With a country as large and diverse as the United States selecting a list of just 11 endangered historic places annually is a daunting task -- which is why this year, as our endangered list enters its second quarter-century, we opened up the process to the general public for the first time.

The results were overwhelming. We received more than twice the nominations we have in the past, with passionate local preservationists reaching out from sites nationwide.

The resulting list of America's 11 Most Endangered Historic Places represents the broad cultural, geographic, and historic diversity of our country. The "newest" site -- the flying-saucer-shaped Worldport Terminal at JFK Airport in New York -- dates from the mid-20th century, while the oldest -- San Jose Church in San Juan, P.R. -- was built more than 400 years earlier.

Without further ado, the 2013 11 Most Endangered Historic Places list, in slides...

And in video:

Want to learn more about this year's listings? Later this morning, from 11:00 a.m. to noon EDT, National Trust President Stephanie Meeks (@SavePlacesPres) will be participating in a Twitter chat about the 11 Most Endangered List. She will be taking questions and discussing the 2013 list, and several of the listed sites will also be available during the chat. To join the chat:

 1. Sign in to Twitter, or into a chat-specific site such as tchat.io, twubs.com, or oneqube.com. (Using a chat site allows you to filter just the chat-specific hashtag, and also appends it to any tweets you send, allowing for a more streamlined experience.)

2. Follow and tweet with the hashtag #11Most.

Hope to see you there!

For most people, moving means cardboard boxes, heavy lifting, and forgetting where you packed your underwear. However, for National Public Radio, a recent relocation meant making something old new again.

NPR’s shiny new headquarters is built atop the National Register-listed Chesapeake and Potomac Telephone Company Warehouse. As an anchor in an emerging neighborhood, the organization is a terrific example of how preservation supports the future.

National Trust correspondents Jason Clement and Julia Rocchi had the chance to tour the building. Here’s what they thought -- to quote NPR’s “founding mother” Susan Stamberg -- of “the house that radio built.”

“Third floor: newsroom.”

When you walk into NPR’s new lobby, you immediately notice two things: Susan Stamberg’s voice on the elevator recordings, and the fluted columns. One pays homage to NPR’s role in radio history, while the other celebrates the history of the space.

NPR’s Editorial Product Manager Matt Thompson describes on his tour of the building, “For some reason I have been commissioned to take a few groups on tours of the building so far (and of course I have tons of friends who are, like, ‘I want to see the new NPR building’), and on all my tours I make sure to point out the flooring in the Sound Bites cafe and the telephone booth and the brick wall on one side, and tell folks a little bit about the Potomac and Chesapeake Telephone Company and where the building came from.”

“One of the features that was noted in the nomination to the National Register [of Historic Places] was the fluted columns of the old warehouse, and the architects felt it was really important to celebrate those columns throughout their redesign of the facility,” Maury Schlesinger, the new building’s project director, explains. “As you walk in the building and turn towards our reception area, you’re greeted by this colonnade of these old, fluted columns and the exposed ceiling of the old warehouse, and I think it has been very successful. And in our other portions of the building, of the old building, almost every one of these fluted column capitals have been exposed in the ceiling plane so you’re aware that you’re in the old portion of the building.”

It’s certainly not NPR’s first moving rodeo. This is their fourth headquarters in over 40 years, and with each move, Susan Stamberg says, “everything was going to get better.”

“I was here from the very beginning, a member of the original staff, and we started out on 16th and Eye Streets in northwest Washington in an office that had no furniture," Stamberg recalls. "I mean, we got there so early that furniture had not been ordered yet or anyway it hadn’t arrived.

"So that was the beginning, there were maybe sixty of us. Happily we moved over to M Street, 2025 M here in Washington, and that was a much better space and we thought, gosh we’re in a palace. And we outgrew it -- what an amazing thing! -- after a while and happily then moved to 635 Massachusetts Avenue. We thought, what a palace!

“Each time we made the move we said, everything’s going to be better in the new building. We kept telling ourselves that and guess what? After X number of years there, we moved here -- and everything is better in this new building.”

Open and on deadline -- a look inside the main newsroom.

Sitting at the site of NPR’s new headquarters at 1111 North Capitol St. was the National Register-listed Chesapeake and Potomac Telephone Company Warehouse. Built in 1927 to house the repair facilities for the company’s service trucks as well as the telephones themselves, the reinforced concrete structure played a critical role in expanding telephone service for the D.C. metro area after usage skyrocketed during World War I. At one point, the building also served as a place to store and build sets for various museum exhibits of the Smithsonian Institution.

