaged pilasters found at the bow side of the dining room have been placed on the end of the sideboard at the stern sidewall.

4.5

Drawings, Interior

Louis o. Keil - Collection, The Columbia Project

Column locations Magnified wood grain

4.1 | 4.2 | 4.3(Called Out)

Original Drawing, Annotated

4.4

Stern

Starboard Port

Bow Sideboard

Galley

Engaged Pilaster

Riveted Steel Hull

Lazaret

Dining Room

10’ 5’

Graphic Scale

Annotation Scale 7/16” = 1’-0”

Additional = Columns

1’ 3’

1(5/8)”Steel Pipes

Refrigerator

Stairs 7” Rise, 10 1/2” Run

Hat Rack

Ladder Metal Sink

Historic Conditions (Alternative A)

Frank E. Kirby - Collection, The Columbia Project

Historic Conditons

Andrew Abbey, Preservation on the Inland Seas Studio. Preservation on the Inland Seas Studio

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Reflected Ceiling Plan Drawing: This drawing was derived from using an overlay of the plan drawing created from field measurements and Frank Kirby’s original 1902 plan drawings of the Orlop Deck. Further field measurements were added as well as photogrammetry to create a cohesive drawing outlining the geometry of the ceiling. The original layout of Columbia’s dining room ceiling shows a symmetrical patterned coffered ceiling with three central beams running the length of the space. The exterior two housed chains that connect to the steering mechanism.

The curvature of the exterior ceiling edge was particularly difficult to determine, because much was lost from its historic state. Using current photos and matching how the cabinets interact with the ceiling panels, we were able to determine connected lines between where the second set of cabinets were located and where the first set are located in the dining room space. Because the ceiling is very symmetrical, many of the measurements are consistent on both sides.

measurements of the existing added materials (such as crew quarters and cabinetry) and the overlay of the historic reflected ceiling plan. Much of the historic ceiling molding remains intact, though it is covered with conduit for electricity and some has been covered with walls and cabinets in the crew quarters. This drawing shows what is left visible in the existing condition, though more remains within the walls and inaccessible spaces. The most important part of the existing condition is shown in (#4.8) , which shows the existing condition of the ceiling of the crew quarters, and when compared to (#4.9) it proves the existence of a second set of cabinets along the sideboard by how it connects to the intact ceiling.

The drawing reflects the historic fabric that has been removed from Columbia over the years and what has been covered.

Figure (#5.3) shows the current conditions of the canvas

Existing Conditions Plan Drawing: Field measurements were taken and then transferred to AutoCAD to generate an accurate plan view of the Orlop Deck featuring the galley, dining room, crew quarters, and lazaret.

In comparison with Kirby’s 1902 drawing of the Orlop Deck focusing on the dining room, it is evident that original length of the space was approximately 42’. Existing conditions, reflecting the numerous additions and alterations over the years reflect that the current dining room is approximately 20’-6” or almost half of what it originally was.

The drawing reflects the historic fabric that has been removed from Columbia over the years. What is left of the two sideboards (that had originally run the entire length of the dining room on the port and starboard sides) can be seen on the drawing (#4.6) where sections of them have been cut to accommodate additions. The dining room’s starboard side is also exemplary of historic fabric that has been removed, as the missing sideboard and cabinets are noted by the exposed hull.

The starboard side crew quarters has a section of its flooring missing due to the recent hull repairs and can be seen with the exposed hull. Two doorways, one leading to the galley and other leading to the crew quarters closest to the stern, are missing their doors and are indicative of this on the drawing by the lack of swing direction. The original drawing does not show a galley window looking into the dining room meaning that it was most likely added during the 1940’s additions.

Reflected Ceiling Plan Drawing(#4.7): This drawing was derived from subtracting the field 59

4.8

Photo of Ceiling in crew rooms

Thomas DeGraff, Preservation on the Inland Seas Studio

4.9

Photo of Ceiling in Dining room

Thomas DeGraff, Preservation on the Inland Seas Studio

4.6

4.7 1’ 3’

5’

Buffet

Graphic Scale

Annotation Scale 7/16” = 1’-0”

ry

10’

Metal Bed Frame

Metal Bed Frame

Cabinets

Hat Rack

Lazaret

Crew Quarters

Metal Bed Frame

Water Tight Door

Shelf

Cabinets

Galley Window

Steam Table

Galley

Shelves

Pantry

Shelves

Metal Bed Frame

Crew Quarters

Ladder

Dining Room

1(5/8)”Steel Pipes

Stairs 7” Rise, 10 1/2” Run

Metal Bed Frame

Crew Quarters

Refrigerator

Metal Sink

Sideboard

Port

Bow

Stern

Riveted Steel Hull

Engaged Pilaster

Bench

Existing Conditions

Shelf

Machine Cabinet

Andrew Abbey, Preservation on the Inland Seas Studio

Existing conditions of dining room (Plan)

Thomas DeGraff, Preservation on the Inland Seas Studio

Existing conditions of dining room (Ceiling Plan)

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Starboard

panels on the ceiling, as well as the locations of the existing lighting and its fixture type. There has been removal and replacement of smaller molding elements across the ceiling in many places however much of the overall historic fabric is intact.

Proposed Conditions Plan Drawing: This document utilizes the Historic and Existing Conditions drawings as references to assist in producing a Proposed Conditions drawing that visualizes what Columbia’s Dining Room space might look like if such conditions are realized.

Ghosts of historic fabric are pivotal in determining where fixtures were originally located and act as guides for the locations of proposed fixtures.

Using photos from SS Britannia as a guide, the proposed condition of the stern wall recommends a simple finish that maintains the overall character of the space without giving a false sense of history. Engaged pilasters similar to the intact examples at the port side of the vessel are recommended for inclusion at the stern wall to relate back to the symmetry of the space Kirby had originally designed. The missing sideboard can be replaced with a similar mahogany piece.

Options for Bulkhead/Lazaret Space: Leave as is - -

Intent is to show what the historic conditions were like while also showing what the 1940’s era additions did to alter the space.

This option would have the cabinets “dying into” the aft wall

Leave as is and restore cabinets to original location -

Restore cabinets at shorter scale to repeat the pattern and end with another single panel

Full restoration -

-

61

This option would satisfy the period of significance for the National Register of Historic Places (1902 - 1941) as it would restore the boat to the original Frank Kirby design. The bulkhead would need to be relocated to the original location A full restoration would be an excellent educational opportunity to have the dining room act as a museum exhibit space while still being a functional dining space, as it was originally intended.

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examination of all components and materials in the dining room, recommendations and preservation techniques can be applied to other areas of the boat.

Canvas Ceiling Panels Historic Conditions

Material Analysis Materials analysis is a crucial part of the field investigation of the dining room. Materials and construction methods help pinpoint the period of specific additions to the dining room, and therefore allow us to create a timeline of additions.

Identifying the original elements of the room is facilitated through the understanding of the roomâ&#x20AC;&#x2122;s existing materials. For each component of the dining room, the historic conditions, existing conditions, and preservation strategies are provided.

Although the studentsâ&#x20AC;&#x2122; material analysis included an

5.1

The decorative molding showing continuation of the coffered ceiling

Thomas DeGraff, Preservation on the Inland Seas Studio

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Canvas was used in ship construction for waterproofing, gaskets, and as a finishing agent often infused with waterproof waxes and oils. As a finishing material for ceilings, canvas panels and ceilings were used to provide a smooth surface which was an alternative to plaster. In the dining room application, canvas served well as a replacement for plaster; due to the boatâ&#x20AC;&#x2122;s movement, plaster would have likely cracked. Ceiling panels were originally tightly adhered to a wooden backing and kept in place by the decorative molding that was a continuation of the coffered ceiling. (#5.1) shows a profile of the molding taken in the field in an area with the most continuity and ends in the surface of the canvas panel.

This technique was also used in the walls of the dining space, employing the same wooden medallion in the center of the panel. The panels were then painted white, likely with a marine grade zinc white paint which was marketed for marine conditions. (#5.2) shows a photo of the interior of the Britannia, another Kirby designed Great Lakes vessel, which shows how the ceiling originally appeared.

Description and Existing Conditions In the dining space the ceiling is coffered with canvas panels framed by wood beams. These panels are painted with several

5.2

White painted panels, interior of Britannia

Photo, Buffalo History Museum

1.2.1.1

Diagram showing the locations of the existing ceiling panel conditions

Thomas DeGraff, Preservation on the Inland Seas Studio

coats of glossy paint which has cracked over the years. Many of the original panels have been replaced with painted wood or Masonite and are missing the canvas entirely. In the current space, 11 of the 21 panels have the original, or very early canvas. These are mostly along the periphery of the room.

These panels have a wood plate in the center which was likely used to keep the canvas tight on the ceiling surface. Near the stairway, the panels have been replaced with painted wood and two have been recanvased with visible staples along the edge of the panels. In the crew quarters, which was a part of the original dining area, the canvas remains in the original state, although it now has several coats of paint and sags away from the backing. For a more detailed explanation of the locations of the original condition see (#5.3)

If it is the intention to return the entire space back to its original size, the first necessary step would be to remove the crew quarters so that the entire ceiling can be revealed and assessed. Given the fact that the panels are not decorated or frescoed, it is recommended that the remaining panels be replaced and the wooden panels be removed and replaced to retain continuity. It is important to reference current safety guidelines and use a canvas material that is suited for the marine environment. The bead molding around each canvas panel should be removed and cleaned where it still exists and a new canvas panel with wooden backing can be installed and painted with a matching color. This is also a good time to investigate the wooden medallions as well as install any lighting for the space and see if any wires exist in the ceiling that would prove the use of internal wiring and a different lighting strategy for the space than what currently exists.

Preservation Strategies The canvas panels that still exist are painted. Through careful removal, it is suggested that the paint be removed in an inconspicuous area to reveal the original color. The same can be done on an existing wooden medallion. There may be opportunity to reveal original conditions when the crew quarters and wall cabinetry is removed as this covers up many portions of the ceiling.

Recommendations

Decorative Wood Screens Historic Conditions Decorative wood screens with an interlocking circle lattice pattern are located on the port and starboard sides above the position of the original buffet. The lattice work, which alternates between canvas wall panels and cabinetry, adds character and depth to the surface. The panels mirror each

64

other in design and layout on the port and starboard sides of the dining room, creating an illusion of symmetry and depth in the space. There are six panels, four of which have uniform width, at a smaller dimension than the remaining two; the height of all six panels is uniform. The panels are finished with an ivory paint that is the same color and sheen of the fixed cabinetry, which provides contrast and light against the rich dark color of the buffet.

Description and Existing Conditions

5.4

The canvas-covered wall panels in a fixed position

Kelley, Preservation on the Inland Seas Studio

5.5 The port-side panels hinged at the top to form a covering for housed mechanical equipment Kelley, Preservation on the Inland Seas Studio

5.6 The port-side triple-connected section of panels showing visible alterations, frame were cut out and potentially replaced Kelley, Preservation on the Inland Seas Studio

65

Currently, there are four panels original panels remaining in the space, which measure at the two distinct sizes. The starboard-side panel (#5.4) is set into the wall flush with the canvas-covered wall panels in a fixed position. The port-side panels – of which there are three – are hinged at the top to form a covering for housed mechanical equipment atop the forward approximately one-third section of the sideboard (#5.5). These panels extend to near-flush with the front of the sideboard. The panels appear to be in fair condition with no portions of the decorative detail broken or missing. The fixedposition starboard-side panel is in better condition than the port-side panels given that these panels are functional. The port-side triple-connected section of panels each show visible alterations, where sections of the panel frame were cut out and potentially replaced (#5.6) There are markings in the port-side panels reinforcing that their current composition is not the original state as built in 1902. The functional triple panel feature on the port-side has hinges along the top and a ceiling-mounted hook to allow for the feature to lift to expose the machinery behind. On the sides of each individual panel are existing screw holes and cut-outs around these holes that mimic where hardware may have once existed. Additionally, one of the three panels has a small screw hole and circular wear around the screw hole that suggests a knob would have been in that place (#5.7). Given these conditions and the current fixture of the four panels, it is likely that the panels had two purposes: two were functional, and two were fixed. Exploration of original architectural drawings of the boat, and intensive review of the additional “ghosts” that exist in the dining room, it was deduced that there are two original panels missing: one large and one small. The panels were likely to have been decoration within the buffet cabinetry design, where the small panels existed aft and forward of the suspected two glass cambered cabinets See proposed historic conditions drawing (#5.8). The large panels were inferred to have been situated between the two glass cambered cabinets, where each would be framed by same-sized panels of wood and canvas (5.9).

