Sunday, March 29, 2020

Modeling a Homestead in 1869

Cover image on Harper's Weekly, February 13, 1869
Vince and I have been having an ongoing discussion into whether any aspect of the sub-hobby of making miniature buildings for model railroads has any folk art roots - it came up again in a discussion about Samurai Crafts. Folk art miniature buildings isn't an established category, and I must admit to basing my thoughts about this on a single book, American Folk Art Buildings: Collection of Steven Burke & Randy Campbell, which isn't a good thing to do, but I find they make a compelling argument, and it's a good starting point for some investigation.

In the Burke & Campbell book they mention a story that appeared on the cover of the February 13, 1869 issue of Harper's Weekly. The magazine's cover shows a picture of man, surrounded by his family, making a model of a house. Under the picture it says, MODELING A HOMESTEAD - [See Page 105.]. It turns out that 151 years later, page 105 can be found in Google Books. I was hoping to find some instructions on how to build the little model, maybe giving some fodder for the folk art argument, but here's what I found,

The group represented on our first page is very suggestive. During the long winter evenings what occupation can be more interesting to the family gathered about the fireside than that of "modeling a homestead?" The first question with birds - the first problem they set about solving - is that of nest-building. With every frugal lords, or shall we build for ourselves, and upon our own plans, such as our several necessities and our tastes suggest?

The freedom from thraldom of rent is in itself a great end to be secured. But this is by no means all. The homestead, which is the outward and material symbol of the spiritual significance of home, should become ours no simply by legal possession; it should be an outgrowth from our own souls, stamped with the impress of our own thoughts. The robin can not build a nest for the swallow; and why should Mr. Boodle or Mr. Coddle build a homestead for you or me? 

Of course we may need to consult those who are more experienced than ourselves as to materials best adapted to certain ends, as to cost, or as to the practicability of our plans, considering the means at our disposal. But every good housewife knows exactly what sort of kitchen or pantry would suit her best. Every family can agree as to what would be the nicest kind of parlour for itself, or what kind of sitting-room would precisely meet its ideas of comfort and cheerfulness. Even the hall can have a sort of individuality impress upon it, so that the first entrance of a stranger would disclose some hint as the taste of the occupants. The size of the bedrooms and the character of their finishing; the convenience and abundance of closet-room; the number, arrangement and shape of the windows; the style of portico or piazza; every thing, in fact, from the floor of the cellar to the chimney-top is a subject for mature deliberation, and the exercise of individual tastes. The house we live in, not less than the garments we wear, should furnish some indication of our predilections.

The first thing is the determination to build; such a purpose will furnish an additional motive to economy and thrift. The comes the planning - the delicious occupation of many pleasant hours spent in family consultation. Even the youngest members of the household are interested, and may participate in the work.

The outlined sketches of plans on paper are by no means satisfactory. Therefore our group in the illustration prefers modelling. This may be done either by the use of wooden blocks or of cardboard; the latter being more convenient, because more easily managed. In this way a perfect model can be shaped of the future homestead. It is a happy little fireside company, which we recommend to our readers. Let us hop that the house will not only be modeled but built, and that it will shelter those who will always be as ready to co-operate with and help each other as they do now in this "modeling of a homestead."

So, I'd say this was more about trying out a planning activity that was used by architects - the architect T. A. Richardson published a book 10 years earlier in 1859 called The Art of Architectural Modelling in Paper that gave instructions and advocated paper models as planning and promotional tools - than engaging in a hobby or art. I don't think this advances the folk art argument, but it does imply the making of miniature buildings was not considered outside the realm of possibility for middle class people who might read a mainstream publication like Harper's Weekly, although I suspect it was harder to get a good result than is breathlessly implied by the story and the cover picture.

Saturday, March 28, 2020

Samurai on the Rocks

 
Samurai this and Samurai that got me thinking about the 1/24 scale Suzuki Samurai kit by Fujimi I built many years ago. When it was done I took it with me on a country trip to get some outdoor photos in natural light.

The Foundations of Samurai Aerodynamics

In Samurai Crafts I mentioned that Kuethe and Chow's book, Foundations of Aerodynamics, has a minor role in Helen DeWitt's novel, The Last Samurai. That was surprising to me because besides the rarity of the mathematics of aerodynamics being discussed, however briefly, in any literary novel, K&C's textbook was the one used in the introduction to aerodynamics course I took when I was an undergrad. The only difference being the edition mentioned in TLS was the 1986 one, and my class used the previous one from 1976. The first edition was published in 1950. The book was one of the best in the field, and maybe still is.