Though D.C.-based firm Hickok Cole, which designed the space, called for partial demolition of the historic warehouse in their reuse plans, they recognized its historic significance to the city’s past and to the neighborhood’s identity.

As such, they worked closely with the Historic Preservation Review Board - Office of Planning to maintain many of the warehouse’s important elements, including its historic facade and the mushroom-shaped support beams, which retain their original numbering system. They also incorporated used bricks from the building’s original smokestack into the employee cafe (appropriately named ‘Sound Bites’) as a reminder of the former structure.

The new portion of the site’s development was also designed to complement the historic warehouse. It incorporated precast concrete to match the color tone and weight of the warehouse’s appearance, and also used colored glass inserts (or “fans/fins”) to lighten the overall look of the property.

The result is a bright, airy, multi-level environment that lets employees flow freely amid state-of-art studio space, open office areas, and a variety of collaborative spaces.

“What’s interesting about the way the historic portion [of this building] was incorporated is that the newsroom level -- the two levels on the third and fourth floor -- go across both [old and new buildings],” says Yolanda Cole, senior principal owner of Hickok Cole Architects. “And as you move into the new section there are not mushroom columns but typical concrete [modern concrete columns]. So in a way it kind of morphs from one to the other while maintaining identity on both sides of the building.”

Stu Rushfeld, technical director for All Things Considered, comments, “The original warehouse I guess had some great lighting. We came from a place where fluorescent was the lighting of choice and we have lots of natural lighting in this building which is really nice. I think it does something for people’s moods, for one, and just being inside a studio -- I've never worked in another building where the studios actually had some natural light. So that’s really cool because you’re normally just feeling like you’re in a cave, and this place is open and lighter and brighter and I think that makes everyone kind of happy.”

"Is this thing on?" New recording studios at 1111 North Capitol St.

What’s also attractive, says Schlesinger, is having the chance to support another DC neighborhood.

“This building was made ‘historic’ partially to keep some character of the old industrial neighborhood as this part of D.C. merges into downtown,” he explains. “This is what’s being called an emerging urban neighborhood. It is amongst the last developable land adjacent to downtown, adjacent to Capitol Hill, and the predominant amount of new development will be of office and residential [development]. So how do you preserve the old, industrial character of the old neighborhood? By preserving some of that architectural heritage.

“We had moved into our previous building on Mount Vernon Square when that neighborhood was in decline and helped stabilize it, from an urban development viewpoint, and we saw that neighborhood develop around us as the first MCI, now Verizon Center, was developed and the Convention Center and the entertainment nature of 7 Street got developed and we were sitting there and we enjoyed the prosperity of that development.

“We then took advantage of that. [We] basically got priced out of the market, we couldn’t continue to live there and grow so we sort of took our profits and moved somewhere else, like a starving artist who gets, you know, the artist who first establishes in a fringe neighborhood and then has to move on, so now we’re in the next fringe neighborhood.”

But in the end, this place where things have always been made has a second chance at life -- this time, supporting those who make the news.

“I think that’s the best part of it, the fact that we are embraced, we are held as modernism,” Stamberg concludes. “Within the embrace is something that has been here for many, many, many years: an old Art Deco building, beautifully designed, which we upped and sort of fixed and gave a facelift to so that it looks better, I’m sure, than it ever did even when it was brand new.”

Check out the slideshow for more images from Julia's and Jason's tour of NPR's new headquarters:

Additional reporting by David Robert Weible

---

NPR is an award-winning, multimedia news organization that reaches 26 million radio listeners each week, and nearly 20 million people monthly on digital platforms. In collaboration with more than 900 independent public radio stations nationwide, NPR strives to provide the public with a deeper understanding and appreciation of events, ideas and cultures. To find local stations and broadcast times, visit www.npr.org/stations.

Written by Chris Morris, Project Manager, Historic Post Offices

You may have heard that the United States Postal Service (USPS) is suffering from some serious debt. They are projected to rack up a deficit of over $18 billion (yes, that’s billion with a “b”) next year alone. So, they are trying to cut costs any way they can: considering ending Saturday mail delivery, not replacing thousands of retiring postal workers, asking Congress to drop their mandate to pre-fund billions in retiree health benefits, terminating building leases, and selling their post office buildings or “relocating” their services to a new building.