Preservation Strategies The decorative wood panels are painted wood. The painted finish is original, based on historical photos of similar vessels and the current condition of the paint. To preserve, the panels should be repainted, along with the glass cabinetry, in a matching shade that is representative of the original paint.

Recommendations Given the fair condition of the lattice-work panels, they should each be documented by location with an identification tag (either number or alpha-numeric) and carefully removed from the dining room space for storage in a secure and climate appropriate space. This will allow for larger-scale projects to occur in the dining room with immobile parts of its character, and prime the lattice work for easy analysis of finish and later restoration. Additionally, an examination of the remainder of the boat should take place in an effort to potentially locate the two missing panels. If these panels are unable to be located on board, two new panels will need to be made match the existing historic panels in kind. A crucial resource for performing this portion of the restoration work would be a local woodworking shop, such as that of SUNY-UB School of Architecture and Planning. Access to a multi-discipline shop space would allow for 3-dimensional scanning of the original panels and precise creation of the two new panels using a CNC router machine.

5.7

The screw hole that suggests a knob would have been in that place

Kelley, Preservation on the Inland Seas Studio

How to test for different finishes on Wood1 The first step in the preservation process is to remove the paint from an inconspicuous area â&#x20AC;&#x201C; such as the underside, back of a piece of the frame â&#x20AC;&#x201C; and document the paint layers, if multiple exist. Next, the wood must be tested for finish, without risking ruin. Using denatured alcohol, apply a few drops to a rag and gently rub into the area of exposed wood. If the finish softens with denatured alcohol, it is shellac; if the finish turns white but does not soften, the finish is likely a lacquer. If needed, proceed using the previous steps with lacquer thinner and linseed oil to determine the most-likely finish. Lacquer thinner applied lightly in a circular motion will yield a softened finish, if it is lacquer. Wood finish that does not soften with denatured alcohol or lacquer thinner is likely a varnish or penetrating oil finish. Varnish finishes are difficult to repair intact because no two varnishes are created alike and the appearance will vary with age. However, this is an unlikely scenario for the material in question.

5.8

The screw hole that suggests a knob would have been in that place

Kelley, Preservation on the Inland Seas Studio

Glass Historic Conditions

5.9

Digital Drawing

Thomas DeGraff, Preservation on the Inland Seas Studio

66

Columbia contains a plethora of historic windows, varying in type, material, and size. Although our efforts are primarily focused on the dining room area, it is important to gain a full understanding of all of Columbia’s windows and glass to provide a more complete history.

Louis Keil was responsible for interior decorations on Columbia, which included the color scheme, furnishings, materials, windows, and other various components. Keil’s experience with the William Wright & Co. company likely influenced Keil, as his designs in Columbia are similar to those that the company produced around the same time, especially the ceiling ornamentation (#5.10).

5.10

c.1930 Interior Photo of Vessel furnished by William Wright & Co.

Photo, MarineBoater

Louis Keil’s relationship with his brother’s business, as described in the first chapter of this report, may have resulted in the “sharing” of projects and commissions. Columbia, for example, has distinct ornamental glass patterns of half and quarter circles in the transom windows that is most likely the work of Fred Keil’s glass company. Although the direct link between Fred Keil’s glass company and the glass in Columbia has not been found, it is strongly hypothesized based on available evidence, that Columbia’s glass was the work of collaboration between the Keil brothers and their respective businesses.

Description and Existing Conditions

5.11

Transom Light above Parlor Door on starboard side

Andrew, Preservation on the Inland Seas Studio

5.12

Transom Light above Parlor Door on starboard side

Andrew, Preservation on the Inland Seas Studio

67

Columbia’s glass windows are largely original to her 1902 construction, with few windows being replaced alongside other additions throughout the years. The different examples of glass that exist in other locations throughout Columbia. (#5.11) (#5.12) are examples of the leaded transom windows above the parlor doors. The panels of embossed glass with vegetative motifs with (#5.13) located near the dining room

5.13

Embossed glass with vegetative motif

Andrew, Preservation on the Inland Seas Studio

entrance on the main deck and (5.14) located near the bow on the promenade deck. The dining room features glass cabinets on the port and starboard sides. (#5.15) is a detail drawing of the two front facing cabinet panels explaining their anatomy. The cabinetry is surrounded with an outer casing/framing followed by the inner framing of the top and bottom pieces of wood, known as rails. The left and right wood pieces of the inner framing are called stiles.

Moving inward from the rail and stiles is the framing bead, adding a decorative transition between the wood and glass.

The character defining feature of these cabinets are their simple diamond-shaped muntings, decorative pieces affixed to the window surface, rather than being true divided lights (#5.16). The outer panels are fixed with a French casement unit between.

The starboard side cabinetry retains a high level of integrity, as its wood has only been painted over several times and relatively free of damage, with the glass itself still intact. The two front facing panels open swinging outward from the center with some resistance due to the most recent painting decreasing the space between the rail and the framing edge.

The two side panels have hinges indicating outward swinging as well, but they have been painted shut by the most recent layer of paint. The cabinetry on the opposite side of the room is missing the panel closest to the bow, replaced by a false panel that was installed to hide the machinery behind it (#5.17). Looking inside the space hiding the machinery, one can see traces of the missing panel in the casing marks left behind (#5.18). Both sets of cabinets were fitted with a mirror on their back walls presumably at the time of construction to help make the space feel larger.

5.15

Anatomy of Dining Room Cabinets

Andrew Abbey, Preservation on the Inland Seas Studio

5.16

Cabinets with Diamond Muntings on starboard side

Andrew, Preservation on the Inland Seas Studio

5.14 Panel and Embossed Transom Light above Parlor Door on Promenade Deck Andrew, Preservation on the Inland Seas Studio

5.17

Fake panel hiding machinery on starboard side

Andrew, Preservation on the Inland Seas Studio

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the cracks are present. The process makes for a strong repair and is totally reversible. Epoxy Edge-Gluing is often used on painted glass, the process makes an almost invisible line.4 The repair is strong but will deteriorate in direct sunlight and requires secondary glazing to protect from UV light. Least reversible and most expensive of the three techniques. Silicone Edge-Gluing is the lowest strength method of the three. Easily reversible. Refracts light differently than glass and is easily detectable and not affected by temperature or UV light. This is typically the least expensive repair option.5

5.18

Traces of former cabinet on starboard side

Andrew, Preservation on the Inland Seas Studio

Preservation Strategies Before any preservation work is started, the windows throughout Columbia should be inventoried and marked with their relative location within the vessel. Each window should be assigned an identification number for ease of reference and documentation. Windows should be sorted into types, such as cabinetry, frosted, transom, and so on. Categories can be represented by lettering that correspond to short sentences describing each type with further descriptions relating to the finish. In addition, each window should be evaluated on its fit and overall condition in terms of Excellent, Good, Fair, or Poor, to determine a ranking system for priority repairs. Finally, a remarks section should be included in the chart for unique concerns pertaining to individual windows. â&#x20AC;&#x153;The greatest and the most common threat to leaded glass is deterioration of the skeletal structure that holds the glass. The structure consists of frame members, and lead or zinc (and occasionally brass or copper) came that secures individual pieces of glass.â&#x20AC;?2 When frames fail, leaded glass sags and cracks due to insufficient bracing; it may even fall out from wind pressure or vibration. The leaded glass transom windows are the most fragile and susceptible to damages. Historic steel frames should be repaired, as opposed to relocating the glass panes to new aluminum frames. If corrosion of the metal frame is only superficial and the frame can be repaired, the frame should be prepped and painted with a zinc-enriched paint, then realigned.3 Cames, depending on strength of material, can last 75-200 years, meaning Columbia has the potential for her window cames to last another 100 years.

Windows should be checked individually for unique structural concerns. There are three general techniques in repairing the glass itself. Copper Foiling is generally best option when glass has only one or two cracks. Small pieces are soldered where 69

Wooden windows experience deterioration due to a number of factors, including poor design, vandalism, insects, and lack of maintenance. However, moisture is the perhaps the most destructive influence on the condition of wooden windows.6 In Columbiaâ&#x20AC;&#x2122;s case, the cabinet windows in the dining room space are relatively untouched by water damage.

The French casement windows have experienced several layers of paint throughout their time and will need to have a plan for paint removal to expose the original wood surface that was once coated with a varnish finish similar to the sideboard.

Paint removal can begin with interior framing, using a utility knife to carefully break apart the paint bond. Depending on the paint and the method used to attach the glass, it may be necessary to take apart the windows to completely remove the paint. In this case it is important to mark the location of any windows being removed to ensure the proper placement once the repair work is completed.7 Windows should never be repaired in place.8 Removal and placement on a sturdy, flat surface is highly recommended.

In the grand scheme of a large preservation project, windows should be removed first and reinstalled at the next to last step in the overall plan. Common practice is to install protective glazing, which is not an alternative to maintenance and can impede future maintenance if not installed properly and can accelerate window deterioration.9

Recommendations A window inventory, as seen in Table 1, should be created for every window and pane of glass throughout Columbia, noting unique issues for each. A specific check should be done to determine if water damage has occurred with any of the wood. Using the window inventory priority rankings as a guide, it is evident that certain windows are in worse condition than others. In terms of repair work, the windows highest on the priority ranking should be attended to first.

Historic paint should be removed by hand and chisel as much as possible. Minor repairs that will not affect the glass itself, but instead focuses on the wood framing, can be repaired in place. Severely damaged windows should be removed from

their location to repair them. Each window is unique and the appropriate method of repair should be selected based on the type of damage.10 Care should be taken in repainting windows to not drip on the historic glass. Repaired windows should be fitted to their original location following other repairs to the immediate location, as noted in the window inventory.

Missing Windows should be reconstructed to match existing windows in kind. Historic photos will provide evidence of historic appearance where windows do not remain extant.

Likewise, missing cabinets should also be reconstructed to match existing, adjacent cabinets in kind.

Sideboard Historic Conditions Sideboards were developed during a period often referred to as the ‘age of mahogany’, referring to the wood species used in the construction of fine furniture. The outside visible parts of the sideboard were made of mahogany or sometimes mahogany veneered on less expensive woods. The inlay such as drawers or cupboards were made of satinwood or maple, or other less expensive woods. The drawers were often lined and ornamented with bands of light wood around the edges.

Similarly, the edges of drawers and cupboards has specials moldings of contrast colors. The drawers also doubled to act as invisible cupboards and to maintain the symmetry of design, false shutters and drawers were provided. The drawers also had a pattern of hierarchy, which was followed with alternate usage of deep and shallow drawers.11 Sideboards are mostly used to store dining room essentials such as cutlery, dishes, glasses and more. They were mostly fit in with stamped handles, which were made of either brass or iron. Sideboards were made in a range of decorative styles and were frequently ornamented with costly veneers and inlays.12 In Columbia’s dining room, the sideboard would have likely extended to the original wall at the aft end of the room on both sides, in symmetrical fashion.

Description and Existing Conditions The sideboard is present in the port side of the dining room and is missing on the starboard side. The sideboard has drawers and cabinet doors, some of which are non-functional. The sideboard dates back to 1902 when the boat was constructed (#5.19). The wood is varnished mahogany and is in good condition.

5.19

Sideboard in their current condition.

Janhavi, Preservation on the Inland Seas Studio

Preservation Strategies The existing sideboard appears to be in good condition.

During restoration of other areas of the dining room, take precaution to protect the sideboard from damage from other materials or tools. Keep moisture away from the sideboard to prevent deterioration of the wood.

Recommendations The sideboard should be replaced along the starboard side of the dining room to match the existing sideboard in kind.

The new sideboard should replicate the style, materials, and finish of the existing sideboard to maintain the symmetry of the room. Refer to the “Historic Conditions” and “Proposed Conditions” drawings that demonstrate the pattern of sideboard finishes in the dining room.

Columns Historic Conditions Columbia’s dining room contains 11 columns and two engaged pilasters; nine of the columns are in the Doric style, and the other two do not have the same decoration. The columns are steel structural pillars, with fluted wooden detail finishes. The columns are formed in a three-part order: the rectangular abacus and round capital (echinus and necking), the middle fluted shaft, and the round base with rectangular stylobate (#5.20). Based on physical investigation it is likely that the columns originally had a varnish finish (#5.21). Based on photography of similarly-designed boats of the same era, 70

Columbia’s columns were likely varnished wood. All paint that is currently visible on the columns in the dining room was likely added after the original varnished finish.

