14-pounder James rifle, Specifications
Authors James C. Hazlett, Edwin Olmstead, and M. Hume Parks describe the 3.8-inch re-bored and rifled M1841 6-pounder field guns as Type 1 and the "new model" 3.8-inch James rifles as Type 2. The gun carriage for 12-pounder (and 14-pounder) James rifles weighed 900 lb (408 kg).


14-pounder James rifle, Specifications, Type 1
The bronze pieces called Type 1 all have the external appearance of a Model 1841 6-pounder field gun, 3.8 in (97 mm) caliber, 15-groove rifling of right-hand twist, and a weight of about 880 lb (399.2 kg). More than 70 of the Type 1 rifles survive today, all except one are bronze. They are as follows. Of 6-pounders dated from 1842 up until 1861, and later rifled as Type 1, Ames produced 15 and Cyrus Alger Company produced eight. Of 6-pounders dated 1861 and 1862, and rifled as Type 1, Ames manufactured 25 and Greenwood Company manufactured 27. There is one surviving Type 1 of Confederate origin, produced by Skates and Company of Mobile, Alabama. Finally, there is one surviving cast iron Type 1 that was originally manufactured by Alger in 1854.


14-pounder James rifle, Specifications, Type 1
The Type 1 14-pounder James rifle has dimensions identical to the M1841 6-pounder field gun. The barrel length, excluding the knob, is 60 in (152.4 cm), the bore length is 57.5 in (146.1 cm), the reinforce length is 30 in (76.2 cm), and the base ring diameter is 10.3 in (26.2 cm). There was no official table of fire for Type 1 14-pounder James rifles. However, Henry Larcom Abbot published test ranges that were compiled by A. P. Rockwell of the 1st Connecticut Light Artillery Battery.


14-pounder James rifle, Specifications, Type 1
Using a gunpowder charge that weighed 1.25 lb (0.57 kg), a Type 1 fired a 12 lb (5.4 kg) Schenkl shell a distance of 1,700 yd (1,554 m) at an elevation of 5° and a 14 lb (6.4 kg) Hotchkiss shell a distance of 1,530 yd (1,399 m) at an elevation of 5°.


14-pounder James rifle, Specifications, Type 2
The bronze Type 2 14-pounder James rifle had a smooth exterior form similar to a 3-inch Ordnance rifle and an average weight of 920 lb (417 kg). The Type 2, Series 1 had seven-groove rifling and a weight of 928 lb (421 kg), of which only five guns survive. Only Series 1 and 2 guns were stamped JAMES RIFLE CANNON on the reinforce near the vent. There are six surviving Series 2 guns, 16 surviving Series 3 guns, and 53 surviving Series 4 guns.


14-pounder James rifle, Specifications, Type 2
Series 2 guns weigh an average of 922 lb (418 kg), Series 3 guns weigh 918 lb (416 kg), and Series 4 guns weigh 917 lb (416 kg). Series 2, 3, and 4 all had 10 rifling grooves of right-hand twist. Various muzzle, trunnion, and breech stampings account for the other differences between Series 1, 2, 3 and 4 guns.


14-pounder James rifle, Specifications, Type 2
The Type 2 14-pounder James rifle measured 74 in (188.0 cm) from muzzle to the end of the knob and 69.75 in (177.2 cm) from muzzle to base, excluding the knob. Its bore length was 65 in (165.1 cm) and it measured 64 in (162.6 cm) from muzzle to vent. The trunnions had a diameter of 3.67 in (93 mm) and the distance between the ends of the trunnions was 15.1 in (38.4 cm). The gun measured 41.64 in (105.8 cm) from the muzzle to the center of the trunnions. The gun barrel was 10.01 in (25.4 cm) wide at the breech and 6.38 in (16.2 cm) wide at the muzzle. The breech had a hole to which a stadia sight could be attached. The bore (caliber) was 3.82 in (97 mm).


14-pounder James rifle, Specifications, Other
Hazlett, Olmstead, and Parks tentatively identify a Type 3 14-pounder James rifle that was made of cast steel. A record exists of a purchase order for Ames to manufacture six cast steel guns totaling 5,581 lb (2,531 kg) or about 930 lb (422 kg) each. There are three painted steel 3.8-inch rifled guns at Shiloh National Military Park that appear to match the purchase order. The guns have the same Ordnance profile as the Type 2 bronze rifles, but there is also a thicker band across the trunnions. There are 10 rifle grooves of right-hand twist. Every single type and series of James rifle listed above can be found at Shiloh National Military Park.