And unfortunately for people in impacted communities, they’re not always forthcoming about their plans, so it’s critical for the public to get involved, know their rights, and be persistent. If the USPS decides to sell or relocate a historic post office in your town, here are ten steps you can take to protect it:

1. Find out if your post office is threatened. USPS Properties for Sale is the official list of post offices being sold -- but keep your eyes open for other signs like a survey in your mail about local postal services or legal notices in your post office about public meetings. And don’t hesitate to ask your local postmaster for information on the building’s status.

The Berkeley, California Post Office

2. Know your rights. USPS regulations and U.S. Code are very clear about the procedures for relocating, discontinuing, or suspending service at a post office, and what role the public can play in making those decisions. The more you know, the more effective you can be. Check out the National Association of Postmasters of the United States (NAPUS) and its Post Office Red Book for useful information.

3. Don’t wait. Residents and postal customers need to get involved in the process as early as possible to make themselves heard. Ask your postmaster, city manager, alderman, or other elected officials if they’re aware of any plans to close or relocate your post office. If USPS has released a proposal for closure or relocation of your post office, the public has 60 days to comment on that proposal and how it affects them.

Tip: Make sure your friends, family, neighbors, local businesses, and community leaders also take advantage of these opportunities to speak out.

4. Bring friends to the party. There’s strength in numbers -- and many groups in your community that would likely be interested in preserving your post office. Reach out to business owners or business groups, the chamber of commerce, your preservation commission, fraternal organizations, historical societies, church groups, your Main Street organization, city officials and staff, and local schools.

5. Use the media. Keep local reporters, bloggers, and radio hosts apprised of any activity around your post office, whether it’s the distribution of a questionnaire, a public meeting hosted by USPS, a planning meeting of local advocates, a notice from USPS about a proposal or a decision, or even a rally that you stage to protest USPS’ actions.

Tip: Good press coverage is instrumental in getting the word out, getting people involved, and communicating the amount of public opposition to the closure or sale of a post office.

6. Show up. USPS usually convenes at least one public meeting to gather public input on a proposed closure or relocation, and it is absolutely critical to have a good turnout at that meeting from post office customers, city officials, community leaders, and concerned citizens. If possible, meet with your fellow advocates in advance to discuss the agenda, identify speakers, and review talking points to make sure everyone stays focused on your key messages.

A special guest addresses a public meeting in Berkeley.

7. Become a consulting party. If your post office is in a historic building, the National Historic Preservation Act requires the USPS to consult with interested parties. Nonprofit organizations or members of the public with a “demonstrated interest” can take part by composing a formal letter to the agency’s Federal Preservation Officer. Make sure to emphasize why you or your group is interested and copy your State Historic Preservation Officer.

8. Lobby your legislators. Your state and federal senators and representatives can be some of your best allies. Call, send a letter, or -- best of all -- schedule a meeting. Bring materials that includes a brief summary of the situation, correspondence from USPS, formal responses from city officials or local advocates, and press highlights. Then, ask them to support you with a letter opposing the USPS’ proposed action.

9. Appeal the decision. Even if you rally the troops and take all the right steps, it’s still possible that USPS will still decide to sell or relocate your local post office. But that’s not the end of the road! You can -- and should -- appeal that decision to the Postal Regulatory Commission (PRC).

Tip: The NAPUS Post Office Red Book provides excellent guidance on the PRC, their appeal process, and how to prepare an effective statement.

10. Help find a new use. If the PRC deems that the Postal Service adhered to their legal guidelines in their process and decision, your post office will be listed for sale. Even if it is no longer a functioning post office, it’s still an important part of your town. Ensure that the building goes into responsible hands and continues to serve your community by:

• identifying possible public and private owners and sending them information about the property;
• researching and sharing suggestions for compatible new uses that will preserve the most important features and spaces of the building; and
• locating nonprofit groups in your city or state that are qualified to hold an easement or covenant on the building.

Have you been involved in saving a post office? Tell us what worked for you!

The Hotel de Paris, a Site of the National Trust for Historic Preservation, is located in Georgetown, Colorado. A historic town about an hour from Denver, visitors can spend the day enjoying the area or can spend the weekend in the relaxing environment.

You can find the Hotel de Paris on the main street in town which also features shops, restaurants and for those with a sweet tooth, plenty of places to buy an ice cream cone this summer to eat as you stroll.