Existing Conditions The columns are currently covered with several layers of paint. Paint layers can mostly be identified by color. Generally speaking, the columns shared the same color scheme of the wall decoration, with few variances. The colors of the six layers of paint are: blue, light blue, gold, white, red, and deep blue. (#5.22)

5.20

The column formed with three parts order

Techeng , Preservation on the Inland Seas Studio

The white color in the colored paint was called “hiding color”.

White lead was often used as the “hiding pigment” in paint before the 1970’s, thus the paints in Columbia likely contain lead. Because lead paint is a health hazard, titanium dioxide (TiO2) was used as substitution after the mid-20th century.13

Preservation Strategies As the paints used before 1970’s widely contained lead and are a hazardous material, the paint on the columns should be removed by a qualified professional.

Below are methods of paint removal:

Scraping

5.21

Columns originally had a varnish finish

Techeng , Preservation on the Inland Seas Studio

Scraping can be done by hand or machine, depending on how the tools may hurt the wood molding. The tools for different size or radii must be prepared in the process; machine tools such as rotary wire brushes may be helpful in areas.14 Sandpaper works well for cleaning edges and residues after major removal is complete. Hand scraping and sandpaper should be used with caution, as these methods have a high risk of damaging the wood below the layers of paint. Hand methods are more frequent in the detailed, small scale paint removal.15 Machine methods are an even greater threat to wood bases, even on a flat area. A rotary wire wheel is often used but may cut through the surface of the wood. Machine sanding is more applicable in a large area or for total paint removal, but can also damage the wood if used in one area for too long.

Paint Stripper

5.22

Color chart and color samples from the columns

Techeng , Preservation on the Inland Seas Studio

71

Paint strippers are primarily based on sodium or potassium hydroxide or carbonate. Paint strippers are inexpensive and fast, but they cause two risks to wood: surface damage and salt deposits that cause adhesion problems.16

In the using painter stripper, a neutralization with an acidic wash is required; if it is not processed efficiently enough, stripper may bring the soluble salt to the surface, which prevents adhesion of future finishes.17

Heating Heating, such as using torch, is one of the oldest method for the removal of paints. Due to the high risk of applying it to wood and release the toxic material of lead paint, it is rarely used. The heat gun is an efficient tool for a small area of rough paints.18 In general, every kind of removal method contains a certain potential risk.19

Recommendations Since the original finish of the columns in Columbia’s dining room was varnish, all layers of paint need to be carefully removed. If the varnished finish is damaged, the varnish should be removed and the columns refinished in a varnish that matches that of the existing varnish finishes in the dining room, such as that of the sideboards. Paint should be tested for lead; if lead is present, a qualified professional trained in safe lead paint removal should be hired. For more information on varnish finishes, refer to the Decorative Wood Screens materials section.

Recommended methods for paint removal20: -

Wet sanding of loose paint

-

Using mechanical sanders with HEPA vacuum, dealing with

-

Low-heat stripping with heat guns or heat plates (less than 450 °F, round-edge scraper).

-

Solvent-based non-caustic stripper in place (not methylene chloride).

-

Offsite stripping with heat, chemicals, or cold-tank dipping (be careful of glued joints).

-

Caustic strippers that can raise wood grain (unless supervised by a trained specialist).

-

Power sanding that can abrade wood surfaces.

-

Hot-tank dipping that often disintegrates glued joints.

Steel Support Columns Historic Conditions Although steel was the primary metal used in construction of ship and boat hulls at the time Columbia was constructed, many elements of boats were still constructed using iron.

Round support columns, for example, may still have been made from iron.22 However, it is likely that the pillars on Columbia are steel due to the care with which Kirby designed the boat to be as lightweight as possible. Steel columns would also be consistent with the other materials used for the hull and bulkheads. All of the support columns in the dining room would have had wood Doric column finishes similar to the ones that still exist on some of the columns. The finish of the columns would have been varnish. Refer to the “Historic Conditions” drawing for a visualization of the historic layout of columns.

Description and Existing Conditions The steel columns in the dining room are encased in fluted wood Doric columns.

Some of the support columns in the dining room are unfinished, while others have fluted wood Doric column finishes. This exposed, metal column measures approximately 90 mm in diameter (#5.23).

Preservation Strategies The columns in Columbia’s dining room that are dressed with fluted wood Doric columns appear to be in good condition, but will need stripped of paint and varnished. All structural support columns should be examined for any structural issues and replaced in-kind if deterioration has affected the integrity of the columns. Paint can be left in place since the recommended restoration covers the metal component of the columns.

Not recommended removal methods21: -

Torch or open-flame burning that can vaporize lead and burn substrates.

-

Wet grit blasting (except for limited cast iron or concrete under containment).

Recommendations Columns that do not have a wood finish should be finished in varnished wood fluted Doric columns, using similar materials to the existing finished columns.

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Beadboard Historic Conditions The beadboard was originally unfinished, but used as a backing for the canvas finish that imitates ceiling of the dining room.

Description and Existing Conditions

5.23

Base of exposed metal pillar on the starboard side of the dining room

Brendan, Preservation on the Inland Seas Studio

The beadboard in Columbia’s dining room is present along the bow side of the dining room above the wainscot. (#5.24) In most places it is painted, except for a circle near the port side of the boat where ornamentation was likely hung, similar to those visible in the historic photograph of Britannia. (#5.25) The wood in the unpainted circle is unfinished.

Preservation Strategies Since the beadboard should be used as a backing for a canvas finish, existing paint layers can be left on the wood.

Recommendations The existing beadboard can be maintained as-is for the use of backing for a canvas wall finish.

Wainscot 5.24

Beadboard detail on right side of the bow part

Vaibhavi, Preservation on the Inland Seas Studio

Historic Conditions The wainscot was historically located at the bow and stern end of the dining room. The wainscot continued as a wall panel up the stairs accessing the main deck. Based on the finish of the sideboard and the staircase, the wainscot originally had a varnished finish (#5.26). This is reinforced by period historic interior photographs of Britannia, also designed by Kirby and Keil (#5.27). Britannia’s photographs also indicate that the wainscot may have covered the original aft wall of the dining room.

Description and Existing Conditions

5.25

Beadboard ornamentation detail of the Britannia

Photo, Buffalo History Museum

73

The wainscot in dining room of Columbia runs around the bow side of the boat and hallway into the galley (#5.28).

The current condition of baseboard appears to have multiple layers of paints used over the period of time as the flooring changed (#5.29). The chair rail on top of the wainscot serves as a “bumper,” protecting the wall. This wall decoration was

often used to add texture to stairways. The wainscot at the aft end was removed when the bulkhead was relocated in the 1940s.

Preservation Strategies Various chemical treatments can be used to remove the paint from the wainscot. Chemical methods include chemical paint strippers which are divided into solvent-based, caustic-based, and alternative-based strippers. The equipment to be used while removing paint are natural bristle brushes or plastic spatulas, putty knives and paint scrapers of different shapes and flexibility, and spray equipment (only if recommended).

Furthermore, the wainscot should be carefully inspected for rot and, if deteriorated, marked for later replacement after the paint has been removed completely.23

5.26

Existing staircase surface showing original varnish finish

Vaibhavi, Preservation on the Inland Seas Studio

Recommendations Restore the wainscot by removing paint, or if required replace it with original wood with same shape, style and varnish finishing in order to retain its original character. Because the original finish of the aft side of the dining room is unknown, the recommended finish for the aft wall is a plain wall with simple wainscot that recognizes the character of the original design without giving a false sense of history. For more information on varnish finishes, refer to the Decorative Wood Screens materials section.

Baseboard Historic Conditions The original material was unpainted granite. The baseboard was located around the perimeter of the dining room. Along all sides of the dining room. Granite would not have been used as a finishing material unless it was exposed and not painted.

Photographs of Britanniaâ&#x20AC;&#x2122;s dining room interior show a similar baseboard finish (#5.30).

5.27

Historic interior view of Britannia

Photo, Buffalo History Museum

Description and Existing Conditions Although painted, close inspection of the baseboard in the dining room of Columbia revealed that it is granite with a light-pink hue (#5.31). Several layers of paint have been added to the granite baseboard. The baseboard is missing on the starboard side of the dining room, and along the aft side of the room where the room was altered in the 1940s, there is no baseboard. Deteriorated metal screws or pins hold the granite in place.

5.28

Wainscot detail on left side of the bow part

Vaibhavi, Preservation on the Inland Seas Studio

74

Preservation Strategies Paint should be removed from the baseboard using commercially available alkaline/solvent compound designed specifically for removing paint from granite. Specific equipment should be used while carrying out cleaning process such as brushes with natural fiber bristles (not one with the wire or steel wool) and a bucket of clean water.

During preparation, necessary care should be taken to avoid contacting surrounding or adjacent material as the products used can be damaging to other materials.24

Recommendations 5.29

Existing condition of wainscot

Vaibhavi, Preservation on the Inland Seas Studio

Restore the baseboard using a historically appropriate method of cleaning or removing paint in order to retain its original finish. In places where chipping or cracking have occurred,

Floor Historic Conditions Pine Subfloor

5.30

Baseboard detail of the Britannia

Photo, Buffalo History Museum

The typical American passenger steamer for use on inland waters were generally built with a wooden or steel hull of light draft with a light wooden substructure built upon and extending far out over the hull on each side, rising upward multiple decks or stories. These decks are supported on light wooden floors, sheathing, and partitions made of pine or other lumber such as oak or spruce.25 As practice, Frank E. Kirby, utilized an assortment of light timber. An example of the subfloor is seen in (#5.32). Lightness was key to the construction of marine vessels as it ensured the buoyancy of the vessel and increased its capacity. However, these wooden substructures were susceptible to damage from fire and moisture. Paints, oils, and various finishes were used on wooden substructures in marine vessels to protect the structure from mold and mildew, rodents, vermin, and fire. By the 1900s vessels built with wood were treated with various water and fireproofing techniques.

Linoleum - Tile Pattern - 1902

5.31

Existing condition of baseboard on bow side

Vaibhavi, Preservation on the Inland Seas Studio

75

The original floor in the dining room of Columbia was linoleum with a tile pattern. An example of the original linoleum material can be found in the closets within the crew quarters as seen in (#5.33) and (#5.54). Linoleum, which was developed in Europe in the 1700s but patented in 1863, is the first resilient type of flooring to be developed. Linoleum is made from oxidized linseed oil, ground cork or wood, powdered pigments,

or organic resins combined to form a unified layer adhered to burlap or canvas backing. Linoleum was used to cover everything from floors to countertops.26 Linoleum was most widely used in sheet form, although tiled linoleum provided another option. When applied over a subfloor as a sheet, it proved more resilient as it was adhered to burlap, canvas, or felt fabric to minimize cracking and bulking caused by the expansion and contraction of the underlying subfloor.27 These materials were often water resistant, as oil or wax was applied to create an effective seal. Linoleum was often produced in a number of different patterns or colors but simpler linoleum sheeting was widely used in marine vessels. Aboard ships, linoleum was often laid at ⅛ to ½ and inch.

Description and Existing Conditions

5.32

Example of the subfloor, an assortment of light timber

Cory, Preservation on the Inland Seas Studio

As the physical space of the crew dining room changed over time so did the flooring material. Initially, a light wooden substructure, typically pine, was first constructed over the steel hull; this substructure is repeated throughout the ship so that numerous decks could be built. In the Orlop deck, where the galley and dining room are located, the baseboard was laid along a tongue and groove pine floor. Wooden floors in enclosed or covered decks were not often left with a wood finish due to dampness. Rather, linoleum sheets or tiles were laid on top to protect the wood from rot and other damage.

A linoleum sheet with a tile pattern, as is found in the closet spaces of the added crew quarters in the dining room, was applied over the wooden subfloor during the construction of the vessel in 1902.

When the dining room was reduced in size to construct additional crew quarters a new floor material was applied.

The red plastic/rubber material in the dining room is a type of burlap or felt linoleum sheet flooring manufactured by the Armstrong corporation. Armstrong did not manufacture this type of flooring until the late 1930’s, however, other companies have manufactured similar materials as early as 1910. This later material was cheap, easy to apply, durable, and weathered particularly well. This material was probably applied to Columbia in 1940 at the same time dining room underwent a major redesign. The burlap sheet flooring was probably not originally used in the construction because it was not popularized until the 1930’s and the original linoleum tile sheeting is still visible within the closets and crew quarters.