14-pounder James rifle, Specifications, Battery composition
The typical Union Army battery was armed with six guns. A team of six horses pulled each gun plus a limber which included one ammunition chest. Each gun had an additional six-horse team that pulled one caisson plus a limber which had three ammunition chests. Each battery had one traveling forge, one tools and equipment wagon, and spare horses. A gun platoon was made up of a sergeant (chief of piece), two corporals, six privates, and six drivers. The first nine men crewed the gun. Two platoons made a section led by a lieutenant and the battery was commanded by a captain. Attached to each battery were an adjutant, first sergeant, quartermaster sergeant, five artificers, two buglers, and one guidon-bearer. Confederate batteries were organized similarly.


14-pounder James rifle, History
The 12-pounder (and 14-pounder) James rifles suffered from two disadvantages. First, the rifling wore out quickly which reduced the gun's accuracy. Second, the higher pressures in the gun barrel by the rifling severely strained the breech, causing the James rifles to frequently burst when fired. Because of these problems, many of the guns were withdrawn from service fairly early in the conflict. The guns achieved great accuracy when test fired, but the bronze rifling degraded fairly quickly. The premature death of General James may have played a part in the guns being discarded. In any case, none were produced after 1862.


14-pounder James rifle, History
At the Battle of Pea Ridge on 7–8 March 1862, Louis Hoffman's 4th Ohio Battery was armed with what is described as four 12-pounder James rifles and two M1841 12-pounder howitzers. In the first day's fighting at Leetown, the Ohio battery drove off the 6th Texas Cavalry Regiment. The 4th Ohio Battery took part in Franz Sigel's highly successful artillery bombardment on the second day. Another source specifically stated that the 4th Ohio Battery was, in fact, armed with four 3.8-inch James rifles as late as the third quarter of 1863. At that date, the 2nd Ohio, 3rd Ohio, 7th Ohio, and 10th Ohio Batteries all had four 3.8-inch James rifles, and the 5th Ohio Battery was armed with two 3.8-inch James rifles.


14-pounder James rifle, History
At the Battle of Antietam on 17 September 1862, the 1st Ohio Battery commanded by Captain James R. McMullin was attached to the Kanawha Division in the Union IX Corps. We know that the battery was armed with six 14-pounder James rifles because McMullin specifically referred to 3.800 inch guns in his after action report. By 1 October 1862, the battery was re-equipped with six 3-inch Ordnance rifles.


14-pounder James rifle, History
McMullin wrote that the battery was posted within 150 yd (137 m) of Burnside's Bridge and fired on Confederate infantry and artillery at a distance of 1,800 to 2,000 yd (1,646 to 1,829 m). At 3:00 pm the battery was withdrawn because it was impossible to obtain a resupply of ammunition. The 8th Massachusetts Light Artillery, also in IX Corps, was equipped with four James rifles, but it is not known if their caliber was 3.8 inch or 3.67 inch. These were the only ten James rifles employed by the Union Army of the Potomac at Antietam; it is not recorded if the Confederate Army of Northern Virginia had any.


14-pounder James rifle, History
A few weeks later at the Battle of Perryville on 8 October 1862, the Union Army of the Ohio used 23 14-pounder James rifles out of a total of 147 guns. In the Confederate Army of Mississippi, there were only two 14-pounder James rifles out of 56 total guns. Both rifles were in Henry C. Semple's Alabama Battery.


14-pounder James rifle, History
Of the Union guns that were in action, there were two 14-pounder James rifles each in Asahel K. Bush's 4th Independent Battery Indiana Light Artillery, Peter Simonson's 5th Independent Battery Indiana Light Artillery, David C. Stone's Battery "A" Kentucky Light Artillery, and Charles M. Barnett's Battery "I", 2nd Illinois Light Artillery Regiment. In each of the four engaged batteries there were three different types of cannon. For example, Stone's Battery consisted of two M1841 6-pounder field guns, two 10-pounder Parrott rifles, as well as the two 14-pounders.