The Site just opened for the season today and will be welcoming visitors until December 15. Come visit and enjoy!

Hendrick Kip House -- Fishkill, New York

Built in 1753, the Hendrick Kip House is one of the oldest pre-revolutionary homesteads in Duchess County, New York. It once served as the headquarters for Baron von Steuben, a Major General during the Revolutionary War. Today the stone country estate sits fully restored on 50 acres. Price tag: $779,000

Historic 1750 Stone House -- Saugerties, New York

Carefully restored features such as exposed beams, wide Kingsboard floors, a nine-foot hearth, and hand-forged hardware make this home elegant and unique. Breathtaking mountain views surround the home and its three-car garage, horse barn, and outdoor heated pool. It is currently a vacation rental. Price tag: $995,000

French Country Stone Cottage -- Lackawaxen, Pennsylvania

Reminiscent of a French country chateau, this oval stone cottage overlooks the beautiful Lackawaxen River, made famous by author Zane Grey, known for his adventure novels about the American frontier, such as Riders of the Purple Sage. Private beach frontage and a screened-in gazebo offer easy access to idyllic views. Price tag: $549,000

Stand at the edge of any city and close your eyes. Now open them. What do you see?

In New York City, the Empire State Building.

In Washington, the Washington Monument.

In Chicago, the Sears (now Willis) Tower.

In Seattle, the Space Needle.

When I stand at the edge of a city, I perform the same action, over, and over again. I close my eyes, open them, and let my gaze sweep along the horizon, pinpointing the tallest structure I can see.

Then click. Snap. I take a picture.

A habit formed long before smartphones entered the equation, it really had to do with wayfinding. Upon entering a new city I would find the tallest building and orient myself according to this artificial origin point. It also became a way for me to frame the city in my mind, a way to look at the city from the perspective of one particular place.

Washington Monument in DC

But there’s the rub: perspective. When I was in Paris this spring I thought a lot about this habit, and acknowledged that while it allows for some really beautiful pictures, centering my spatial understanding of a city by the tallest building prevents understanding urban spaces from the ground up. You can miss so much looking down -- the windows, the doorways, the people ... the details.

On a certain level it is the same when you visit a historic site. Historians that look at only one perspective in telling their narrative miss out on developing a view of a richer, truer past.

If you walk in the door and your line of sight focuses on just the art, the landscape, or the furniture, you miss out on the stories and the full texture of place. If you just focus on the stories and the narrative, you miss out on feeling the site come alive through the objects and material culture that come with the building.

So in the end it’s about seeing a place from different perspectives -- which is why I think my habit is, in the end, not such a bad thing. Why? Because after I take in those magnificent structures dominating the skyline, I make sure to stand beneath them, too. Then they look completely different -- a collection of parts that snap together to make whole.

And like the rest of our history, you can’t help but marvel at how it all fits together.

Eiffel Tower detail

Weiner is so passionate about the topic, in fact, that we couldn't fit the whole interview in print -- which means you get to enjoy it here instead!

Matthew Weiner on set

You’ve been involved with the LA Conservancy and its preservation work.

Yes, my wife is an architect who has done quite a bit of preservation and restoration, and this has been a personal interest of ours for a long time. Even before we were married we were both interested in this.

It’s something that is very important to me. One of the things about the show that I really wanted to say is to tell people to stop tearing stuff down. You’re going to miss it.

A lot of what the L.A. Conservancy has been focused on in recent years has been of the same era of Mad Men.

Well, there’s a lot of it here in Los Angeles. There was a boom here and not so much in New York. New York has a different story because of how the land was developed and how it continues to be redeveloped, but I can tell you that when we finished the pilot, which we did shoot in New York, almost every location that we shot in was being remodeled or destroyed. This was… 2006? There’s only one place left that is intact. One of them was being remodeled literally the day we left.

What would you say is attractive to you about that time period?

I think the part of the story that I was telling was that most of the construction from that period was very commonplace from my childhood and aging on some level and associated (somewhat negatively) with big, aging businesses or government institutions. And so there’s an attitude about some of these things that is already negative so they don’t feel that they value them.

But for me, I see the extension of the modern as excitement about new materials. It has an idealism to it, which a lot of architecture has originally and then it just sort of becomes a commercial trend. [But] there was a real philosophy that went along with [Modernism] and I guess it went along with the International Style which was a lot earlier, but about putting a human being in the environment.