These observations suggest this was a later material despite its absence in the dining room altogether. At the time of the dining room redesign the linoleum flooring was removed, as evidence by the presence of linoleum glue on the subfloor, so that the burlap sheet flooring could be nailed into the existing wooden subfloor.

5.33

Linoleum material found in the closets within the crew quarters

Cory, Preservation on the Inland Seas Studio

5.34

Linoleum material found in the closets within the crew quarters

Cory, Preservation on the Inland Seas Studio

76

The last flooring material found aboard Columbia is particle board. The date when this particle board was applied is unknown but it is assumed to have occurred outside the period of significance. Evidence of another later material is seen on top of the particle board in the form of ghost tiles. The tile prints worn into the particle board as well as the paint lines seen across the baseboard suggest another floor existed over the particle board. However, this would have also been applied outside the period of significance. A full diagram of how the existing floor sits in layers is found (#5.35), whereas a full timeline for material change is found in (#5.36).

Linoflor - Armstrong Co. - 1936 Beadboard detail on right side of the bow part

Preservation on the Inland Seas Studio

5.35

Galley Floor in Layers

Andrew Abbey, Preservation on the Inland Seas Studio

5.36

Timeline of Flooring Material in Columbia

The red flooring found in the existing dining room space as well as the gray flooring found in the dining room closets and the crew quarters are a linoleum sheet flooring adhered to a burlap mesh backing nailed to the wooden subfloor.28 Manufacturer stamps discovered on the underside of the linoleum sheet flooring found in the added crew quarters indicate that the floor was manufacturing by the Armstrong Company.

This layer of floor is often misidentified as a felt base or cork based form of resilient flooring. Two factors identify this flooring as true linoleum. First, the presence of a burlap or canvas backing adhered to the back of the material and nailed or glued on a subfloor is a tell-tale sign of true linoleum.

Secondly, true linoleum becomes brittle as it ages and the linseed oil oxidizes. Aboard Columbia, the red and gray material identified as Linoflor is especially brittle due to its age.29 (#5.37) and (#5.38) show the condition of the Linoflor material aboard Columbia.

Cory, Preservation on the Inland Seas Studio

This linoleum material was especially common aboard marine

5.37

5.38

The current condition of the Linoflor material

Cory, Preservation on the Inland Seas Studio

77

The current condition of the Linoflor material

Cory, Preservation on the Inland Seas Studio

vessels as well as in homes during the early half of the twentieth century. While it is identified that the material aboard Columbia is a red and gray Linoflor material manufactured by the Armstrong Co., this technology and material was used much earlier than the late 1930’s by other companies across the country.

Litosilo is a light continuous plastic mass developed by the Marine Decking and Supply Company in Philadelphia in 1910.

Litosilo is laid flat on most protected decks aboard marine vessels. Litosilo is most often used in dining rooms, smoking rooms, lounges, staterooms, suite bedrooms, storerooms, officer’s quarters, crew’s quarters, mess halls, and bathrooms.

Litosilo is more durable than wood or concrete because it does not crack, splinter, crumble or disintegrate. It is fireproof, waterproof as well as vermin proof. It is also incredibly lightweight with one square foot of Litosilo at 1½ inch thick weighing about 8 pounds, compared to concrete of the same size in thickness weighing around 20 pounds. Additionally, the manner of application of Litosilo prevents steel deck plates from corroding. Litosilo protects the baseboard or steel decking that it is applied to; it is incredibly durable and resilient and has been standard flooring for many passenger vessels since its invention in 1910.

Particle Board – Post Period of Significance The particle board material found on Columbia is a typical manufactured wood material most likely made from wood chips or sawdust joined together with a synthetic resin.

Particle board is often used when cost is more important than appearance. Although particle board is denser than typical subfloor material, it is very prone to damage, discoloration, and expansion by water. (#5.39) & (#5.40) show the condition of the particle board aboard Columbia.

Because the particle board was installed after the period of significance and it is susceptible to severe weathering and damage, it is recommended that the material be removed and the floor be returned to the state it appeared within the period of significance.

Preservation Strategies To restore the floor to an original linoleum sheet flooring or an in kind material the recommended steps should be taken:

Litosilo can be laid in a number of colors, but most often it is red, as is the color of the material on Columbia. Litosilo is most often laid flat continuously by trowel, however in some cases it can be laid in large interlocking tiles. It is laid no less than 1½” thick upon steel decks and 1” thick on wood. On steel decks steel clips are welded to the steel deck so that when Litosilo is laid the bonds between the materials will be secured. On wooden decks a wire mesh is fastened to the deck using nails so that when the Litosilo is laid the bonds of the material would be fortified. Columbia exhibits a similar method of construction. On Columbia, a burlap material is used to hold the linoleum sheet flooring together and is nailed over the wood subfloor.

-

Restore the dining room to the proposed conditions as detailed in other sections of the report (See Proposed Restored Conditions Drawing in Appendix xx)

-

Remove particle board flooring: Begin by cutting the particle board and using a crowbar to pry and loosen

Repairs and maintenance to Litosilo decks can be done relatively easy. Sections of Litosilo can be cut out and new material put in without disturbing the other parts of the deck, forming a near perfect bond with the old and the new material.30 Concerning maintenance, if proper care is taken linoleum sheet flooring can last as long as fifty years.31 The flooring should be vacuumed or swept, but it can also be dampmopped with a neutral pH soap as long as the surface water is dried. High alkaline and abrasive cleaners should be avoided because they will damage the surface of the flooring. In cases where the floor appears to bulge or peel, it is possible that the flooring adhesive has failed, and should be reattached.

5.39

The current condition of the particle board

Cory, Preservation on the Inland Seas Studio

78

material is laid evenly and is smoothed out.

-

Polish and oil floor material to protect it from weathering, water, fire, vermin.

Recommendations

5.40

The current condition of the particle board

Cory, Preservation on the Inland Seas Studio

the particle board from the underlying materials.

Doing so not to damage the subfloor.32

79

-

Inspect the condition of underlying floor, the red linoflor. Because of its age it is assumed that that the entire floor as failed due to weathering and oxidization as evidence by the visible material where the linoflor is exposed beneath the particle board.

-

Remove the linoflor material by cutting with a utility knife and prying the sheet flooring off the underlying subfloor. Remove nails. Remove the burlap material as well. Using a paint scraper carefully scrape away old linoleum glue from the wood careful not to damage the wood subfloor. Use a heat gun or to soften the adhesive or dry ice to have the adhesive chip off.33

-

Inspect and repair existing subfloor where material is failing. If the pine floor is rotting or failing in general the failing section should be cut out and replace in kind. The material in general appears to be in good condition and should not need to be replaced in full, however there is no way in knowing for sure until overlaying material is removed.

-

Replace trapdoor with one historically accurate and acceptable to the period of significance

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Prepare subfloor to be overlaid with the new linoleum sheet flooring.

-

Adhere historically appropriate sheet flooring that is as close to the original or as close in kind as possible.

Using linoleum glue or adhesive, lay a layer of burlap or canvas material as to better support the overlaid linoleum material and fasten with nails. Ensure

The restoration of the floor in the dining room should entail replacing the deteriorated historically-appropriate deck coverings with new material that matches the old in composition, size, shape, color, and texture after establishing the structural stability of the deck. The restoration should retain or recreate the basic plan of the interior space, as it existed during the period of significance by removing fixtures and material outside this period while retaining material and fixtures that fall within this period. The historically appropriate surfaces should be protected and maintained through proper methods of cleaning, treatments, and reapplication of protective coating.34 Because in the past the floor was laid with both a tiled pattern linoleum sheet flooring as well as a more resilient red linoflor linoleum sheet flooring adhered to burlap, it is recommended that a material in kind to the former be restored to Columbia’s dining room. Based on the pattern of the flooring material in photos of Britannia’s dining room, the material used in restoration of the flooring should be as close to the pattern of the tiled flooring in Columbia’s dining room closet. This pattern is likely more historically-consistent with the original pattern between the two flooring types installed during the period of significance.

Deck Plating Historic Conditions Documents from the mid-1890s on the history of steamships state that steel was used for hulls, decks, and bulkheads because it is significantly lighter than iron, thus increasing the overall capacity of ships.35 Original drawings of Columbia indicate that the main deck was to be made of “short punch” plating secured to the boat using riveted butt and seam straps running underneath. The “short punched” steel was not used in the “W.C.” (water closet) or the crew quarters (5.41).

According to the SS Columbia Project, stamps on some steel components of the boat indicate that some of the steel on Columbia was from US Steel. However, in the mid-1890s, Frank Kirby was a part owner of the Detroit Sheet Metal and Brass Works Company, which produced a variety of metal products for both building and ships, and specialized in

shipbuilding components.36 By 1899, the Detroit Shipbuilding Company absorbed the Detroit Sheet Metal and Brass Works Company into its operations, which leads to the inference that Detroit Shipbuilding Company may have also produced some of its own metal components after 1899.

Before World War II, steel and iron ships and boats were constructed using riveting methods, rather than welding.

Although welding technology existed prior to WWII, it was predominantly used for minor repairs, and not for the construction of hulls, decks, or bulkheads.37 In 1896, pneumatic riveting hammers became prevalent in the shipyards of the Great Lakes. Pneumatic riveting made boat production faster and cheaper by reducing the effort needed to install rivets when combining metal components. With the new technology, unskilled laborers could be quickly and easily trained to rivet, reducing the overall labor costs associated with riveting. In 1900, Frank Kirby introduced the technology to the Detroit Shipbuilding Company.38

5.41 Notes and drawing of deck plates from the 1902 plan. Notice indication that plates are “short punched”.

Collection, The Columbia Project

Description and Existing Conditions Columbia features a riveted steel deck. Steel became the prominent material for the construction of boats and ships in the 1860s, when its production process allowed the fabrication of steel with the ease and quality required for shipbuilding.39 Mild steel, or steel that contains less than two percent carbon, was employed in the in the construction of ships and boats due to its strength while maintaining malleability and flexibility. Steel with a higher carbon content was too brittle for hull construction.40 Steel was preferable over iron for ship and boat construction because it is lighter weight, meaning a steel ship could have a larger carrying capacity than an iron ship of the same size.41 The plating used for the deck is smooth with round “bumps” every few inches, neatly organized and equidistant from one another (#5.42). Although contemporary reference to “short punched” steel plating is nearly non-existent, logic would dictate that a short punch is a punch through a steel plate that does not go all the way through the metal, but instead creates a “dimple” effect, where the underside of the plate is depressed and the top side is raised. This pattern is similar, but not identical to “chequer” plates. “Chequer” plates are steel plates with a raised crosshatched patterns used to provide traction on deck surfaces.42 In Columbia’s galley, some portions of the floor are constructed of chequer plates (#5.43). Today, checkered steel plates (also known as tread or diamond plates) are still manufactured and used for flooring.43 The main deck has suffered severe deterioration in many locations (#5.44). In many instances of severe corrosion,

5.42 Steel plate decking with the “short punch” pattern. Dimples are spaced equidistant from each other.

Brendan, Preservation on the Inland Seas Studio

5.43 A seam in metal plates in the galley of the orlop deck. The plate on the right is a “chequer plate” while the left is smooth The chequer plate may not be original, but instead a later patch.

Brendan, Preservation on the Inland Seas Studio

80

5.44

Deterioration of the deck plating in the buffet area of the main deck.

Brendan, Preservation on the Inland Seas Studio

holes are apparent in the steel decking on the main deck. The plates used on the main deck are 16-feet by 4 ½-feet, and are about 20 mm thick. These plates are oriented so their long edge runs parallel to the sides of the boat. Plates vary in size near the edge of the boat where rectangular shaped plates are cut to fit the curvature of the hull. Plates are riveted to steel angle stringers running underneath the deck, as well as riveted to strap plates (#5.45), (#5.46). Evidence of the rivets is only barely visible on the deck itself, though the deck riveting is more apparent from underneath. Regular solid rivets with rounded heads may have posed a tripping hazard if they were used to hold down floor plating on the deck. Therefore, it is likely that countersunk rivets were used to make sure that the head of the rivet on the deck plating sat nearly flush with the plate itself. Evidence of this is visible when examining plate seams on the main deck (#5.47).