14-pounder James rifle, History
On the Union side, there was a migration of less-preferred cannons from the Eastern Theater to the Western Theater of the American Civil War. By the time of the Battle of Gettysburg was fought in the east on 1–3 July 1863, the Army of the Potomac employed only four James rifles. Yet on 30 June 1863, the western Army of the Cumberland still had 45 3.8-inch James rifles in its inventory, second only in numbers to its 60 12-pounder Napoleons. Other guns included 34 3-inch Ordnance rifles, 32 10-pounder Parrott rifles, 24 M1841 6-pounder field guns, 10 M1841 12-pounder howitzers, and nine other artillery pieces. In the small Army of the Ohio, there were 26 3.8-inch James rifles, 18 12-pounder Napoleons, 12 3-inch Ordnance rifles, and 16 other guns.


14-pounder James rifle, History
Cogswell's Battery Illinois Light Artillery was armed with four 3.8-inch James rifles as late as August 1864 when the unit garrisoned Nashville, Tennessee. In December 1863, the Springfield Illinois Light Artillery also had four 3.8-inch James rifles, while Henshaw's Battery Illinois Light Artillery and the Chicago Board of Trade Battery each had two 3.8-inch James rifles.


14-sai no Haha
14-sai no Haha: Aisuru tame ni Umaretekita (14才の母 ～愛するために生まれてきた～, lit. "14-year-old Mother: Born for Love's Sake") is a Japanese television drama broadcast on NTV. It was aired from October 11, 2006 until December 20 of the same year.


14-sai no Haha, Plot
Miki Ichinose is a 14-year-old schoolgirl who is very outgoing and cheerful. She lives with her parents and younger brother. She is in a romantic relationship with Satoshi Kirino who is 15 years old. They keep their relationship a secret from their parents because Miki is young and Satoshi is expected to excel in school and get into a university so he can take over the family business by his overbearing mother. One night, after a date, they sneak into a treehouse and consummate their relationship.


14-sai no Haha, Plot
Soon after, Miki suspects that she is pregnant and steals a pregnancy test, which her mother later finds. She is taken to a doctor who confirms her pregnancy. Miki's parents are very upset and the doctor tells them that it will be too dangerous for Miki to carry a baby due to her small size. They arrange for her to have an abortion, but Miki is unsure what she should do. She and Satoshi meet later that night and she gathers the courage to confess her love to him, and he reciprocates.


14-sai no Haha, Plot
She then tells him that she is pregnant and, although understandably shocked, he takes the news well. However, his mother is furious when she learns of it and forbids the two from seeing each other. Under pressure from his mother, Satoshi tells Miki that an abortion is best. Devastated, she breaks up with him, saying losing his love hurts the most. On the day of the abortion, Miki decides she can't go through with it and runs away from the clinic, with her mother chasing after her.


14-sai no Haha, Plot
Miki breaks down and tells her mother that she wants to keep the baby. Afterwards, seeing Miki's pain and love for her unborn child, her parents vow to support her. Satoshi's mother is furious that Miki has chosen to keep the baby and offers money for an abortion, which the Ichinose family refuses.


14-sai no Haha, Plot
Although deciding to focus on her pregnancy and how to give birth to a healthy baby, Miki remains grief-stricken over her breakup with Satoshi, who is also struggling to forget about her and their forthcoming child. To make matters worse, the Kirino family business begins to go bankrupt, which forces Satoshi and his mother to leave and go into hiding to avoid the press. Before they leave, Miki and her mother meet with them.


14-sai no Haha, Plot
Miki tells Satoshi that she plans to raise the baby with her family's help and won't acknowledge his paternity because she wants him to continue going to school and have a successful future. However, this angers him, leading them to be estranged even more. Miki has to temporarily drop out of school because of her pregnancy and that the teachers believe it will be a bad influence to the other students. A reporter who has been tracking the Kirino family since they went into hiding and suspects that Satoshi is the father of Miki's child, begins to track her.


14-sai no Haha, Plot
Miki wonders if keeping the baby is the right choice for her due to all the changes that are affecting the lives of her family, friends, and her boyfriend's. Satoshi's mother becomes depressed and attempts suicide to end her misery in debt and humiliation, but he gets her help just in time. Miki's mother visits with them and asks Satoshi to see Miki and the baby one day.