This was almost like an urban planning directive. How can you make affordable housing for regular people? Do regular people deserve a beautiful space or is that just for rich people? And having steel and glass -- things that we associate with rich people now -- was something that was designed originally to produce cheaper but more beautiful living experiences.

Businesses’ and people’s attitudes are always conservative, especially about the spaces where they live. New things are scary and they’re immediately negative. But there’s something about this period where at least the American public seemed very open to design and to novelty.

And so we spend a lot of time in preservation taking care of buildings that are older and things from the Victorian era and the very decorative periods, but this is a kind of openness and cosmopolitan attitude toward design that is very sophisticated and it’s part of the mass culture. It really becomes the mainstream.

Matthew Weiner and Jon Hamm at Paleyfest in 2012.

Mad Men is well known for its historically accurate details, which is its own kind of historic preservation in a way.

When most people cover this period, they do everything from the period. And it’s all brand new, and it’s all [of that era]. One of the things that I’m always trying to show is the existence of all the periods at once. So there are steakhouses from the ‘20s, there are Victorian houses, they were outdated at the time. But Betty Draper is in a house in the country; she does not fill it with Danish modern furniture, it’s filled with early American furniture.

How often are you utilizing actual historic spaces, and how often are you recreating them?

We try not to recreate anything from zero. And the location question is kind of tough because [Mad Men’s production designer] Dan Bishop can turn anything that’s intact into something. We shoot each episode in eight days and I’d say three days of that we are out of the studio and that means at least two locations most of the time. They are always historic places and sometimes we’ve got to cover up TVs and digitally remove sprinklers and exit signs and fix door hardware.

You don’t have to see the whole place, so Dan Bishop will take a picture of it and just say, “Well, in this picture there are only 10 elements that are bad for us, but if you take a picture of the whole restaurant there’s 100.” And lucky for us, when you put Jon Hamm in that shot all of sudden it seems more interesting.

Have you been involved in other historic preservation projects outside of Modernism?

Oh my God, yes. When we first got married and I was an out-of-work screenwriter, we lived in the Miracle Mile area of Los Angeles and they were tearing down all of these beautiful Spanish duplexes. We were involved with trying to save those buildings right in our backyard.

I’ve just witnessed so many of these places disappear. It goes through waves, but there are times when there are just these voracious appetites for destruction. Usually all the destruction happens at once and there are a lot of empty lots and the economy will slow down and then hopefully the reconstruction will happen, but you’re sort of like “You really had to tear that down?”

I lived for four years right behind the corner which was the Gardens of Allah which Joni Mitchell wrote that song about: “They paved paradise and put up a parking lot.” And by the way, it now has an incredible mid-century bank there (that replaced the Gardens of Allah) that I know has a target on it.

Do you have a favorite location where you’ve shot the show?

One of my favorite locations was kind of destroyed right after we left. There is a restaurant/bar where we shot most of “The Suitcase,” La Villa Basque. That was infuriating to me because I couldn’t explain to the owners who thought they were improving it that they were actually damaging the commercial value of the space. You want to let them know that the money that they’re going to spend modernizing it could also be spent refurbishing it and making it a very special place. It gives it character.

Right now we’re dealing with a lot of the stuff constructed in the 1970s which again we take for granted and consider Brutalist or ugly. [Many people are] just sort of like well whatever, it’s disposable. No one ever liked that and there’s going to be three of them left.

A Mad-Men-themed party

The show seems to be behind some of that popularity, people are doing Mad Men fundraisers for modern architecture and Mad Men-themed parties. How do you feel about that?

It makes me very happy. I do think some of it is a coincidence. I think part of the reason the show did hit a nerve is that this period had been forgotten and ignored and people got a look at it again. But I think that just looking at the cyclical nature of style, it might have come around at the right time to focus people’s eyes on it. I love that people are just looking at their environment and not taking it for granted.

The topic of preservation has even made it into the script of the show. Your characters talked about Penn Station’s 1963 demolition and Ada Louise Huxtable, there are themes about being haunted by the past…

Don Draper’s a curious person and he has an eye. He’s interested in objects. As Betty says when they’re remodeling their living room, “All you do is evaluate objects all day, where does the table go?”