Preservation Strategies The rate of corrosion of steel in freshwater depends on a number of factors, including the oxygen content of the water, the flow, and the pollution of the water. However, steel decks in freshwater environments do not need the same level of concern as they would in salty air. Both hot-dip galvanizing and electroplating are options for steel replacement decks, while painting will further reduce corrosion.44

Recommendations Restoration of the main deck should include removing the steel deck plates that have experienced significant deterioration, and replacing them with steel plates of a similar or identical design and fastening method as the original. Modern day

5.45 Underside of the deck plating, showing riveted plates and stringers and straps. Notice the dimple indentations of the plates.

5.46 Drawing showing the cross section view of main deck plating and the supporting structures underneath.

Brendan, Preservation on the Inland Seas Studio

Collection, The Columbia Project

81

examples of steel plates sold with the same pattern as Columbia’s original deck are not readily available, though it may be possible to order custom plates from a mill. If the cost to create steel deck plates in the same design are logistically or financially unfeasible, deck plates that are in good condition should be kept in key areas as a historic didactic. All deck plates should be made weather tight. Structural issues like hogging, sagging, or shear forces should be corrected through consultation with a naval architect.45

Bulkhead Historic Conditions The original bulkheads in the boat were riveted. Because welding was not used in bulkhead construction prior to WWII, the welded bulkhead was likely constructed during or after the 1940s, putting its construction in-line with the estimated construction of the crews’ quarters in the dining area. The original bulkhead in the aft side of the dining room was made from riveted steel, and was several feet aft of the current location.

5.48 Original bulkhead in the rear of the galley section of orlop deck. Notice vertical and horizontal lines of rivets.

Brendan, Preservation on the Inland Seas Studio

Description and Existing Conditions Columbia appears to have bulkheads installed in two different time periods, using two different methods. The bulkhead at the bow side of the galley that separates the galley from the engine room is constructed using rivets, and is placed in the location indicated on the original 1902 drawings (#5.48), (#5.49). However, the bulkhead at the stern end of the crews’ quarters and dining room is constructed using welding (#5.50). Bolts fastened with nuts are also visible on the nonoriginal bulkhead (#5.51). Vertical seams of the bulkhead

5.47 Deck plating seams on the main deck. Plates are aligned so that seams are staggered similar to the way bricks are laid. Notice the larger, shallower bumps that are spaced along the seam; these are likely countersunk rivets.

Brendan, Preservation on the Inland Seas Studio

5.49

Original bulkhead in rear of galley, looking up underneath the stair.

Brendan, Preservation on the Inland Seas Studio

5.50 A vertical seam on the newer bulkhead in the aft section of the orlop deck, in the crew’s quarters. Notice that this seam is welded, not riveted.

Brendan, Preservation on the Inland Seas Studio

82

and should be riveted rather than welded. The new bulkhead should not have a watertight door, but instead the entire bulkhead should extend to the hull to create a watertight chamber in the stern section of the boat.

5.51 Base of the non-original bulkhead in one of the crewâ&#x20AC;&#x2122;s rooms in the aft section of the orlop deck. Notice the use of bolts instead of rivets.

Brendan, Preservation on the Inland Seas Studio

5.52 Vertical seam in the non-original bulkhead, showing solid-phase welding techniques.

Brendan, Preservation on the Inland Seas Studio

plates appear to be welded (#5.52). The existing bulkhead does not appear to have visible damage or significant deterioration.

Preservation Strategies Although the bulkheads appear to be in good condition, restoration of the dining room to its original shape and size requires the removal of the welded bulkhead, and the placement of a new bulkhead in the original location.

Recommendations In order to restore the dining room to the most historically accurate, original layout, the welded bulkhead should be moved to the original location according to the 1902 drawings, 83

Endnotes

1 Linda R. Adler, “Restoring Esixting Wood Finishes and Hardware,” ed.

Cooperative Extension Service (Lexington: University of Kentucky 1995).

2 Rolf Achilles Neal A. Vogel, “Preservation Brief #33 - the Preservation and Repair of Historic Stained and Leaded Glass,” National Park Service, https:// www.nps.gov/tps/how-to-preserve/briefs/33-stained-leaded-glass.htm.

3 Ibid.

4 Ibid.

5 Ibid.

6 John H. Myers, “Preservation Brief #9 - the Repair of Historic Wooden Windows,” National Park Service, https://www.nps.gov/tps/how-to-preserve/ briefs/9-wooden-windows.htm.

7 III Charles E. Fisher, Window Handbook: Succesful Strategies for Rehabilitating Windows in Historic Buildings (Historic Preservation Education Foundation, 1990).

8 Neal A. Vogel, “Preservation Brief #33 - the Preservation and Repair of Historic Stained and Leaded Glass”.

9 Myers, “Preservation Brief #9 - the Repair of Historic Wooden Windows”.

10 Neal A. Vogel, “Preservation Brief #33 - the Preservation and Repair of Historic Stained and Leaded Glass”.

11 Edgar G. Miller, Beautiful Examples of American Antique Sideboards and Kitchen Furniture (Read Books Ltd, 2016).

12 Ibid.

13 Sara B. Chase, “Preservation Brief 28: Painting Historic Interiors,” https://www.nps.gov/tps/how-to-preserve/briefs/28-painting-interiors. htm#modern.

14 Brian Powell, “Painting Techniques: Surface Preparation and Application,” in Painting in America: The Colors of Historic Buildings, ed. Roger W. Moss (Washington D.C.: The Preservation Press, 1994), 209.

15 Ibid., 210.

16 Ibid., 211.

17 Ibid.

18 Ibid.

19 Ibid., 212.

20 Sharon C. Park, Hicks, Douglas C., “Preservation Brief 37: Appropriate Methods for Reducing Lead-Paint Hazards in Historic Housing.”

21 Ibid.

22 Thomas Walton, Steel Ships: Their Construction and Maintenance (London1902), 18.

23 U.S. General Services Administration, “Chemically Removing Paint from Wood Features,” https://www.gsa.gov/real-estate/historic-preservation/ historic-preservation-policy-tools/preservation-tools-resources/technicaldocuments?Form_Load=88455.

24 “Removing Paint from Granite,” https://www.gsa.gov/real-estate/ historic-preservation/historic-preservation-policy-tools/preservation-toolsresources/technical-documents?Form_Load=88115.

25 “The Lesson of the “General Solcum” Disaster,” Engineering News: A Journal of Civil, Mechanical, and Electrical Engineering, (New York: The Engineering News Publishing Co., June 23, 1904).

26 Richa Wilson, “Early Twentieth Century Building Materials: Resilient Flooring,” (District of Columbia: United States Department of Agriculture, August 2007). Pg. 1-2. https://www.fs.fed.us/t-d/pubs/pdfpubs/pdf07732322/ pdf07732322dpi72.pdf and in “Linoleum: Characteristics, Uses, and Problems,” US General Service Administration, September 28, 2017. Accessed on November 9, 2017.https://www.gsa.gov/real-estate/historic-preservation/ historic-preservation-policy-tools/preservation-tools-resources/technicaldocuments?Form_Load=88540 27 Wilson, Pg. 3-4.

28 “Congoleum - Nairn Flooring, History, Use, Components 1886 to Present” Inspectapedia: The building and Building Environment Encyclopedia. https://inspectapedia.com/interiors/Floor_Tile_History.php 29 Wilson, Pg. 4.

30 “Litosilo Decking,” Shipbuilding Cyclopedia, Edited by F. B. Webster, (New York: Simmons-Boardman Publishing Company, 1920.) Pg. 808-9.

31 Wilson, Pg. 4.

32 “How to Remove Particle Board Underlayment,” Do It Yourself, Accessed November 13, 2017, Webpage, https://www.doityourself.com/stry/how-

to-remove-particle-board-underlayment.

33 “How to Remove Linoleum and Tile Adhesive Paper From Wood Floors,”SFGate, Accessed November, 13, 2017, Webpage, http://homeguides. sfgate.com/remove-linoleum-tile-adhesive-paper-wood-floors-68880.html.

34 US Department of the Interior, Secretary of the Interior’s Standards for Historic Vessel Preservation Projects: With Guidelines Applying the Standards.

(National Park Service, May 1990.)

35 George Henry Preble, A Chronological History of the Origin and Development of Steam Navigation (Philadelphia: L.R. Hamersly & Co., 1895), 317-18.

36 Thomas A. Klug, “Historic American Engineering Record: Dry Dock Engine Works,” (Washington, D.C.: National Park Service, 2002), 14.

37 David J. Eyres and George J. Bruce, Ship Construction (Oxford: Butterworth-Heinemann, 2012), 81-82.

38 Klug, “Historic American Engineering Record: Dry Dock Engine Works,” 18.

39 Walton, Steel Ships: Their Construction and Maintenance, 1.

40 Ibid., 2-6.

41 Preble, A Chronological History of the Origin and Development of Steam Navigation, 317-18.

42 Paul N. Hasluck, Practical Draughtsmen’s Work : With Numerous Engravings and Diagrams (London: Cassell and Co., 1911), 110.

43 “Hot-Dipped Galvanized Steel Checker Plate Info, Weight Table,” http://www.checker-plate.org/checker-plate/steel-checker-plate.html.

44 Nigel Warren, Metal Corrosion in Boats : The Prevention of Metal Corrosion in Hulls, Engines, Rigging and Fittings (Dobbs Ferry, NY: Sheridan House, 2006).

45 Michael Naab, “The Secretary of the Interior’s Standards for Historic Vessel Preservation Projects,” ed. Department of the Interior (Washington, DC: National Park Service, National Maritime Initiative, 1990), 83-86.

84

85

6.1 Innovative Girder Design in Ballroom of Columbia “Detroit Photos: 1902-2004.” (2014). The SS Columbia Project. Published online as a picture gallery.

Columbia’s Other Preservation Priorities Ballroom The ballroom is on the promenade deck in the aft part of the boat. The deck’s innovative girder system (#6.1), allowed Columbia to be the first steamboat in the United States with ballroom. This space is a unique feature that should be a focus of preservation, and could potentially be used as an event space for future fundraising efforts if restored.

6.2

Ballroom, 2017

Techeng , Preservation on the Inland Seas Studio

The promenade deck is 100 feet long and 40 feet wide, with an area in the center for dancing. Its steel columns are now mostly rusted and the coat of white paint is peeling off. Steel columns also created an open interval between the ballroom and the overhung part of the deck. The wood floor is damaged and in some places, in a structurally dangerous condition (#6.2).

Some holes have appeared and increased the risk of walking on the deck. The arched steel girder is painted in white and detailed with round hollow ornament.

Snack Bar A half-height snack bar is located on the rear of the main deck, near the entrance to the dining room. The countertop is well carved and painted in light blue color. The body of the bar was covered with steel baseboard, which is mostly rusted with blue and white peeling paint (#6.3). Inside the bar, some steel

6.3

Main Deck, 2017

Techeng , Preservation on the Inland Seas Studio

86

made cupboards, sinks, and tables remain.

Grand Staircase and Main Cabin (Saloon) The grand staircase is located on the centerline well forward of the main deck, and elevated to the promenade deck, heading to the main cabin. It has a 60-foot-wide, glassedin landing at the base, with a dark varnished wood finish. An ellipse entrance space was arranged in the staircase to shunt the up-going passengers. The staircase entrance is finished with carved wooden Corinthian pilasters.

6.4

Column Detail, 2017

Techeng , Preservation on the Inland Seas Studio

The side of the staircase was decorated with checkered carving. The parapets and newels were well carved and ornamented. Based on the 1902 blueprint, a stair handrail should be installed on the side.

The grand staircase is restored in a relatively good shape. The ornament part on the newels is missing, some parapets are damaged and missing, and steps need to be repaired and varnished. In the center, a temporary handrail is installed.

The main cabin shares similar detailing as the grand staircase.

It is a U-shaped space, with a large plate glass mirror built into paneling facing the top of the staircase. On the wooden ornaments, the walls are paneled in mahogany wainscoting defined by a raised fanlight overhead with ribbon of windows and two rows of transoms and the trim ornamented cornice above. There are passageways on either side and doors at center forward and either side lead to open deck.

6.5

Ceiling Detail, 2017

Techeng , Preservation on the Inland Seas Studio

Lounge Both the port side and the starboard side mid-ship have a lounge room, on the main deck. They are both small rooms next to the bathrooms. The one on the starboard side was the men’s lounge; the one on the port side was the women’s lounge.