14-sai no Haha, Plot
At seven months into the pregnancy, Miki begins to go into premature labor and the reporter, who has been following her, calls for an ambulance. Miki gives birth to a baby girl, whom she names Sora, via Caesarean section. Being premature, Sora is placed in the NICU for underdeveloped lungs. Miki's father sees Satoshi on the street and chases after him, and later finds their hiding spot. He pleads for Satoshi to see Miki because she has been longing to see him again and tells him about the baby's condition.


14-sai no Haha, Plot
Satoshi's mother brushes his pleas off but Satoshi doesn't know what he should do. Miki's father takes him to the hospital to see Sora, and Satoshi is overwhelmed by the sight of his tiny daughter. He later tells his mother that, despite how much he tries to run away and forget, Sora is still his child. Even without his mother's support, Satoshi visits with Miki the day of her discharge to tell her that he has decided to forgo high school to start working and provide for the baby because he wants to take responsibility and raise her with Miki.


14-sai no Haha, Plot
The two then go with Miki's mother to see the baby and Satoshi learns that Miki named the baby Sora, after the sky which has been symbolic to them. Miki and Satoshi then tell their parents that they hope to get married when they turn 18. Although Miki's parents accept this, Satoshi's mother reluctantly relents but says she will not visit with the baby.


14-sai no Haha, Plot
The drama ends with Miki and her family bringing Sora, now healthy and full-term, home and posing for a family picture. Satoshi begins working to help provide for the baby and his mother begins a new business that seems to help bring her out of her depression. Miki begins her new life as a teenage mother.


14-sai no Haha, Production
Upon preparing for this role, actress Mirai Shida asked her real-life mother for advice. She wanted to know if there were changes (in walking, appetite, etc.) during pregnancy. Her mother replied, "Except for the belly becoming bigger, nothing else changes." This did not prepare Shida in any way, as stated by herself.


14-sai no Haha, Production
Originally, there were only 10 episodes. Due to the success this drama achieved, an extra episode was made.


14-sai no Haha, Episodes
The average rating for this drama was the highest rating this slot (Wednesday at 10:00 PM) achieved on NTV since 2000. This record was broken by the television series Kaseifu no Mita, which garnered an average rating of 25.2%.


14. oktobar
14. oktobar (Serbian Cyrillic: 14. октобар) is a Serbian manufacturer of heavy machinery and equipment, headquartered in Kruševac, Serbia.


14. oktobar, History
IMK 14. oktobar was established by Austrian and Hungarian investors in 1923 as Company specialized in wagons repair and manufacture. In the first years of the company, the primary activity is related to the overhaul and repair of vehicles and freight cars, at time is increased the use of quality in production technology by simultaneously extending the product range, which resulted in start of production of steel construction, metal consumer products, and products for use in the military industry.


14. oktobar, History
After World War II, the company was nationalized and repaired from war damage. It was named in a memorial of the date when Kruševac was liberated form Nazi occupation in 1944. The company has oriented to production of construction, mining, agriculture and transportation, machinery and equipment for the purpose of manufacturing equipment and machine parts. It was one of the largest producers of heavy machinery in former Yugoslavia. During its golden times, it employed around 8,000 people.


14. oktobar, History
In August 2015, after years of accumulated business losses, the company has suspended its production. From December 2014 through August 2015, nearly all of 1,500 employees left the company, using the social programs. In January 2016, the company has declared bankruptcy. In March 2016, a new company was register under name "14. oktobar". It took production facilities of the former company on lease.


14. oktobar, History
In November 2017, "SCMG 14. oktobar" from Belgrade on behalf of Czech company "Czechoslovak Group" bought the company. After the purchase, Prosecutor's Office of the Republic of Macedonia launched an investigation against former Macedonian head of the Administration for Security and Counterintelligence Sašo Mijalkov, on suspicion for money laundering and suspicious connections to the Czechoslovak Group.


14.5mm JDJ
The 14.5mm JDJ was created by SSK Industries of Wintersville, Ohio.


14.5mm JDJ, Overview
It uses the .50 BMG case with the neck opened up to accept a .585 in (14.9 mm) bullet. It fires the 1,173-grain (76.0 g) bullet at 2,700 ft/s (820 m/s) with the fire-formed load. The Barnes 750-grain (49 g) bullet can also be loaded to 3,000 ft/s (910 m/s). It has a destructive device exemption. Only rifles chambered for the .50 BMG can be converted to this caliber.