Ludo, the child prodigy and TLS's main character, receives a copy of an aerodynamics textbook from Sibylla, his mother, for his birthday; I think from the story's chronology it was his 7th, maybe 8th. I, on the other hand, didn't buy a copy of K&C until I was 20 or so. When I was 7 or 8 I couldn't spell aerodynamics let alone deal with its mathematics. At this point in the story the book's title isn't mentioned, and Sibylla buys it on the strength of the perceived humour in the passage about calculating the manoeuvrability of a grebe in water by approximating its body with an appropriately sized sphere, and on its use of classic 18th and 19th century math, which she thinks shouldn't be that difficult for her son to grasp.

It seems to me though that he does find it hard to grasp. There are several passages where Ludo picks up the text and tries to make headway, but soon puts it down in favour of some other book. It isn't until much later in the novel that Ludo confesses,

I put down Scientific American and picked up my book on aerodynamics. Sometimes I thought I understood it and sometimes it was hard to follow, and when it was hard to follow it wasn't easy to tell what would help; the thing that would really help would be to be able to ask someone who didn't sum up the mathematics required as 18th 19th century stuff. Any idiot can learn a language, all you have to do is keep going and sooner or later it all makes sense, but with mathematics you have to understand one thing to understand another, and you can't always tell what the first thing is that you have to understand. And even then either you see it or you don't. You can waste a lot of time trying to work out what you need to known and a lot more time just trying to see it.

When I read that a wave of deja vu and sympathy washed over me.

I'm an aerodynamicist by training, but I had a hard time with my first encounter with the subject. My introductory class seemed to me to approach the subject from a purely mathematical standpoint, and it wasn't clear why certain methods and assumptions were applied. The instruction had a strong air of 'that stuff should be quite self-evident' about it. I should note that the class wasn't taught to the K&C book; it turned out the book was only used as a reference. It took me a long time to dig into the experiments and observations of the early pioneers to finally appreciate why certain mathematical approaches were used. So, to be candid, it didn't help me that experts well versed in the mathematics of the subject were teaching it. What I needed was pre-mathematical insight into the physical nature of what was going on.

Back then I did a lot of reading into aerodynamics' early experimenters and writers. I eventually figured out that many of the fundamental physical insights and observations came from Fredrick W. Lanchester, and were discussed in his 1907 book Aerodynamics. I don't have a copy, but I borrowed it many times from the university library back in the day. The mathematical edifice Ludo encountered didn't exist when it was written, and it turns out it was the work that allowed practical mathematical approaches to be developed. I only mention this old thing because this pioneering work is a great combination of words and pictures, and that's what I think should be the first approach into the subject. 

You don't need to seek out Lanchester's book as there are later ones that will give you a physical sense of the field and are light on the math, but don't talk down to you. I haven't practiced in the field for a very long time, so I'm not up-to-date on good recent books, but there are a couple of old ones that I like. One is The Science of Flight by O. G. Sutton. It was first published in 1949 and updated in 1955. It's a charming Pelican Book, and includes reprints of a number of the more crucial pages from Lanchester's book. Another choice is Aerodynamics: Selected Topics in the Light of Their Historical Development by Theodore Von Karman. It was first published in 1954, but Dover published the second 1957 version in 2004. A somewhat more modern choice is The Simple Science of Flight: From Insects to Jumbo Jets by Henk Tennekes. It was published by the MIT Press in 1997.

I guess from our vantage point 113 years after the publication of Lanchester's book, maybe aerodynamic flight does seem like a simple science, but I continue to think of it as The Beautiful Science. Flow visualization, along with physical observation, have been key to its development as has mathematical insight. I've found that triumvirate fascinating, and have often thought of aerodynamics as a form of sculpture, where what is being sculpted is the air around a moving body.

When I was Ludo's age there was a period when my father would sometimes take me to a local hill to fly a windup toy airplane. It was small and very forgiving in a crash, so it was easy to try and launch it over and over, making small adjustments, until we got a few nice flights. Even for an adult, if aerodynamics and flight is something you want to learn, that's where to start.

Friday, March 27, 2020

A beautiful spring day

Regardless of viruses and lockdowns and isolation, the natural world goes on. It was a beautiful spring day. +12C on the back porch, so no model building, just soaking up the sun.

