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Irwin 10234 Unibit4 3/16-Inch to 7/8-Inch 3/8-Inch Shank Step Drill Bit

Hanson Step Drills save time by eliminating the need to change drills when drilling round holes in thin materials. Each smaller size drill also acts as a pilot for the next size. The single radial flute assures perfectly round holes. Use on steel, brass, aluminum and other thin materials. Step Drills are self-starting and will not slip.Drill diameters etched in flute for easy identification.

The Irwin 10234 UniBit #4 12-Step High Speed Steel Fractional Self-Starting Step Drill has a single-flute cutting edge to give you more control and produce true, round holes. Twelve holes range from 3/16 to 7/8 inches, in 1/16-inch increments. A non-skid tip does away with the need for center punches, while the three flatted shanks prevent slipping in the drill chuck. This drill is made from industrial-grade high-speed molybdenum steel heat treated for maximum durability, and it is ideal for work on thinner materials. The multiple steps mean you don't have to have a toolbox with specific size drill bits, and this drill is backed by a full lifetime warranty.

Financial District, Manhattan

Financial District, Manhattan

The American Telephone & Telegraph Company Building, designed by noted architect William Welles Bosworth and constructed in three phases from 1912 to 1922, is an important example of Greek-inspired neo-Classical design. Envisioned by company president Theodore Newton Vail as a grand corporate symbol, the building was designed to create an impression of quality, durability, and permanence expressive of the Telephone Company’s commitment to public service.

Its architect, Welles Bosworth, was a prominent designer of classical buildings and a leading preservation architect and this, his only large-scale office building, is considered one of his finest works. Inspired by Greek and Roman precedents, the facades of the American Telephone and Telegraph Building are clad in Vermont granite and incorporate nine superimposed colonnades, with eight three-story high Ionic colonnades based on the order of the then recently excavated Temple of Sardis stacked on a double-height base of colossal columns copied from the Doric order of the Athenian Parthenon.

The impression of solidity is enhanced by the use of stone spandrel panels at the base of each story grouping which contrast with bronze spandrels and window frames in the upper two-thirds of the bays. The spacing of the bays on Dey Street and certain other features of the design reflect the theories of Professor William H. Goodyear regarding Greek architectural practice and were intended to create a sense of “rhythmic beauty.” The facades are beautifully detailed with Greek-inspired ornament, including swags, and wreaths, lion heads, frets, paterae, anthemia, and delicate foliate reliefs.

The concern for classical detailing also extended to the articulation of the subway stair enclosures on Dey and Fulton Streets and to the southbound platform of the Fulton Street IRT subway where the A level basement Broadway facade of the 1912-16 portion of the building was faced with granite and given special bronze gates and shop windows enriched with classical motifs.

The western end of the building which contained the company’s executive offices is surmounted by a small Ionic temple with a stepped roof modeled on the mausoleum of Halicarnasus and is capped by a golden orb which originally supported a gilded bronze figure of The Genius of Electricity. From 1916 until 1983, this building was the headquarters of the American Telephone and Telegraph Company, the largest corporation in the world for much of the twentieth century. It remains in use as an office building.

The American Telephone and Telegraph Company Building is located on an irregular lot that extends approximately 154 feet along Broadway, 275 feet along Dey Street, and 200 feet along Fulton Street. The major portion of the building is twenty-six stories high (the double-height lobby space counting as two stories) and is surmounted by a twenty-seventh attic story housing mechanical equipment that was installed in 1959-61. The northwest corner of the building at 170 Dey Street rises to twenty-nine stories and is treated as a tower. The building has five basement stories. The southern portion of the Broadway facade of the A level basement story fronts onto the southbound platform of the Fulton Street IRT subway and is also included in this exterior designation.

The three major facades and the tower are clad in white Vermont granite. Except for the tower wing on Fulton Street, the facades are articulated with nine superimposed orders consisting of a double-height base of colossal Doric columns surmounted by eight three-story high Ionic colonnades. The tower is articulated with a tripartite design incorporating a three story base, twenty-three-story shaft, and three-story crown capped by a stepped pyramid. The southern portion of the west wall of the Fulton Street wing and the northern rear wall of the Dey Street wing, both visible from Fulton Street, and the small sliver of Dey Street wing’s western wall visible from Church Street are clad with light colored brick. The major facades retain their original bronze entrance and first-story window enframements, although a few windows have been altered to create display windows and some entries have been adapted for wheelchair access. (The windows and doors vary in configuration from facade to facade and are described below). All of the bronze metalwork has been painted gold and the inset nickel relief panels are painted silver. A large portion of the bronze grilles that were employed at the base of the building have been removed. These were originally fixed in front of the window glass on both the bottom and upper tier of windows and were employed for the paired sliding doors that were pushed into pockets behind the lower tier of sidelights during the day and pulled shut at night to protect the rotating door entries. When the 1920s addition was constructed and the main entrance to the build

The area of land, South of False Creek and East of Cambie Street, was a significant industrial area for most of the 1900’s. From the wood mills at the beginning of the century, through the first City of Vancouver works yard before the First World War and to the beginning of the decline in the 1970’s, the area has served a vital industrial role in Vancouver history. The largest of the buildings, the Canron Building, was torn down in 1998.
The two significant remaining buildings are the Central Machine Shop, which begun construction in 1924, and the adjoining Woodwork Shop. The main structure, the
Central Machine Shop, is a long, shed-like building with a distinctive saw-tooth roof constructed of wood, brick, steel, and sheet metal. At its peak in the 1950s, there were about 100 people working at the Works Yard, some 51 people worked at the Central Machine Shop alone. The Central Machine Shop consisted of two bays, one housing a medium machine shop and the other a light machine shop; a meter testing shop was located in the northwest corner. In 1926, a single storey woodworking shop was added at the west end of the building.
The post WWII history of the building has not been traced in detail. At some point, the south wall was removed and by 1967, it was being used for electrical and sign storage. This use seems to have continued until the Cambie Works Yards was vacated by the Engineering Department in 2004.
Currently (2009), much of the empty land is used for the storage of earth-moving equipment and construction materials for the nearby 2010 Olympic village.