14.5×114mm
The 14.5×114mm (.57 calibre) is a heavy machine gun and anti-materiel rifle cartridge used by the Soviet Union, the former Warsaw Pact, modern Russia, and other countries.


14.5×114mm
It was originally developed for the PTRS and PTRD anti-tank rifles, and was later used as the basis for the KPV heavy machine gun that formed the basis of the ZPU series anti-aircraft guns that is also the main armament of the BTR series of armoured personnel carriers from the BTR-60 to the BTR-80 and for heavy anti-materiel sniper rifles.


14.5×114mm, Cartridge dimensions
The 14.5×114mm has 42.53 ml (655 grains H2O) cartridge case capacity. The exterior shape of the case was designed to promote reliable case feeding and extraction in bolt action rifles and machine guns alike, under extreme conditions.


14.5×114mm, Cartridge dimensions
Americans would define the shoulder angle at alpha/2 = 22.5 degrees. The common rifling twist rate for this cartridge is 455 mm (1 in 17.91 in), 8 grooves, Ø lands = 14.50 mm, Ø grooves = 14.95 mm.


14.5×114mm, Cartridge dimensions
According to the official guidelines the 14.5×114 case can handle up to 360 MPa (52,213 psi) piezo pressure. In C.I.P. regulated countries every rifle cartridge combo has to be proofed at 125% of this maximum C.I.P. pressure to certify for sale to consumers.


14.5×114mm, Ammunition types
Cartridges use lacquered steel cases and percussion primers. Some countries also use brass cartridge cases. The propellant consists of 28.8 g smokeless powder with seven tubes, designated as "5/7NA powder". Two different versions of bullet series are known, the earlier had a conventional bullet jacket with a boat-tail. These had a long engraving portion that caused considerable barrel wear. The newer bullet types have a smaller engraving portion with a rounder boat-tail and were used from about 1957 on.


14.5×114mm, Ammunition types
The cartridge has been manufactured in Bulgaria, China, Egypt, Hungary, Iraq, North Korea, Poland, Romania, Russia, and the former Czechoslovakia. Of special note are the new Chinese armor-piercing types:


14/48
14/48, the self-described “world’s quickest theater festival,” is a speed theatre festival that takes place semiannually in Seattle, Washington. The name of the festival derives from the unique format of creating and presenting 14 world-premiere short plays over the course of two days, or 48 hours.


14/48, History
The festival was founded in 1997 by playwright Michael Neff and actor Jodi-Paul Wooster. Since its inception, the festival has commissioned and presented the world premieres of over 500 original short plays. In 2008, the festival was awarded the Seattle Mayor’s Arts Award. The festival has been produced (by veterans of the Seattle festival) in Leicester, England, following a spawning a new UK branch of the festival in 2013. Wolverhampton, England, London, England, in Islamabad, Pakistan, in Tel Aviv, in Austin, Texas, and in numerous venues in Seattle.


14/48, History
For many years, the festival was housed at (and co-produced by) the Consolidated Works contemporary arts center. Following the center’s closing in 2006, the festival moved to the Capitol Hill Arts Center, until that center’s closing in 2008. Currently, the festival is presented at ACT Theater and the Center House Theater at Seattle Center.


14/48, Process
The process has remained largely unchanged since its creation in 1997. The weekend begins on a Thursday evening with a private meeting of the participants. The playwrights, directors, actors, musicians, designers, and producers all write ideas for themes for the following night’s plays on pieces of paper. One theme is (literally) pulled out of a hat, and the seven playwrights turn to the task of writing a 10-minute play each on the randomly drawn theme.


14/48, Process
Early the following morning, the seven playwrights submit their plays and in randomly assembled teams (again, drawn from a hat) the seven teams have 10 hours to rehearse, score, design, build, and then present those seven plays. The audience for that first evening of plays then submits ideas for themes for the following night’s plays, and at the end of the evening one of these themes is drawn from a hat. The seven playwrights again turn to writing, and the process repeats (in new, randomly assembled teams) for a second day.