Abandonment - Part 1

Here in Ottawa most places are closed down to help prevent the transmission of coronavirus and people are self-isolating. Do what you should to slow the spread and take care. In the meantime, being at home and all, I thought I'd finish some writing I started back in December and travel back to the weird, electric streets of New Toronto :-) Join me now for some new pulse-pounding adventures of mayhem and streetcars ....

"What makes you think you're dead?"

"For one thing I'm here talking to you, and you jumped in front of a subway car right in front of my eyes."

Talk about fronts. I was putting on a brave one. Yeah, here I was sitting on a nice couch, and across from me, sitting on an equally nice couch, was Zachariah Adams. The same Zachariah Adams who jumped on the track at the Crombie subway station just as the train was pulling in. The same Zachariah Adams who I'm told was scraped off every surface and traumatized me and the driver and all those poor souls on the platform who witnessed his departure. 

"Well, yes, but I'm feelin' better now."

"And you're talking funny. You never used to use contractions. You were strictly a full pronunciation man as I recall."

"I've mellowed."

"Mellowed? Are they adding marijuana smoke to the ventilation system down here?"

"Down here? You think you're dead and in hell too? These are pleasant couches, not boiling cauldrons of sulphur."

Adams shifted his weight a bit and plumped a nearby cushion.

"You're the one who committed suicide and I'm sitting here talking to you. The signs don't look too good to me."

Things in general were starting to look not so good to me.

Things were starting to go dark. 

I had this odd feeling of no longer fully inhabiting my body. I felt like I was contracting into a sphere just behind my eyes and was simply pulling some strings to make my arms and legs move. I was now a puppet master and my body was the puppet.

Way off in the distance I heard a woman scream my name.

She continued with,"Stay with me! You're not leaving me!"

I was confused.

"Adams, your voice is a lot higher than it used to be," I mumbled to the other couch. His deep, Vaderian voice was the first thing I noticed about him when we met. His little body didn't seem like it could produce anything so commanding. It seemed weird that now he sounded like a woman.

"I'm not Adams. He's dead. I'm Leslie."

Leslie? I tried getting up from my couch using all my puppet master skills. Trying to move my arms and legs seemed to help push back the darkness. Why did I think I was lounging on a couch? My clearing eyesight told me I was lying on my back in the middle of some road. The ground was cold. It was night. I could see flashing red, blue and yellow lights nearby. I could hear sirens and honking horns and shouts. My head hurt.

I turned my head to the left and saw Leslie kneeling beside me on the pavement.

I turned my head to the right and saw Adams standing by my side. He looked down at me and said, "You'll be fine. I've a job I need you to do."

I turned my head back to the left and saw that a uniformed man was now kneeling beside Leslie. He looked me in the eye and said, "Sir, I'm with emergency services. May I help you?" I think I said yes.

I turned my head to the right again. Adams was gone.

---

Understory

My first attempt at a streetcar / model railroading / '30s-'40s noir pulp novella was Light Ray Blues, which I started back in the fall of 2012, and finished in late summer 2013. Until the E. L. Moore series got going it was the most hit series of posts here at 30Squares. 

There were a lot ideas I wanted to play with in Light Ray Blues, which included: how a single, unforeseen event in a person's hum-drum existence could permanently change their direction in life; show that day-to-day life in a world with more-or-less completely electrified transportation would still be full of crime, deceit, selfishness, and all the usual vices; connect model streetcar layouts with storytelling. And, most importantly, I wanted to have some fun with Chandler-esque dialogue, weird streetcar aficionados, inventing places in New Toronto, and concocting a strange, alternative electrified Canada.

Light Ray Blues, Series 2 didn't get started until the spring of 2015. There was a long publication gap between June 2015 and September 2016 when I picked up the series again and finally finished. 

I'm layout building again and feeling the strange pull back to New Toronto. I don't know where this will go - although I've got 10 instalments in the bag that set up Ed and Leslie in a direction for new adventures - but I figured I couldn't resist the ride.

Thursday, March 26, 2020

Street painting prep

After building and installing the streetcar apron in the west end module, it looks like Ocean Boulevard is ready for painting.

I've been taking some time to study my street photos in an attempt to get the colours right - or as close to rights as I can. One thing that made itself quite clear though is that there is a surprising amount of detail in and around a street. For example, in one King St. photo I noted 6 manhole covers in just one intersection, as well as a considerable number and variety of street markings. So, I think this might take a while to get to an acceptable state. But, that's the fun of it :-)

Wednesday, March 25, 2020

Samurai Crafts

I recently finished reading Helen DeWitt's book The Last Samurai. I've heard about it for a long time, and some reviewers were claiming it to be the best novel published so far in the 21st century. Be that as it may, I kept putting it off. 