The men’s lounge was decorated in metallic finish; with a gilded ceiling and paneled walls of a stamped material resembling carved leather, wide upholstered leather seats and the mahogany woodwork. The women’s lounged is currently painted white and blue, with Corinthian pilasters (#6.4), ceiling decorated in fresco, and dark green tapestry walls.

6.6

Window Detail, 2017

Techeng , Preservation on the Inland Seas Studio

87

Both of the lounges are now severely damaged. The finishes were either covered by later additions or faded away due to the lack of maintenance. The wooden door of the women’s lounge is rotten and the wall of the compartment is damaged.

The steel decking is rusted, and the ceilings are rotten (#6.5).

The windows of both cabins were altered to single hung style and vary from the original windows. The fanlights connecting to the main deck are mostly broken, but the styled muntins

(#6.6) remain.

tion and Repair of Historic Stained and Leaded Glass.”

National Park Service, https://www.nps.gov/tps/how-topreserve/briefs/33-stained-leaded-glass.htm.

Adler, Linda R. “Restoring Esixting Wood Finishes and Hardware.” edited by Cooperative Extension Service, 3. Lexington: University of Kentucky 1995.

Park, Sharon C., Hicks, Douglas C. “Preservation Brief 37: Appropriate Methods for Reducing Lead-Paint Hazards in Historic Housing.”

Administration, U.S. General Services. “Chemically Removing Paint from Wood Features.” https://www.gsa.gov/real-estate/historic-preservation/historic-preservation-policy-tools/preservation-tools-resources/technical-documents?Form_Load=88455.

Powell, Brian. “Painting Techniques: Surface Preparation and Application.” In Painting in America: The Colors of Historic Buildings, edited by Roger W. Moss. Washington D.C.: The Preservation Press, 1994.

———. “Removing Paint from Granite.” https://www.gsa.gov/real-estate/historic-preservation/historic-preservation-policy-tools/preservation-tools-resources/technical-documents?Form_Load=88115.

Charles E. Fisher, III. Window Handbook: Succesful Strategies for Rehabilitating Windows in Historic Buildings. Historic Preservation Education Foundation, 1990.

Chase, Sara B. “Preservation Brief 28: Painting Historic Interiors.” https://www.nps.gov/tps/how-to-preserve/ briefs/28-painting-interiors.htm#modern.

Preble, George Henry. A Chronological History of the Origin and Development of Steam Navigation. [in English] Philadelphia: L.R. Hamersly & Co., 1895.

Walton, Thomas. Steel Ships: Their Construction and Maintenance. [in English] London1902.

Warren, Nigel. Metal Corrosion in Boats : The Prevention of Metal Corrosion in Hulls, Engines, Rigging and Fittings. [in English] Dobbs Ferry, NY: Sheridan House, 2006.

Co., R.L. Polk and. “Detroit City Directory.” (1915).

Eyres, David J., and George J. Bruce. Ship Construction. [in English] Oxford: Butterworth-Heinemann, 2012.

Hasluck, Paul N. Practical Draughtsmen’s Work : With Numerous Engravings and Diagrams. [in English] London: Cassell and Co., 1911.

“Hot-Dipped Galvanized Steel Checker Plate Info, Weight Table.” http://www.checker-plate.org/checker-plate/steel-checker-plate.html.

Klug, Thomas A. “Historic American Engineering Record: Dry Dock Engine Works.” Washington, D.C.: National Park Service, 2002.

Miller, Edgar G. Beautiful Examples of American Antique Sideboards and Kitchen Furniture. Read Books Ltd, 2016.

Myers, John H. “Preservation Brief #9 - the Repair of Historic Wooden Windows.” National Park Service, https://www. nps.gov/tps/how-to-preserve/briefs/9-wooden-windows. htm.

Naab, Michael. “The Secretary of the Interior’s Standards for Historic Vessel Preservation Projects.” edited by Department of the Interior. Washington, DC: National Park Service, National Maritime Initiative, 1990.

Neal A. Vogel, Rolf Achilles. “Preservation Brief #33 - the Preserva88

conditions survey and needs to be replaced.1 The survey recommends a dry dock inspection to determine the condition of compartments and machinery that could not be accessed while vessel is afloat. Robert A. Ojala, Naval Architect and Marine Surveyor working for A3PI Services, LLC, appraised the vessel on July 29, 2017 for an estimated $600,000 under Fair Market Value.2

Main Deck The Main Deck houses three 233 horsepower motors at the stern. Moving towards the bow are a set of stairs leading to the lower deck, near hallways on either side of the vessel, leading to a Children’s Theatre and Exhibition Area with seating for 108 persons. There is a spiral staircase in the theatre that leads down to the dressing rooms on the lower deck.

Point Counterpoint II’s Existing Condition

The middle portion of the Main Deck is composed of the stage area (Theodore L. Hazlett, Jr. Theater), which features a large, expandable shell that rises 18 ft., powered by 14 hydraulic jacks. The shell houses lighting bars and sound equipment.

The stage area features fixed musician seating, designed by Japanese sculptor (insert name) and music stands.

The bow portion of the Main Deck begins with the Main Staircase that leads down to the Theatre and Exhibition Gallery, Office, and Living Quarters on the Lower Deck.

Moving towards the bow, behind the main staircase, are the Galley, two Crew Quarters, Captain’s Quarters, and a shared restroom. The Pilot house is located at the front of the Bow. The existing conditions report noted that navigation and communication equipment is minimal.3

Name:

Point Counterpoint II

Manufacturer:

Tidewater Equipment Corporation

Place of Manufacturer:

Norfolk, VA

Original Architect:

Louis I. Kahn

Naval Architect:

George Djurkovic

Finalizing Architect:

J J Henry Co. Inc.

Year Built:

1974, launched 1975

Lower Deck:

Length Overall:

195 ft.

Breadth Overall:

35 ft.

Height:

22 ft. (Shell closed), 40 ft. (Shell Open)

Depth:

11 ft.

The Lower deck houses two diesel generators and four fuel tanks, directly below the motors. Moving towards the bow are two symmetrical rooms used as the Dressing Room and Workshop, that lead into a hallway that opens to the circular staircase. Ballast Tanks are housed on the port and starboard sides running the length of the vessel. At the bow are freshwater tanks on the port and starboard sides.

Overall Description Point Counterpoint II was originally a steel barge that has been repurposed as a showboat for the American Wind Symphony, based out of Pittsburgh, PA. The barge has a double skin hull, except in the bow and stern rake compartments. The construction is of 3/8” steel with longitudinal and transverse NWT floors. The barge has an electric mooring winch, inflatable life raft, and other typical marine equipment. The overall electrical wiring is of good marine grade, but the switchboard was unresponsive at the time of the existing 89

The middle portion of the Lower Deck features the main Theatre and Exhibition Gallery, located directly below the stage.

The bow portion of the Lower Deck begins with the Main Staircase that leads up to the storeroom. There are hallways on the port and starboard sides that lead into a spare bedroom and an office space. Moving towards the bow are the Children’s bedroom, Director’s bedroom and adjoin

bathrooms. There are compartments further towards the bow, below the pilothouse that house bow thruster machinery, air compressor, bilge pump and a sewage treatment system.4 “Condition & Valuation Survey.” In Specialty Barge, “Point Counterpoint II”, With Stage and Quarters, 6. Milwaukee, WI: A3Pi Services LLC, 2017.

Endnotes 1“Condition & Valuation Survey,” in Specialty Barge, “Point Counterpoint II”, With Stage and Quarters (Milwaukee, WI: A3Pi Services LLC, 2017), 5.

2 Ibid., 6.

3 Ibid., 2.

4 Ibid.

90

Feasibility of the Preservation and Redevelopment of Point CounterpointiII as a Tourism and Economic Development Opportunity Point Counterpoint II provides an opportunity to expand the burgeoning arts and culture movement of Buffalo, NY and contribute to the economic development of the City’s waterfront areas. Point Counterpoint II originally served as a floating venue for concerts of the American Wind Symphony Orchestra and primarily travelled the United States bringing music to communities.1 The current proposal for use of the vessel is to create a stationary venue for music and artistic events that also serves as an extension of a local maritime museum.2 Feasibility of Point Counterpoint II relocation and restoration is dependent upon local government policies centered on Buffalo’s waterfront, and opportunities for collaborative public-private partnerships and funding.

Supportive Local Government Plans and Programs City of Buffalo Local Waterfront Revitalization Program3 The Local Waterfront Revitalization Program is a comprehensive platform to evaluate ecological restoration, increased use, and potential development of the waterfront in Buffalo, NY. The “waterfront” encompasses the shoreline area directly adjacent to Niagara River, the Inner and 91

Outer Harbors, the land adjacent to the Buffalo River, and to Scajaquada Creek. In these areas there are a plethora of natural features and resources, water infrastructure, international gateway sites, and publically-owned parcels.

The LWRP was established for Buffalo as part of the recent initiative to update the city’s land use ordinance and zoning code. Culminating in the Buffalo Waterfront Plan, the LWRP sets clear policies for coastal areas that identify public project opportunities, which will leverage development through private investment.4 The LWRP is utilized as a guide for identifying potential docking sites for Point Counterpoint II.

Buffalo Niagara Cultural Tourism Initiative The Buffalo Niagara Cultural Tourism Initiative is a 20022005 effort to comprehensively inventory cultural tourism agencies and their efforts in the Region, with the goal of preparing a cultural tourism planning strategy for the Region.

The initiative established the Tourism Oversight and Advisory Council, and a Cultural Tourism Working Group.5 The plan proposed by the initiative is location-sensitive, such that it is respectful of the opportunities it suggests for and in different communities in the Region, and supports cultural tourism development through marketing of existing endeavors and asset development for future opportunities.6 To achieve the goal of the Plan, the initiative calls for unified cultural tourism oversight in the form of an advisory council, and increased support on ongoing initiatives through fiscal investment and coordination.7 Coordinated programming is identified as an opportunity to leverage the best assets of the Region, including such arts organizations as the Alright-Knox Art Gallery.

At present, Visit Buffalo Niagara – a tourism marketing organization for the Buffalo Niagara Region – performs much of this work for the Region and actively leverages public projects using private investment for the public good.8

Potential Partnerships Buffalo is home to myriad arts and culture organizations, many of which could be significant contributing partners to “The Point Counterpoint Relocation Project.” In 2014, a comprehensive review of Buffalo-based arts and culture organizations was performed by Partnership for the Public Good9 in search of organizations that promote social justice through their work. These 42 organizations are representative of the arts and culture movement that has occurred and continues to bloom in the Western New York region (“The Region”) throughout the most-recent decades.

Primary interest in the purchase of Point Counterpoint II and bringing the vessel to Buffalo is from the Buffalo Philharmonic Orchestra (“BPO”). The BPO is a professional symphony

orchestra based in Buffalo, NY since 1938.10 The mission of the BPO is to use live symphony music and performance to educate and entertain the populations of, and promote quality of life in, Western New York.11 No official statements have been made on behalf of the BPO regarding the intention of purchasing Point Counterpoint II, but BPO has begun to expand their musical offerings outside of the walls of Kleinhans Music Hall – the present home of the orchestra. Two special projects – the Marcel Tyberg Project and EarShot Reading Sessions – undertaken by BPO have expanded the arts education offerings of the BPO and have actively engages the communities within and external to Buffalo.12 Point Counterpoint II’s primary function as a floating concert stage could provide an additional venue from which BPO can perform, providing an opportunity to take the music out into the Buffalo community. Ancillary spaces on the vessel allow for additional functionality, which BPO could utilize for arts exhibitions, gatherings, or as educational space. BPO’s tenure in Buffalo would be an asset to establishing Point Counterpoint II as a cultural tourism asset for the Region, and fielding public and private partnerships to support its establishment. Potential partners for the project could include the aforementioned Visit Buffalo-Niagara Organization and artist’s guilds such as Buffalo Society of Artists.

Funding Opportunities Several funding opportunities exist in the Buffalo Niagara Region that relate to arts and culture, tourism, and economic development. Additional funding opportunities exist from state and federal government sources, as well. Exemplified by the efforts of The SS Columbia Project, a robust and diverse portfolio of funding agencies is essential to ensuring feasibility and reinforcing the mission of a project. The lack of an estimate figure for restoration, transport, and implementation of Point Counterpoint II contests the funding stream search, but using Columbia as an example, interested parties can begin to organize a potential funding stack from the following resources: - - -

-

Arts Services Initiative of Western New York https:// www.asiwny.org/ Erie Canal Harbor Development Corporation https://esd. ny.gov/erie-canal-harbor-development-corporation-0 New York State Environmental Protection Fund through the Consolidated Funding Application http://www. dec.ny.gov/about/92815.html; https://parks.ny.gov/ grants/ Western New York Regional Economic Development Council through the Buffalo Billion https://buffalobillion.

ny.gov/sites/default/files/images/BuffaloBillion2_ BookREDUCEDforREDCSinglesFeb23.pdf

Precedent Study The concept of floating structures, such as boats, barges or docks, made especially for use as venues is not revolutionary.