14/48, UK
Since 2013, the festival has spawned a UK branch based in Leicester, England. This new part of the 14/48 family is headed by Amy and Bob Christer. 14/48 UK oversees the production of regular festivals in Leicester at The Y Theatre and Attenborough Arts Centre, and Wolverhampton at The Arena Theatre. 14/48 came to London for the first time on 7 August 2015.


14/48, Participants
Past participants in the festival include Dan Savage, Eddie Levi-Lee, Matthew Richter, Juniper Shuey, Sarah Rudinoff, Craig Lucas, Jodi-Paul Wooster, Dennis Wilken, Sean Nelson, Shawn Belyea, and Megan AhiersNotable UK Participants include Nadi Safi-Kemp, Stuart Reid, Alison Dunne, Amy Christer, Bob Christer, Doug Deans and Tom Allsop.


140 (number)
140 (one hundred [and] forty) is the natural number following 139 and preceding 141.


140 (number), In mathematics
140 is an abundant number and a harmonic divisor number. It is the sum of the squares of the first seven integers, which makes it a square pyramidal number, and in base 10 it is divisible by the sum of its digits, which makes it a Harshad number.


140 (number), In mathematics
140 is an odious number because it has an odd number of ones in its binary representation. The sum of Euler's totient function φ(x) over the first twenty-one integers is 140.


140 (number), In mathematics
140 is a repdigit in bases 13, 19, 27, 34, 69, and 139.


140 (video game)
140 is a platform game independently developed by Jeppe Carlsen, known for his gameplay direction for Playdead's Limbo. The game is described as a "minimalistic platformer", using electronic music to create synesthesia as the player makes their way through four different levels, each with its own sound-track. The game-play has been compared to other similar games which involve music synchronization like Sound Shapes and the Bit.Trip series, though with difficult platforming elements comparable to games in the Mega Man series. The game was released on Microsoft Windows, OS X, and Linux systems in October 2013, on Xbox One in August 2016, on PlayStation 4, Wii U in September 2016, and Nintendo Switch in January 2020. A release on PlayStation Vita and Nintendo 3DS was planned, but later cancelled.


140 (video game), Game-play
As described by Carlsen, 140 is “an old school platformer”, but where the challenge is “in syncing up your moves and jumps to the music-controlled elements”; as the player progresses through a level, the music will change to reflect the difficulty of the platforming elements. The player controls a geometric shape—a square when stationary, a circle when moving, and a triangle when jumping—across a two-dimensional environment made up of other simple geometric shapes, with the objective being to reach the end of the course.


140 (video game), Game-play
Along the way the player will need to collect floating colored balls that, when placed in a semicircular fixture on the ground, activate a new type of platforming obstacle that allows the player to continue. These activations also have the effects of changing the color palette of the level and adding a new element to the music to which the new obstacle is synchronized.


140 (video game), Game-play
Various obstacles and enemies, represented by geometric shapes, test the player's skills, and should the shape fall or be hit by one of the shapes filled with white noise, they will need to restart at the last checkpoint they passed. All of these obstacles and enemies have actions that are synchronized to the music, aiding the player in moving through the course; platforms that move or appear and disappear will do so on the beat, while enemies will fire in time to the music.


140 (video game), Development
140 was a project developed by Carlsen in his off-hours from Playdead. The idea originally grew out of Carlsen's attempt at an old school platformer, akin to Mega Man, that involved throwing a ball that would travel in straight lines and bounce off walls to trigger effects. Carlsen also used the project to learn about the Unity game engine. As he started to add audio samples to the game, he found an interesting juxtaposition between the normal platform elements and the music, where the level would "dance to the music", and refocused the game towards its final form. Carlsen had worked on the title for about two years, and enlisted the help of Jakob Schmid, a college friend and fellow employee at Playdead, who created all music and sound for the game, and Niels Fyrst and Andreas Peiterson for art.


140 (video game), Development
Carlsen announced in April 2016 that Abstraction Games and Double Fine Productions were helping to port the game to the PlayStation 4, PlayStation Vita, Xbox One, Wii U, and Nintendo 3DS with a release planned in Q4 2016. The Xbox One version was released on August 30, 2016.


140 (video game), Reception
The game won the "Excellence in Audio" category for the 2013 Independent Games Festival awards, and was an honorary mention in the "Technical Excellence" category.