Being at home and having time on my hands I finally decided to give it a go. However, it was with some apprehension as I thought it might be a struggle to get into as say Infinite Jest was, which took me at least 50 pages before it started to click, and I required a long break when I was about half through. I was dead wrong about TLS. I was engrossed right from the beginning, and surprised myself that in 6 days I'd finished it. 

I'm not going to get into a detailed discussion about the main themes and plot, just note a couple of sub-themes that hit home: hobbyist magazines, and Kuethe and Chow's textbook Foundations of Aerodynamics.

The story centres around child prodigy, Ludo, and his mother Sibylla.  Part of Sibylla's backstory is that she lost her place at Oxford, then took a job as a secretary at a small publisher to forestall returning to the US, then lost that job when her mentor left the company. Luckily, to further postpone leaving England, Sibylla's mentor provided her an opportunity to type articles from various popular hobby magazines into a database that the publisher was building as part of a project on 20th century language. On the upside, Sibylla could work from home, but on the downside the job only paid £ 5.50 / hour and she's a single mother with a child to support; a child who we'd commonly think of as a prodigy. Although, one of the main themes investigated in the story is whether prodigies are simply children who are given the opportunities they need when they need them, whereas so-called normal children are those who, for whatever reason, are not provided with opportunities or resources they need when they need them that would make them better and happier. Stated a little more crudely, is it nature or nurture that makes the difference.

Throughout the book, Sibylla's work on transcribing articles from hobby magazines is cast as a scathing commentary on what constitutes normal interests and reading material in contrast to her ongoing attempts to continue to live an intellectual life regardless of her situation. We're treated to some wry commentary as she types in articles from mid-20th century magazines with these titles,

Melody Maker
Advanced Angling
Pig Fancier's Monthly
Weaseller's Companion
Mother and Child
You and Your Garden
British Home Decorator
Horn & Hound
The Poodle Breeder
Practical Caravanning
The Modern Knitter
Tropical Fish Hobbyist
Magazine of the Parrot Society
Carpworld
International Cricketer
Sportsboat and Waterski International
British Ostrichkeeper

Are any real? Are they all just made-up? Some are eye-rolling: British Ostrichkeeper, Carpworld, Weaseller's Companion, Pig Fancier's Monthly ! Some have an uncanny reality: International Cricketer, Mother and Child, Tropical Fish Hobbyist. It hardly matters which are real and which aren't as Sibylla's point is that this material - what we'd refer to today as 'content' - is a waste of our precious life compared to spending time with the world's intellectual riches. Throughout she implies that this has happened because our childhood education and development has been squandered, and we don't know any better than to overly concern ourselves with practical diversions as exemplified by our banal recreational reading material. Although, the skewering is funny, and I particularly liked this passage on Practical Caravanning,

PRACTICAL CARAVANNING said Sibylla. What in God's name is practical about caravanning and why in God's name should the word 'Practical' be thought to add appeal to the activity am I yet again in the market of one? Impractical Caravanning. Impractical Boating. Impractical Knitting. I would buy any of the above and I have not the slightest interest in knitting, boating or, God help me, caravanning.

Let me add: Impractical Model Railroading, Impractical Scale Modelling, Impractical Scale Model Streetcars. I have more than a slight interest in them and I'd buy any of those :-)

All this cuts close to home as I spend a lot of time with this type of material, and have even gone as far as suggesting some of it forms a literature, and at one time, and maybe still does, a folk art :-) 

It's interesting to note what sorts of hobby magazines haven't be satirized: those that at one time in the 20th century covered what were then referred to as the mechanical hobbies. Miniature and model airplanes, boats, cars, trains, clocks, engines, and so on. Magazines that taught skills, presented how-tos, reported on news, contests and products, ran ads, showed off projects, and told stories. At times the material was what we might call STEM-oriented in that it was hoped to provide a training ground for future engineers and technologists. At other times the material was simply for hobbyists and enthusiasts. I'd also argue that some of the material was old folk art practices migrating into the consumerizing world. The best of them combined thought and handwork that allowed readers to improve their chosen craft; the worst merely acted as conduits to sell loads of ready-to-use products to acquisitive and passive consumers. But, one major failing, one that still exists today in many venues, is understanding and recognizing the history and development of the various fields, as well as the threads into other aspects of thought and life.