I feel like the story of the show is, this whole battle of what is commercially expedient and what will the masses tolerate and what will businesses tolerate? Design seems like it’s decoration, it’s extra, what does it matter? If there’s icing on the cake why does it have to have flowers on it? All of that is pointless in some way, but I feel like the show is sort of saying it’s not.

Those spaces are very important to who we are and how we live. And that is a big story in the show and that’s what the preservation thing was about: So the world is changing, are you just going to get in the way? Are you so mired in what you already know that you can’t open your mind to something new? Or are you actually fighting for something that is virtuous? Is it important for us to value our past? Don Draper is someone who tried to erase an entire identity; wouldn’t he be the person who’d move into anything new? Yes and no.

Do you think Don Draper is a preservationist?

I think Don Draper is a preservationist. He appreciates design. Obviously, he has very particular tastes, but he’s also a curious person who’s open to new things and he, like the rest of us, is fighting a battle all the time over what you save and what you throw away.

Last week, in our ongoing series about renovating and rehabilitating historic homes, we looked at managing the construction process -- and today, we’re looking at the closely related topics of managing the budget and keeping costs down. Of course, everyone wants the best work they can afford, and by following a few easy steps, you can make your dollars go farther.

1. Know your budget. How much you have (and want) to spend on a project is a personal decision that needs to take into account your finances, home value, local real estate values, availability of loans, etc. Having this number in mind at the start of the project is key because it can help you make decisions from what contractor to select to the kinds of materials and finishes you can afford.

2. Gather estimates. Creating an accurate estimate for a historic home can be difficult for even seasoned professionals, because of the unknowns that may surface in a project. (Hello, asbestos abatement!) Most estimates are based on the time required to complete a project, the number of workers needed to complete it, and the hard costs of materials. You should get several estimates and compare both the price and the experience level of the professionals you select.

Tip: Always be sure to check references before you hire any firm or individual.

Roof detail, Shelburne Farms, Vermont.

3. Set a payment schedule. Typically, you will pay for work as milestones are reached in the project plan you’ve agreed to with the contractor. Be sure the work is completed to your satisfaction before making payment. In the event your contractor wishes to be paid on a weekly or bi-weekly basis, assess the amount of work that remains and plan the payments accordingly.

4. Create -- and stick to -- a plan. Not sure how to get started with developing a construction plan? You’re in luck! We covered that in last week’s toolkit.

5. Follow a sequence. Completing like work together and in an order that doesn’t require backtracking cuts down on set-up and break-down time for craftspeople, keeping your costs down as well.

6. Be realistic. Make sure your plan and construction schedule have some flexibility built in to cover the inevitable delays without racking up additional costs.

7. Talk to the experts. In the event you’ve chosen a do-it-yourself route for your project, be sure to consult with knowledgeable researchers, architects, or landscape architects about your project.

Craftsman's hands

8. Do not “fake it ‘til you make it.” Your DIY home restoration or rehabilitation work is not the time for on-the-job training. Before you start, learn the skills you’ll need to succeed -- either in a classroom setting, from material suppliers, or with hands-on training from craftspeople. Making mistakes due to lack of knowledge will end up costing in the long run.

9. Look for assistance. Though most low-interest loans, tax abatements, easements, and assistance for restoration or rehabilitation projects are for income-generating properties, you may be able to find a state or local program for homeowners. Check with your statewide historic preservation office (SHPO) to learn more.

10. Keep quality high. All these money-saving ideas aside, don’t skimp where it matters. It’s better -- and in the long run, cheaper -- to do things right the first time. Shoddy craftsmanship and/or inappropriate materials generally increase future costs, due to the need for repair or additional maintenance.

Now it’s your turn: What’s the best way you’ve saved money while working on your historic home?

In the upcoming summer issue of Preservation magazine, I head back to my Midwestern roots to celebrate and explore the history behind the most important naval battle of the War of 1812: the Battle of Lake Erie.

Fought to the northwest of Put-in-Bay, Ohio on September 10, 1813, the American fleet, led by 28-year-old Commodore Oliver Hazard Perry, eventually prevailed over their more heavily gunned British counterparts, turning the tide of the war.

Below are a few facts and figures to whet your appetite for my full account in the Summer issue.

1615: Year that Lake Erie was first visited by European explorers.

7: The time on the morning of September 10, 1813 when the American fleet set sail to engage the British. The first shot of the battle was fired at 11:45 a.m. and the American fleet finally secured victory just after 3 p.m.

8: Distance in miles northwest from Put-in-Bay where the battle took place in September of 1813.