History has accounts of various types of floating performance stages, such as the river showboats that operated in America’s heartland bringing the arts to those that lived far from cultural centers.13 Present concepts applied to repurposing vessels have similar missions of supplying a service to the public, but have evolved to include an implied sense of connection between the vessel’s users and the waters on which they operate. Forthcoming are six repurposed vessels that embody this notion, and are examples of the opportunity for Point Counterpoint II to operate in Buffalo as an arts and cultural venue.

The Puppet Theatre Barge14 The Puppet Theatre Barge has operated in London, England for almost 40 years(#8.1). It began as a touring company with a marionette show, founded by Gren Middleton and Juliet Rogers in 1978. The acquisition of a 72-feet-long circa-1 930 iron lighter15 created a permanent venue for the marionette shows. The former River Thames barge was converted into a double-bridge string marionette theatre with 50 seats.

Beginning in 1982, the Puppet Barge was based in Camden Lock and toured the Grand Union Canal during the summer.

The Barge was relocated in 1986 to its current winter base at Little Venice. Each summer it travels the River Thames with its production at various mooring sites. The Puppet

8.1

Photo of the Puppet Theatre Barge

https://www.puppetbarge.com/images/History/bargeCamdenwinter_000.jpg

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Theatre Barge is a small family-run operation, but the theatre successfully provides entertainment for groups across Europe.

Milwaukee Art Barge16 The Milwaukee Art Barge is a project proposed by architect Antonio Furgiuele and a group from University of WisconsinMilwaukee School of Architecture and Planning (#8.2). It is proposed to be a mobile performing arts venue to connect the waterways with the public. The project has coordinated with water advocacy groups, community groups and area citizens.

The Milwaukee Arts Barge is now awaiting further details. In order to provide a flexible performing platform for various new inspiration of art, the MAB team had designed the barge type as the following:

“…the MAB team envisions a reflective container in which the mirrored exterior walls fold opens to create a 40-foot-wide proscenium on either side of the barge.

A curved screen at one end encloses a green room and backstage space. When the walls fold back into the closed position, their mirrored surfaces reflect the constantly changing urban surroundings, projecting the city as an image on mobile display”.

The Arts Barge Project The Arts Barge Project had just reached their fundraising target in the last two months17. The project was raised by a voluntary group of performers to dedicate an art-performing space in York City, England18. The group of people had bought a barge and tried to transfer it into an art space. The barge was the cargo vessel Selby Tony (#8.3), built in 1957 by shipbuilder Richard Dunston. It is 103 feet in length, 19.5 feet in width. It was used to carry animal feed, grain and other goods between Hull, Goole, Selby, Leeds and York. It was later on decommissioned in the 1980’s.19 Now the barge is stopped by the Foss Basin in York City and awaits for the restoration.

“River Assembly” of Floating Museum

8.2

The proposed Milwaukee Art Barge

http://www.milwaukeeartsbarge.org/new-page-90/

The Floating Museum is a collaborative arts organization in Chicago (#8.4); it has created temporary exhibit space for artists in Chicago and activate cultural potential sites in the neighborhood.20 The “River Assembly” was the first exhibit sailing on the river edge of Chicago of the organization; it was a temporary mobile gallery reused from an industrial barge and go through the riversides. The project was designed from artists and designers Faheem Majeed, Jeremiah HulsebosSpofford, and Andrew Schachman.21

Frying Pan The Lightship Frying Pan is different from other barge structures; it is a reuse of decommissioned ship into a restaurant by the dock (#8.5). The 113 feet long and 30 feet wide ship was built in 1929, as a lightship guarded in a coast of North Carolina. It was abandoned for ten years and sunk underwater for three years after its decommission on 1965.

After founded by the salvors and sold to the current owner, it was cleaned and sailed to New York City.22

8.3

Photo of vessel Selby Tony

https://www.spacehive.com/yorkartsbarge

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Conditions for Implementation There are unique infrastructure requirements for Point Counterpoint II that must be considered as part of a proposal for establishing Buffalo as the vessel’s permanent home.

Infrastructure requirements generally fit into the categories of mooring, site preparations and provisions, and user accommodations. Infrastructure is a major consideration for determining the feasibility of the project, given the unique nature of Point Counterpoint II’s proposed use(s) and the financial implications of such.

The propulsion system of Point Counterpoint II was removed, as reported in July 2017, and its current whereabouts are unknown.

23 Maritime experts local to Buffalo, NY have explained that reengineering a propulsion system for the vessel would be a difficult task, requiring estimated funds of $50,000 up to $200,000. Without a propulsion system, Point Counterpoint II is a stationary vessel; therefore, if relocated to Buffalo, it would require permanent docking conditions. Mooring of Point Counterpoint II requires a minimum of two mooring posts, but four are highly recommended, and the upstream securing position(s) must be capable of holding the vessel entirely. 24 Certain mooring locations, such as in water less than 6.5-feet or at engineered shoreline of rounded concrete or rip-rap, require Point Counterpoint II to have one or two specialized flat-deck barges for standoff. 25 These barges must be tightly secured to the shoreline and have less than 4-feet freeboard.

26 The existing conditions report also indicated that the steel is uncoated and is beginning to rust to a mild degree.27 The rusting can be mitigated by either applying a protective coating on the hull or through cathodic protection system, which applies a small, continuous electric current throughout the hull to prevent oxidization.

Additional infrastructure required to establish Point Counterpoint II as a venue include general site preparations and accommodations. Parking areas and lavatory facilities are the two primary site considerations. Adequate parking must be available to accommodate an audience of at least 100 individuals, with additional parking options for events that draw larger crowds. The vessel does not have suitable lavatory facilities for shared use, therefore the chosen docking site must have lavatory facilities for the public, orchestra members, and crew. The chosen site, to accommodate an audience best, should provide a large enough open space to view the 75-foot span of the vessel’s stage-front. Seating recommended for the audience area is folding chairs arranged in at least three rows, preferably set on a gentle slope for ample viewing.28

8.4

Photo of River Assembly

https://www.cruisechicago.com/blog/2017/art-on-chicagos-riverwalk-6-to-see

8.5

Photo of Lightship Frying Pan

http://fryingpan.com/site/photos/

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Recommended Locations A purchasing proposal must include a suitable location (or locations) for docking and operating the vessel, determined by the infrastructure requirements. Listed below are six potential locations for permanent docking in Buffalo, NY. Canalside(#8.6) - - - - 8.6 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

Erie Basin Marina (1 Harbor Lane) (#8.7) - Owner: City of Buffalo (City of Buffalo GIS) - 680’ of available frontage - Entrance channel has average depth of 19.8’ (NOAA) - Ample parking available, but seating area is relatively small - Site is accessible via NFTA bus route #8-Main Buffalo River(#8.8) - - - -

8.7 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

Owner: City of Buffalo (City of Buffalo GIS) 915’ of available frontage, of which the vessel would occupy 1/5 of the space Depth of Inner Harbor varies from 12’ to 25’ (NOAA) Site is accessible via four NFTA bus and metro routes, #6-Sycamore, #8-Main, #76-Lotus Bay, and #145-Metro Rail

1st Site 400’ of available frontage Entrance channel has average depth of 19.8’ (NOAA) Site is accessible via NFTA bus route, 111-SouthMichigan

- Outer Harbor Between Wilkeson Pointe and Seaway Pier (275 Fuhrmann Blvd) (#8.9) - - - -

Owner: Erie County Harbor Development Corporation (ECHDC) 1100’ of available frontage Depth varies from 23’ to 27’ (NOAA) Site is available via two NFTA Bus routes, #74-Hamburg and #76-Lotus Bay

Site of former Freezer Queen building (975 Fuhrmann Blvd) (#8.10)

8.8 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

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- - - - -

Owner: Queen City Landing LLC (City of Buffalo GIS) 900’ of available frontage Power available via existing infrastructure Depth varies from 2’ to 15’ (NOAA) Site is available via two NFTA Bus routes, #74-Hamburg and #76-Lotus Bay

Lasalle Park (5 Porter Ave) (#8.11) - - - -

Owner: City of Buffalo (City of Buffalo GIS) 2,000’+ available frontage Power linkage available via outdoor amphitheater Black Rock Canal Entrance Channel has depth of 19.8’ to 20.9’ (NOAA)

Endnotes 1 For more information about the history of Point Counterpoint II see section X: “TITLE.” 2 For more information about the proposed use and operation of Point Counterpoint II see section X: “TITLE.” 3 City of Buffalo, “Local Waterfront Revitalization Plan,” ed. Office of Strategic Planning (Buffalo, NY2015).

4 “Buffalo Local Waterfront Revitalization Program Fact Sheet,” ed.

Office of Strategic Planning (Buffalo, NY2015).

5 Institute for Local Governance and Regional Growth, “The Buffalo Niagara Cultural Tourism Initiative “ (Buffalo, NY2005).

6 Ibid.

7 Ibid.

8 Visit Buffalo Niagara, “About Us,” http://www.visitbuffaloniagara. com/about/.

9 Partnership for the Public Good is, “a community-based think tank that provides research and advocacy support to a broad range of partners. Each year, our partners use a democratic process to create a Community Agenda: ten ways that state and local government can act to improve Buffalo Niagara in the coming year.” Partnered with community stakeholders, research staff and contributors, and area universities, PPG hosts the Buffalo Commons, which maintains a digital library of Western New York research. Annually, the organization and its partners create a “Community Agenda” which proposes policy action for state and local governments to improve the region over the upcoming year. Partnership for the Public Good, “Who We Are: About Us,” Partnership for the Public Good https:// ppgbuffalo.org/who-we-are/overview/.

10 Buffalo Philharmonic Orchestra, “Mission and History,” https://bpo. org/mission-and-history/.

11 Ibid.

12 “Special Projects,” https://bpo.org/mission-and-history/specialprojects/.

13 For more information on the history of showboats see section X: “TITLE.” 14 Puppet Theatre Barge Company, “About the Puppet Theatre Barge “ https://www.puppetbarge.com/Controllers/theBarge.php.

15 A lighter is a type of flat-bottom barge that was specifically designed to transfer goods, passengers, and crew to and from moored vessels; in the title, “iron” refers to the construction material. These barges are typically self-propelled.

Encyclopedia Britannica, “Technology: Lighter,” https://www.britannica.com/ technology/lighter.

16 Joseph Altshuler, ““Art Barge” Proposal Would Turn Rivers That Divide Milwaukee into Public Performance Spaces,” https://archpaper.com/2016/07/ milwaukee-arts-barge-proposal/#gallery-0-slide-0.

17 Victoria Prest, “Arts Barge Breaks through £15,000 Target,” (2017), http://www.yorkpress.co.uk/news/15624556.Arts_Barge_breaks_ through___15_000_target/.

18 “Artsbarge,” http://theartsbargeproject.com/.

19 “Natuinal Historic Ships Uk,” http://www.nationalhistoricships.org. uk/register/3027/selby-tony.

20 “Floating Museum,” https://www.floatingmuseum.org/about.

21 Zack Long, “The Floating Museum’s First Exhibit Will Sail the Chicago River in August,” (2017), https://www.timeout.com/chicago/blog/the-floatingmuseums-first-exhibit-will-sail-the-chicago-river-in-august-073117.

22 “Lightship Frying Pan: An Historic Floating Lighthouse in Nyc,” http://

8.9 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

8.10 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

8.11 Imagery © Google 2017, TerraMetrics, Map data 2017 Google

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fryingpan.com/site/.

23 “Condition & Valuation Survey,” in Specialty Barge, “Point Counterpoint II”, With Stage and Quarters (Milwaukee, WI: A3Pi Services LLC, 2017), 2.

24 “Community Handbook,” (American Wind Symphony Orchestra), 6.

25 Ibid.

26 Ibid.

27 “Condition & Valuation Survey,” 2.

28 “Community Handbook.”