I'd counter Sibylla's critique that as far as craft, and its attendant magazines and journals, is concerned - and we're not talking about modern-day, touchy-feely therapeutic pastimes, but the more traditional ones - developing skills that interweave thought and handwork, at whatever age, is a long, deeply human, and honourable activity. Not completely intellectual, not rote, but involving and thoughtful. Should one engage in craft? Which ones? What is the right age to start? I'll agree with Sibylla on this though, I don't think we live in a society that knows or cares.

After writing this and thinking about it a bit more I can see I need to understand more about definitions, similarities, differences and popular concepts of arts and crafts and hobbies.


And what about Foundations of Aerodynamics? I've gone on too long and I'll leave that for another time.

Monday, March 23, 2020

Starting a new highrise

I thought I'd get out of puttering-around mode and start a new highrise. I'm finding them to be challenging, but that helps take my mind off things. I might try laying out several at the same time to keep things interesting. The pieces shown above are for the highrise to the left of the Canadian Press building shown below. Although these two aren't Toronto landmarks, their facades are fascinating: one has a very '60s / '70s vibe with its strong vertical elements, and the other has that great wall of square windows that will allow for interesting scene staging. 
And yes, a streetcar does go by, so these two could be classified as lineside structures :-)

Saturday, March 21, 2020

Paving the western end of Ocean Boulevard


You may have noticed in the United Transit Twins video that some road work had been done on the new Ocean Boulevard module that leads into Ocean Park. I've used various thicknesses of sheet styrene to build up areas for buildings, sidewalks, and the roadway up to the edge of the rail. To complete I need to add in the streetcar apron over the tracks.

I also played around with some building placement to see how the scene might come together.

Friday, March 20, 2020

Hanging a beach on the wall

I disconnected the Ocean Park module from the layout and hung it up on a basement wall to store it away for awhile as my inaugural run party plans have changed, what with the end of the world going on and all :-)

Last Christmas I didn't have the layout ready for running, or even gawking at, so I decided that I'd have it running, and the workshop more-or-less presentable, by the end of February. That part went ok. The next part was to have the layout ready for an 'inaugural run' party by the end of March, which would be the kick-off to many leisurely months preparing for a Christmas streetcar blowout :-)

We're holed up here doing our part to help stop the spread, which meant cancelling the end of month get together. Not a loss of any consequence considering all that's going on. Anyway, the Ocean Park module was designed to hang on a wall since I don't have enough room to leave the layout assembled all the time. It might be a little trickier to store it this way once it's scenicked, but any buildings will be removable, and the scenes will be low-slung fields and beaches, so not much will stick out. 

IHC takes the fun out of the Molasses Mine

E. L. Moore's Molasses Mine is one of life's conundrums. I'll never understand what they were thinking at AHM that made them decide to immortalize it in a kit. Although, I'm glad they did.

Martin sent me this photo of IHC's boxing. You can see they've taken all the fun out of it. At least when AHM reboxed the thing it became the Kaboom Powder Factory, which is certainly keeping to the Moorian spirit of the model. IHC stripped the life out of it by drearily renaming it Chemical Processing Plant, and adding an equally bland company name in brackets, American Reagent Company, in case there was any residual fun left. If, dear reader, you are the one who now owns the molds to this classic product, I beseech you to consider the name Cousin Cal's Chemicals as a starting point for any new releases :-)


And if that wasn't enough they slapped on some rather crudely made signs to emphasize the kit's brave new reality. Over there is the kit's sign sheet. My inner word-nerd gags at the 'No Trespass' sign, and the word DANGER written in green type - talk about mixed messages. 

And don't get me started on those box-top colours. They're enough to dangerously mix up my digester :-)

Thursday, March 19, 2020

E. L. Moore in the UK: Playcraft Brewery & Drugstore

Martin and I have been having an enlightening email conversation - well, certainly enlightening for me ! He mentioned he had kits of the E. L. Moore brewery and Ramsey Journal Building from a company called Playcraft. He noted Playcraft was a UK brand in the '60s that got its products mainly via Jouef and Pola. 




Under the Playcraft brand, the AHM Brewery is kit B 806, Old-Time Brewery, and the Ramsey Journal Building is B 815, Drugstore - those are Martin's kit photos over on the left. 