Put-in-Bay, Ohio, where Perry’s fleet awaited the arrival of the British.

557: Number of crewmembers in Perry’s fleet. Each one will be represented in the Battle’s recreation this September by a volunteer.

63: The number of cannons the British fleet held on its six vessels for the Battle of Lake Erie. The Americans had just the 54 guns on nine ships.

241: Length of Lake Erie in miles from west to east.

9,910: Surface area of Lake Erie in square miles, making it larger than the states of Vermont, New Hampshire, Connecticut, Massachusetts, Rhode Island, New Jersey, Delaware, Maryland, Hawaii, and the District of Columbia.

10.5 million: Number of people that live in the United States portion of the Lake Erie watershed. Another 1.9 million live on the Canadian side.

2.6: Number of years it takes for water to cycle all the way through the lake.

The brig Niagara, which Commodore Perry rowed to after his flagship, the Lawrence, was disabled.

9: Number of ports that tall ships will depart from on their voyage to Put-in-Bay, Ohio for the recreation for the battle this September.

17: Number of tall ships that will be present for the battle’s recreation this September.

118: The height in feet of the Niagara’s main mast. Perry rowed to the American brig near the end of the battle after his flagship, the Lawrence, was disabled. The Niagara was sunk near Presque Isle, Penn., after the war, but was raised and restored in 1913. It will participate in the recreation of the battle this September.

6: The number of officers killed in the Battle of Lake Erie that were re-interred in Perry's Victory and International Peace Memorial on September 11, 1913. The American officers were John Brooks, Henry Laub, and John Clark, while the British officers were Robert Finnis, John Garland, and James Garden.

They've done it before. The question is whether they can do it again.

With the completion of Cincinnati’s new Art Deco Union Terminal in 1933, officials commissioned over 18,000 square feet of art for its walls meant to transform the city’s image from one to be avoided on cross-country train travel, to a desired stopover. The largest portion of that space went to Winold Reiss, who set about depicting the industrial prowess of the Cincinnati area with 23 glass mosaic tile murals.

But after train service ceased at Union Terminal in 1972, and with the impending demolition of the concourse, 14 of the murals depicting specific scenes from local industries and businesses like Procter & Gamble, ended up being the ones on the move.

At the time, it cost roughly $400,000 to transport all 14 pieces to the Cincinnati/Northern Kentucky International Airport where they would be incorporated into new terminals. The 14 murals are each 20-feet-square, weigh 8 tons a piece, and are made up nickel- to dime-sized glass tiles set on a painted plaster background and mounted on a solid concrete backing.

Each had to be detached from the wall of Union Terminal and encased in a protective steel frame before being lowered by crane through a hole cut in the platform for their tedious journey to the airport on the far side of the Ohio River. Now, with two terminals at the airport on the chopping block, nine of the murals need to be moved again.

When Reiss found a scene he liked, he would photograph it on the spot. Here, in another one of the murals that will need to be relocated, Reiss depicted two men assembling an Aeronca plane at a nearby factory.

“Pretty much the same thing would have to be done today,” says Scott Gampfer, Director of Library and Historic Collections at the Cincinnati Museum Center, which took over a then-vacated Union Terminal in 1990 and continues to look after the murals that remain there. “But that’s all assuming that there’s a place found that can take them and there’s the money raised to do it.”

Cincinnati Mayor Mark Mallory is currently in the process of organizing a task force to determine the logistics of the project and plan for the murals’ next move. This time, though, initial estimates for the move sit between $5 and $7 million.

This isn't the first time Mallory has been involved with saving the murals. In the 1970s a young city councilman by the name of Jerry Springer (yes, that Jerry Springer), took up the cause by writing a folk song about the station and performing it on site for the media and a group of local schoolchildren. A young Mallory was among them.

“The murals are important not just because they were in [Union Terminal], but because of what they depict,” says Mallory. “Those murals are replications of actual photographs that were taken in Cincinnati. So they depict actual industries, actual people, activities that were going on in Cincinnati at the time they were made. So they chronicle our history. And that feature … makes them critically important. They are priceless.”

The task force has until the demolition of the airport terminals in 2015 to create and execute a plan to save the murals for the second time. That’s a short timeline, but with the murals’ constant reminder of the city’s ingenuity as inspiration, the task may seem just a little easier.

Learn more about the murals and their history in the slideshow: