2015. Water damage hastens the decay of the annex and its stage. Every time I visit this room, the chairs are in different places. Kodak Portra 400 in a Voigtlander Bessa.
This was not always the top of the elevator.
Safety signs decorated every floor, machine and, yes, door. This message spoke to me for reasons my coworkers will understand; suffice to say, I need to take this message to heart.
Some of the doors had sliding plastic windows, but most of the older ward doors simply had these peep holes drilled through them. The inside was always marked and worn more than the outside.
The complex was so big that trains could make deliveries through the middle of it, passing below this striped skyway.
Easier-to-demolish parts of the power plant were torched apart. Catwalks to nowhere meant lots of dead ends.
These copulas made the iron for casting.
From the slip where grain boats would tie for loading and unloading, the unloader juts in a modernist-architectural way that is oddly visibly satisfying. Inside that white building is the retracted boat unloader, more or less a long and sturdy conveyor attached to a joint and crane motor. There used to be four loaders that looked like simple tubes with cranes and ropes attached hanging from this side of the elevator. All that remains of those is one fixture on the white building (not visible here) and the frame of one on the elevator proper, visible in the upper-middle of this image, to the right of the unloader apparatus.