A page from the 1968 Playcraft catalogue he sent me has a listing for the brewery, which implies the kit was simultaneously released in the UK under Playcraft, and in the US under AHM. The company doesn't mention scale on the boxtops, and maybe that was because my understanding is that OO is, or was at the time, the dominate scale in the UK, and maybe saying these were HO would reduce potential sales. On an OO layout, these would look a bit small. I recall using Airfix OO figures on my HO layout in the '70s because they were inexpensive, but the people looked like giants even though the box listed them as suitable for either OO or HO. 

Schaefer Brewery becomes Schilling Iron Casting

Boxtop photo generously provided by Martin from his kit collection
Martin kindly got in touch and told me about this kit in the Pola Quick series (kit # B 818), which is clearly a variation on AHM's E. L. Moore designed Brewery model (kit # 5813). Pola doesn't appear to have named this product, but when I translate the sign on the box top painting using Google Translate I get: Fritz Schilling & Son Iron Casting. So a brewery has become an iron casting plant by arranging the parts into an L-shape :-)

Raymond C. Ovresat, Legendary Model Railroad Structure Builder

Mr. Ovresat's Grain Elevator in Easy-to-Build Model Railroad Structures
I've noted a few times here that as a kid Kalmbach's Easy-to-Build Model Railroad Structures was a book I read cover-to-cover many, many times. I built a few projects, but mostly just admired them. Two in particular caught my eye, Grain Elevator and A country general store. Thinking about them I speculate that it was their line drawings, especially those of the grain elevator, that captured my attention. Both those projects were written by Raymond C. Ovresat. 

I guess I shouldn't be surprised at the quality of Mr. Ovresat's work as after a little investigation it looks like the Ray Ovresat Model Railroader profiled in their January 1953 issue is the same Raymond C. Ovresat who was a partner in the architectural firm OVA Associates; the O standing for Ovresat. 

Mr. Ovresat passed in 2018, and his obituary, as well as the MR bio, notes that he graduated with an architecture degree from the University of Illinois in 1950 or 1951 (MR notes again in the Mar '50 at the Throttle column that Mr. Ovresat is a college student at the University of Illinois), won a scholarship so he could study in Europe, and worked as an architect at the Chicago firm Perkins & Will in the early '50s. There isn't any other biographical material in MR beyond the Jan '53 issue, so there's no corresponding note regarding the obituary's statement that he joined Vickery Ovresat Awsumb, VOA Architects with offices in Chicago and Florida where he was a partner


Ancient models by juvenile me inspired by A country general store
The internet informs me that VOA Associates was founded in 1969 by Wilmot Vickrey, who also worked for a time at Perkins & Will. VOA Associates was acquired by Stantec in 2016. Apparently, VOA Associates was a major operation that employed around 300 people, and had offices in Chicago, New York, Washington, Orlando, Highland, Beijing, Shanghai, and Sao Paulo.

Model Railroader must have had a high opinion of Mr. Ovresat's projects, and hopes for an ongoing relationship, if this editorial comment in the Jan '50 issue where his General Store article first appeared, is anything to go by:

Scale structures are roughly divisible into two types: space-fillers that merely contribute to the general scenic effect; and those that are true models, as carefully built and profusely detailed as the finest rolling stock. The latter are to the former what oil paintings are to charcoal sketches. Ray Ovresat follows the oil painting school. He has an artist's eye for form, shadow, and color, a craftsman's touch at construction technique, and an invaluable knack for imparting life to his structures by surrounding them with appropriate paraphernalia. 

As far as I can tell, this is a complete list of Mr. Ovresat's publications (MR = Model Railroader; MC = Model Craftsman):

Dec '44, MC: An "Old Time" Railroad Station

April '45, MC: Old-fashioned house

July '45, MC: A colonial house

Sept '45, MC: Remodeling Kits

Oct '45, MR: Main Street (a photo of well-detailed HO buildings complete with sidewalk and street)

Jan '46, MR: River Front Factory

Oct '46, MC: Model Church

Dec '46, MC: Down on the farm

April '47, MC: Covered Bridge

Jan '48, MR: Union Station

May '48, MR: Feed Store

May '49, MR: Grain Elevator (reprinted in Model Trains April '55; reprinted in Easy-to-Build Model Railroad Structures )

Jan '50, MR: General Store (reprinted in Model Trains Nov '55; reprinted as A country general store in Easy-to-Build Model Railroad Structures )

Feb '50, MR: Creating Lifelike Trees (reprinted in Fawcett's 1952 book Model Railroad Handbook)

June '50, MR: Signs of the Times

Sept '50, MR: Village Corner Store

Feb '52, MR: Old Board Fences

Apparently the old west had AM radio & charge cards
From the dates it looks like most of Mr. Ovresat's work was produced when he was either in, or just prior to being in, the army (he joined at age 17 in 1943; the Oct '45 and Jan '46 items refer to him as Pvt. Raymond C. Ovresat), or when he was a student after his service (he graduated college in either 1950 or 1951). After the 1952 Old Board Fences article I don't see anything else by him. My guess is it was an article that MR had purchased years previous, and there was nothing more forthcoming from Mr. Ovresat as he was now well on his way in the world of professional architecture. It's interesting that MR's bio appeared in the Jan '53 issue, but there were no more articles from Mr. Ovresat after Feb '52.

It appears that Raymond Ovresat's career in the model railroading press was similar to Gil MellĂ©'s: short, but high quality.

I'm on the hunt to track down the origins of miniature building construction in model railroading. I wouldn't call it a hidden history as much of the information is readily available, but I would characterize it as not well known. And it's becoming less well known as the years roll on. I think there might be some thread that connects the old, pre-WWII miniature building folk art to the development of miniature buildings for model railroads. Right now I have no proof, and may never have, but the search is fun.

Wednesday, March 18, 2020

Lloyd Giebner, Legendary Model Railroader

Lloyd Giebner shows how to build a proper diorama in July '54 RMC
Vince mentioned to me that the work of Lloyd Giebner was something I should look into. I'm glad he did.

Our discussion started a few months ago in sort of a round-about way: he noted that most model makers don't use the term diorama correctly, and we eventually got around to discussing Lloyd Giebner's July '54 Railroad Model Craftsman article, Building A Diorama, where he does use diorama correctly, and shows how he built one featuring the Golden Gate Bridge.

Ok, so after some initial blue-skying, off we go to the internet. It turns out that Mr. Giebner's full name was Ira Lloyd Giebner, but this memorial says he preferred to be called Lloyd. Mr. Giebner was of the same generation as E. L. Moore: Giebner was born in 1896 and Moore in 1898; however, unlike Mr. Moore, Mr. Giebner died at the age of 67 in 1963; Mr. Moore lived to 81 and died in 1979.

Vince also pointed out that Mr. Giebner was a formally trained musician who in 1913 published a waltz song called She is waiting there for me. I assume it was sheet music only. I looked for an online recording, but no luck. His memorial notes he owned a business called Cash Poultry Company in Galveston, Texas.

Mr. Giebner's article list is impressive, and it's clear that throughout the mid-50's he was Railroad Model Craftsman's primary writer on miniature building projects. 

(MR = Model Railroader; RMC = Railroad Model Craftsman)

Sept '52, RMC: A Little Bit of Texas

Oct '52, RMC: Sperry Detector Car

Nov '52, RMC: Modern Radio Control Tower

Dec '52, RMC: First National Bank Building

Jan & Feb '53, RMC: Santa Fe Water Plant, Parts 1 & 2

April '53, RMC: Santa Fe Oil Supply

June '53, RMC: Build a miniature sand house

July '53, RMC: Build an elevated gate tower for your layout

Aug & Oct '53, RMC: Build your own Coaling Station, Parts 1 & 2

Nov '53, RMC: Your pike needs a Cinder Conveyor (reprinted in Carsten's Locomotive Terminals and Railroad Structures)

Dec '53, RMC: Manual Block Tower

Jan '54, RMC: Depot of 1911

Feb '54, RMC: A miniature stock yard for your pike

Mar '54, RMC: Water stop

Apr '54, RMC: Authentically detailed combination station

May '54, RMC: Build this Section House

June '54, RMC: Motor car shed and box car bunkers
                          Build this shop desk

July '54, RMC: A roundhouse for your engine terminal (reprinted in Carsten's Locomotive Terminals and Railroad Structures)
                        Building A Diorama

Aug '54, RMC: The Diesel Shop (reprinted in Carsten's Locomotive Terminals and Railroad Structures)

Sept '54, RMC: Elevated tower at Bakersfield on the ATSF (reprinted in Carsten's Locomotive Terminals and Railroad Structures)

Oct '54, RMC: Santa Fe MofW materials house

Nov '54, RMC: A diesel sand station

Dec '54, RMC: Small diesel oiling facilities

Jan '55, RMC: A modern warehouse

Feb '55, RMC: HO Grain Elevator

Mar '55, RMC: Old time grain mill

Apr '55, RMC: Milk Station

May '55, RMC: The milk processing plant

June '55, RMC: Model the X-Acto Factory

Aug '55, RMC: A working floodlight tower (reprinted in Carsten's Locomotive Terminals and Railroad Structures)

Sept '55, RMC: LCL Break Bulk Station

Oct '55, RMC: Gila Bend - Old West Village

Nov '55, RMC: Georgetown, Colorado

Dec '55, RMC: 1874 Fire House

Jan '56, RMC: The Little Brown Church in the Vale

Mar '56, RMC: A Piggy Back Depot

Apr '56, RMC: Earth type bases for model railroad structures

May & June '56, RMC: Old Cheyenne, Parts 1 & 2

Sept '56, RMC: 1870 Santa Fe Water Tower

Oct '56, RMC: 1870 Coaling Station

Nov '56, RMC: Covered Bridge
                         Saloon and General Store

Dec '56, RMC: Old Water Mill
                 MR: Division-point depot

Jan '57, MR: Modern interlocking tower

Feb '57, MR: Wood water tank (Suncoast Models produced a kit of this in 1968)

June '57, MR: Modern grain elevator (Suncoast Models produced a kit of this in 1968)

Aug '57, MR: Piggyback trailer depot (reprinted in Kalmbach's Bridges and Buildings for Model Railroads)

Oct '57, MR: Modern LCL freight house (reprinted in Kalmbach's Bridges and Buildings for Model Railroads)

Dec '57, MR: Direct coaling station

May '58, MR: Retarder tower for hump yard

Aug '58, RMC: Backwoods mining town

June '59, MR: Bulk oil depot

July '62, RMC: Water powered grist mill

Is that Mr. Giebner near the top right? / A little bit of Texas RMC Sept '52
Note on the list: A number of Mr. Giebner's RMC articles were reprinted in Carsten's 2000 publication, Locomotive Terminals and Railroad Structures. I haven't been able to identify them all, so I'll need to update the list once I do.

The first article, A little bit of Texas, introduces Mr. Giebner and shows off a part of his layout. From the track plan and photos one gets a sense that it's dense with buildings, and this is confirmed in the article,

To date there are 20 well constructed buildings on the pike, no two alike in design or material. They were modeled from actual buildings in strip wood, cardboard, metal and plastic. In addition, there are 40 other buildings, large and small, including cattle holding pens, auto unloading ramps, parks, billboards, and power lines.

If nothing else this article establishes Mr. Giebner as a structure modeler, and in retrospect hints at things to come.

Lloyd Giebner wasn't listed as a staffer at RMC, but you can see that from his first article in Sept '52 up until Dec '56 he was publishing close to every month or thereabouts. But, in Dec '56 a significant change happened: from then on Model Railroader became his primary publisher, although his publication rate was nowhere near the level it previously was at RMC. Did something happen to his relationship with RMC? Did MR make him a better offer? Was there illness? I'll likely never know.

Before we wrap up, as I mentioned earlier, it appears that the role played by Mr. Giebner at RMC in the '50s is more-or-less the same one played by E. L. Moore in the '60s: go-to guy for a steady-stream of building and structure articles. If Lloyd Giebner had 14 more years to create and write as E. L. Moore did, I suspect their output numbers might have been similar. But, on the other hand, if Mr. Giebner had continued well into the '60s, maybe neither Gil Melle nor E. L. Moore would have come to prominence. Regardless, it's a great legacy we've been left.

[Update, afternoon of 18 March: Vince reminded me that in Sam Posey's book Playing with Trains, he mentions that George Sellios, founder of FineScale Miniatures, was inspired by Lloyd Giebner's work,

When he [George] was eleven, he bought an issue of Railroad Model Craftsman that featured a model of a grain mill [I suspect it was the Old time grain mill in the Mar '55 RMC] built by a man named Lloyd Giebner. At first, George thought the photograph was a shot of the real thing. Something clicked when he realized it was a model; he was staggered by the idea that such realism was possible. He had been making structures out of cigar boxes, painting windows and doors right on the wood. Now he tried to build Giebner's mill. Disappointed with his first attempt, he tried again. By his fourth try, he was close - and hooked on the excitement of seeing something that looked so real take shape in his hands.]