Altshuler, Joseph. ““Art Barge” Proposal Would Turn Rivers That Divide Milwaukee into Public Performance Spaces.” https://archpaper.com/2016/07/milwaukee-arts-barge-proposal/ - gallery-0-slide-0.

“Artsbarge.” http://theartsbargeproject.com/.

Britannica, Encyclopedia. “Technology: Lighter.” https://www. britannica.com/technology/lighter.

Buffalo, City of. “Buffalo Local Waterfront Revitalization Program Fact Sheet.” edited by Office of Strategic Planning, 4.

Buffalo, NY, 2015.

———. “Local Waterfront Revitalization Plan.” edited by Office of Strategic Planning, 177. Buffalo, NY, 2015.

“Chicago Riverwalk: 6 Art Installations to See.” https://www. cruisechicago.com/blog/2017/art-on-chicagos-riverwalk6-to-see.

“Community Handbook.” American Wind Symphony Orchestra.

Company, Puppet Theatre Barge. “About the Puppet Theatre Barge “ https://www.puppetbarge.com/Controllers/ theBarge.php.

“Condition & Valuation Survey.” In Specialty Barge, “Point Counterpoint II”, With Stage and Quarters, 6. Milwaukee, WI: A3Pi Services LLC, 2017.

“Floating Museum.” https://www.floatingmuseum.org/about.

Good, Partnership for the Public. “Who We Are: About Us.” Partnership for the Public Good https://ppgbuffalo.org/ who-we-are/overview/.

Growth, Institute for Local Governance and Regional. “The Buffalo Niagara Cultural Tourism Initiative “, 46. Buffalo, NY, 2005.

“Lightship Frying Pan: An Historic Floating Lighthouse in Nyc.” http://fryingpan.com/site/.

Long, Zack. “The Floating Museum’s First Exhibit Will Sail the Chicago River in August.” (2017). https://www.timeout. com/chicago/blog/the-floating-museums-first-exhibitwill-sail-the-chicago-river-in-august-073117.

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“Milwaukee Arts Barge.” http://www.milwaukeeartsbarge.org/.

“Natuinal Historic Ships Uk.” http://www.nationalhistoricships. org.uk/register/3027/selby-tony.

Niagara, Visit Buffalo. “About Us.” http://www.visitbuffaloniagara.com/about/.

Orchestra, Buffalo Philharmonic. “Mission and History.” https:// bpo.org/mission-and-history/.

———. “Special Projects.” https://bpo.org/mission-and-history/ special-projects/.

Prest, Victoria. “Arts Barge Breaks through £15,000 Target.”

(2017). http://www.yorkpress.co.uk/news/15624556.

Arts_Barge_breaks_through___15_000_target/.

“Puppet, Theatre, Barge.” https://www.puppetbarge.com/Controllers/theBarge.php.

“Seeds of Change | Bristol Uk | Gitta Gschwendtner & Maria Thereza Alves.” (2012). http://worldlandscapearchitect. com/seeds-of-change-bristol-uk-gitta-gschwendtnermaria-thereza-alves/ - .Wh3SAkqnE2x.

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Glossary of Terms Aft Near, forward, or in the stern of a ship Ambassador Bridge Steel bridge connecting Windsor, Ontario with Detroit, MI, opened November 11, 1929. At 7,490 ft, was largest suspension bridge in the world when built. (www.ambassadorbridge.com) The American Shipbuilding Co. Incorporated March 16, 1899 as a major designer and builder of vessels for Great lakes shipping through the consolidation of 8 companies across the Lakes. (Case Western Reserve University, https:// case.edu/ech/articles/a/american-ship-building-co/) Anchorage Ground A place for vessels to anchor Ballast Heavy material, such as rocks or water, that is put on a ship to make it steady Bark A small sailing ship, or any vessel propelled by sail or oars. (Nautical Dictionary, www.seatalk.info) Baseboard A narrow wooden board running along the base of an interior wall Beadboard Paneling that features decorative beading and that is used typically on walls and ceilings Bilge The part of the underwater body of a ship between the flat of the bottom and the vertical topsides

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Boat A small vessel for travel on water Bois Blanc Island Island on the Detroit River eighteen miles south of Detroit, MI and Windsor, ON. Commonly referred to as ‘Bob-Lo Island.’ Amusement park leased and later owned by the Detroit Belle Isle & Windsor Ferry Co. that operated from 1898 – 1993. Island was accessed via SS Columbia and SS Ste. Claire. (www.boblosteamers.com) Bow The forward part of a ship.

Bow Propeller Invented by Frank E. Kirby in 1888 to assist ships in the breaking of ice on the Great Lakes. Propeller’s suction drew supporting water from beneath the ice (www.sscanadiana.com) Brackish Water A body or area of water that is somewhat salty Bridge The forward part of a ship’s superstructure from which the ship is navigated Bureau of Immigration Federal government agency established March 3, 1891 to control immigration in the United States. In 1906, the name was changed to Bureau of Immigration and Naturalization. In 1933, it was known as the U.S. Immigration and Naturalization Service (INS), operating within the Department of Labor. (http://immigrationtounitedstates. org/394-us-bureau-of-immigration.html) Bulkhead A structure or partition to resist pressure or to shut off water, fire, or gas Captain A person who is in charge of a ship The Cleveland & Buffalo Transit Company Popular steamship line and later a trucking firm, established by Morris A. Bradley in 1885, creating passenger and freight service between Cleveland and Buffalo. Firm became a subsidiary of Forest City Industries in 1955. (https://case.edu/ech/articles/c/cleveland--buffalo-transit-co/) The Detroit Belle Isle & Windsor Ferry Company a ferry company that ran from 1881-1930; original owners of SS Columbia and SS Canadiana The Detroit and Cleveland Steam Navigation Co. Incorporated in 1868 to provide overnight steamship travel between Detroit and Cleveland. In 1960, the company was absorbed into the Denver-Chicago Trucking Company. (http://www.historicdetroit. org/building/greater-detroit/) Detroit Dry Dock Company Incorporated in 1872 by Stephen Kirby as a wooden shipbuilding firm. Company was incorporated with seven other large firms to form the American Shipbuilding Company in 1899. (https://detroithistorical.org/learn/encyclopedia-of-detroit/detroit-dry-dock-company) Draft The depth of water a ship draws Dry-Dock A dock that can be kept dry for use during the construction or repairing of ships

Engineer A person who runs or supervises an engine or an apparatus Excursion Steamer Steamboat used to take people on coastal, lake or river pleasure-trips Fluting Vertical parallel grooves on a classical architectural column Freshwater A body or area of water that is not salty, especially when considered as a natural resource.

Ghost Trace of historic fabric left behind, indicator of something that has been removed or changed from its original location.

The Gothic Room Was located on the City of Detroit III of the Detroit and Cleveland Steam Navigation Company. A men’s smoking lounge full of ornate woodwork and stained glass. (Greetings from Historic Detroit: Historic Postcards from the Motor City, pg. 118, Dan Austin, 2017) Gross Tonnage Total weight in tons shipped, carried, or produced Hull The frame or body of a ship or boat exclusive of masts, yards, sails, or rigging Hurricane Deck Also known as Promenade Deck, an upper deck or an area on a deck of a passenger ship where passengers stroll Lazaret A space in a ship between decks used as a storeroom Main Deck The principal deck of a ship Orlop Deck The lowest deck in a ship having four or more decks Pilaster An upright architectural member that is rectangular in plan and is structurally a pier but is architecturally treated as a column and that usually projects a third of its width or less from the wall Pilot A person who is qualified and usually licensed to conduct a ship into and out of a port or specified waters.

Port The left side of a ship looking forward Railcar Transport Ferry Ferry designed specifically for the transport of rail cars across the Great Lakes Rivet A headed pin or bolt of metal used for uniting two or more pieces by passing the shank through a hole in each piece and then beating or pressing down the plain end so as to make a second head Schooners A typically 2-masted fore-and-aft rigged vessel with a foremast and a mainmast stepped nearly amidships Scow A large flat-bottomed boat with broad square ends used chiefly for transporting bulk material

Ship Large sea-going vessel, or vessel having a bowsprit and usually three masts each composed of a lower mast, a topmast, and a topgallant mast.

Showboats A river steamship containing a theater carrying a troupe of actors to give plays at river communities Sideboard A piece of dining-room furniture having compartments and shelves for holding articles of table service Sidewheelers A steamship having a paddle wheel on each side Snag Boats A steamboat with an apparatus for removing impeding debris from inland waters Starboard The right side of a ship looking forward Stern The rear end of a boat.

Sternwheelers A steamboat driven by a single paddle wheel at the stern Stringer Plate One of the plates forming the outer strake of a ship’s deck and being usually heavier than those used for the rest of the deck.

Subfloor A rough floor laid as a base for a finished floor Towboat A compact shallow-draft boat with a squared bow designed and fitted for pushing tows of barges on inland waterways Tug Strongly built powerful boat used for towing and pushing.

Triple Expansion Steam Engine Compound engine that expands steam in three stages with three cylinders operating at different temperatures.

Trunk Deck The top of a ship’s trunk usually containing the hatchways, ventilators, and deck openings Varnish A liquid preparation that when applied to a surface, dries to form a hard lustrous typically transparent coating Vessel A ship or large boat Volstead Act The National Prohibition Act, or the 18th Amendment Wainscot The lower three or four feet of an interior wall when finished differently from the remainder of the wall Yards An assembly or storage area, as for dry-docked boats

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Appendix:

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Cabinet door detail drawing Andrew Abbey, Preservation on the Inland Seas Studio

Measured cabinet door detail drawing Andrew Abbey, Preservation on the Inland Seas Studio

111

Location of Dining room space Andrew Abbey, Preservation on the Inland Seas Studio

Projected timeline of SS Columbia Project SS Columbia Project, Web content

112

113

Andrew Abbey, Preservation on the Inland Seas Studio

Andrew Abbey, Preservation on the Inland Seas Studio

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115

Andrew Abbey, Preservation on the Inland Seas Studio

Andrew Abbey, Preservation on the Inland Seas Studio

116

Ladder Metal Sink

Steel Hull with Riveting Hat Rack

Steam Table Stairs 7” Rise, 10 1/2” Run

Wood Shelves

Shelf

Galley Window Engaged Pilaster

Engaged Pilaster

Machine

Sideboard

ry 1(5/8)”Steel Pipes

Sideboard

cabinet

Metal Bed Frame

Metal Bed Frame

Shelf

cabinet

cabinet

cabinet

cabinet

Shelf

Metal Bed Frame

cabinet

Metal Bed Frame

Cabinets

cabinet

Cabinets

cabinet

t

Cabine

Buffet

Buffet

Cabinet

Fluted Doric Columns

cabinet

Bench

Shelves

Metal Bed Frame Water Tight Door

Shelves

117

Andrew Abbey, Preservation on the Inland Seas Studio

Ladder Metal Sink

Steel Hull with Riveting Hat Rack

Stairs 7â&#x20AC;? Rise, 10 1/2â&#x20AC;? Run

Wood Shelves

Engaged Pilaster

Engaged Pilaster

Cabinet

Buffet

Buffet

Cabinet

Sideboard

Sideboard

Buffe t

et t Cabin

Cabin

Buffe

et

Fluted Doric Columns

Engaged Pilaster

Andrew Abbey, Preservation on the Inland Seas Studio

Engaged Pilaster

118

Ladder Metal Sink

Steel Hull with Riveting Hat Rack

Steam Table Stairs 7” Rise, 10 1/2” Run

Wood Shelves

Shelf

Engaged Pilaster

Galley Window Engaged Pilaster

Sideboard

Buffet

Cabinet

Cabinet

Buffet Sideboard

Fluted Doric Columns

et

Buffet

t Cabin

Cabinet

Buffe

Engaged Pilaster

Engaged Pilaster

Water Tight Door

119

Andrew Abbey, Preservation on the Inland Seas Studio

Existing Reflected Ceiling Plan

Cabinet/Wall

Cabinet/Wall

Crew Quarters

Thomas DeGraff, Preservation on the Inland Seas Studio

120

Historic Reflected Ceiling Plan

121

Thomas DeGraff, Preservation on the Inland Seas Studio

Historic Interior Elevations

Bow Elevation

Starboard Elevation

Stern Elevation

Port Elevation Thomas DeGraff, Preservation on the Inland Seas Studio

122

Existing Interior Elevations

Bow Elevation

Starboard Elevation

Stern Elevation

Port Elevation 123

Thomas DeGraff, Preservation on the Inland Seas Studio

124