140 (video game), Reception
Edge considered the game to initially appear in stark contrast to Carlsen's earlier Limbo, but as the player progresses in the game, the various mechanics of 140 show similar traits to many of the puzzles and situations that Carlsen had developed for Limbo. Ryan Cartmel of  Hardcore Gamer gave the game a 4/5, calling it "gaming minimalism done right." Derrick Sanskrit of The A.V. Club's Gameological Society called 140 "a tightly paced and clever game of precise timing and jumping" and praised its minimalist structure that allows the player to focus on the rhythm and gameplay.


140 BC
140 BC was a year of the pre-Julian Roman calendar. At the time it was known as the Year of the Consulship of Sapiens and Caepio (or, less frequently, year 614 Ab urbe condita) and the First Year of Jianyuan. The denomination 140 BC for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.


140 Broadway
140 Broadway (formerly known as the Marine Midland Building or the HSBC Bank Building) is a 51-story International Style office building on the east side of Broadway between Cedar and Liberty streets in the Financial District of Manhattan in New York City. The building was designed by Gordon Bunshaft, of the firm Skidmore, Owings & Merrill, and consists of a mostly smooth black facade on a trapezoidal plot. It is approximately 688 feet (210 m) tall, with approximately 1.17 million rentable square feet (109,000 m2). It is known for the distinctive sculpture at its entrance, Isamu Noguchi's Cube.


140 Broadway
The developer Erwin S. Wolfson acquired the site in several stages between 1952 and 1961. Initial plans called for a 36-story monolith, but when Wolfson died, the architects modified their plans to a 51-story tower, which occupied only two-fifths of the block and conformed to the 1961 Zoning Resolution. The building was erected between late 1964 and 1967 and was originally known for its main tenant, the Marine Midland Corporation (later part of HSBC). Several early tenants were affiliated with the financial industry, including banking and accounting firms. In 1998, the building was sold to Silverstein Properties, which undertook a major renovation.


140 Broadway
The primary tenant of the building since 2002 is Brown Brothers Harriman, filling a vacancy left after HSBC relocated in 2001. The building has been owned by Union Investment since 2004, and the New York City Landmarks Preservation Commission designated the building as a city landmark in 2013. Reviews of the building among architecture critics have been largely positive, with several praising the structure's smooth black facade.


140 Broadway, Site
140 Broadway is located on an entire city block bounded to the west by Broadway, to the north by Liberty Street, to the east by Nassau Street, and to the south by Cedar Street. The block is an irregular trapezoid, with all of its frontages being of different lengths. The block measures 144 feet (44 m) along Broadway, 318 feet (97 m) along Liberty Street, 184 feet (56 m) along Nassau Street, and 301 feet (92 m) along Cedar Street.


140 Broadway, Site
The building occupies two-fifths of the block, and its footprint is rhomboid, matching the shape of the block with dimensions of between 87 and 209 feet (27 and 64 m). Roger N. Radford, the leader of the team that designed 140 Broadway, stated that many of the tenants he knew were unaware of the building's "funny shape".


140 Broadway, Site
Within 140 Broadway's immediate surroundings are One Liberty Plaza to the northwest; the Chamber of Commerce of the State of New York and the Liberty Tower to the north; the Federal Reserve Bank of New York Building to the northeast; 28 Liberty Street to the east; the Equitable Building to the south; the Trinity and United States Realty Buildings to the southwest; and Zuccotti Park to the west. Trinity Church and Wall Street are located two blocks south.


140 Broadway, Design
140 Broadway was designed by Skidmore, Owings & Merrill (SOM) in the International Style, with Gordon Bunshaft as the lead on the project. It was erected by the Diesel Construction Company, co-founded by prolific real-estate developer Erwin S. Wolfson, and led by Carl Morse at the time of the building's construction. Roger N. Radford was the design team's leader; Allan Labie was the project manager; Bradley B. Sullivan was the job captain; and James Ruderman was the structural engineer. Thomas Crimmins Construction Company were hired to excavate the site, and U.S. Steel provided the steel.


140 Broadway, Design
140 Broadway contains 51 stories and measures either 677 feet (206 m) or 688 feet (210 m) tall. It has about 21,000 to 24,000 square feet (2,000 to 2,200 m2) on each floor, or 1.2 million square feet (110,000 m2) total. The structure uses a frame weighing 14,000 short tons (12,000 long tons; 13,000 t). Because of 140 Broadway's energy efficiency, the U.S. Green Building Council has certified 140 Broadway as a Leadership in Energy and Environmental Design Gold structure.


140 Broadway, Design, Form and facade
The New York City Department of City Planning passed the 1961 Zoning Resolution in October 1960, and the new zoning rules became effective in December 1961, superseding the 1916 Zoning Resolution. Rather than the inclusion of setbacks that the old zoning laws had encouraged, the new zoning laws allowed skyscrapers to have a bulky massing with additional floor area, in exchange for the inclusion of ground-level open spaces. 140 Broadway's design strictly adhered to the 1961 law; according to Radford, the law "force[d] the mass of the building toward the center of the site".


140 Broadway, Design, Form and facade
Harry Helmsley, who took over the building's development after Wolfson's death, sought to emphasize the building's vertical axis. As a result, Radford decided to emphasize the vertical window-washing tracks along the black-aluminum facade. The facade is otherwise smooth, with glass panels as well as slightly-textured aluminum window trim. The western facade has three vertical bays of six windows each, while the eastern facade has four bays of six windows. The northern and southern facades each have seven bays of six windows.


140 Broadway, Design, Form and facade
Little else was attached to the facade, except for signs with the number 140 on both faces of either southern corner, as well as the name of the Marine Midland Bank on the Broadway and Cedar Street sides. There are numerous revolving doors on all four sides that provide access to the building.


140 Broadway, Design, Form and facade
Initial plans called for a rectangular building with a light-gray, grid-like facade made of concrete or aluminum. The building had been redesigned by 1965 to have a smooth facade that harmonized with the surrounding masonry buildings while standing out from its surroundings. One critic wrote that the previous design had 140 Broadway as "a little brother to [28 Liberty Street] in the same shiny finish", which he said "would have looked like a poor relation." Another compared the new plan to contemporary graphic design and Ad Reinhardt's "black" paintings.


140 Broadway, Design, Plaza
140 Broadway is set back 80 feet (24 m) from the curb on Broadway, 30 feet (9.1 m) from Cedar Street's curb, and 25 feet (7.6 m) from Liberty Street's curb. A public plaza is located in this intermediate space and is made of tiled white travertine. An entrance to the New York City Subway's Broad Street station existed on the plaza's southeast corner but was removed by 1999. A granite monument to Harry Helmsley is located at the plaza's southwest corner. The sidewalks on all sides of 140 Broadway are 20 feet (6.1 m) wide and are maintained by the New York City Department of Transportation rather than the building's owners, but are sometimes considered part of the plaza.


140 Broadway, Design, Plaza, The Cube
According to Radford, Bunshaft suggested that Isamu Noguchi be involved with the project. During the building's construction, Noguchi was commissioned to create a sculpture for the portion of the plaza facing Broadway. He had originally proposed a "megalith" or a "cluster of primitivisitic monoliths". However, Helmsley felt that the "megalith" would have cost too much. Subsequently, Bunshaft had suggested combining Noguchi's "series of rocks" into a single block.


140 Broadway, Design, Plaza, The Cube
Noguchi's final sculpture, titled The Cube, was installed in 1968. It is a vermilion-hued rhombohedron with a cylindrical hole through its center, standing upon one corner and measuring 28 feet (8.5 m) tall. The Cube is located off-center, on the north side of the plaza, contrasting with 140 Broadway's dark facade while turning viewers' attention toward the surrounding plaza. Like 140 Broadway, it was detailed by SOM, and has an aluminum frame. Bunshaft praised The Cube as "work[ing] beautifully with the building [in] every way", while Metropolitan Museum of Art director Thomas Hoving said that the cube was a sign of "change in public taste".


140 Broadway, History, Planning and construction
In 1952, Wolfson began purchasing land on the city block bounded by Cedar, Liberty, and Nassau Streets, and Broadway. The six plots on the block had been owned by different entities immediately prior to Wolfson's purchase, including The Clearing House, the National Bank of Commerce, and the Guaranty Trust Company (later part of J.P. Morgan & Co.), and had five buildings between nine and nineteen stories tall. These entities eventually sold all of their properties to J.P. Morgan, and in August 1961, Wolfson bought all six plots from J.P. Morgan.


140 Broadway, History, Planning and construction
At the time, Wolfson was planning a 32-story building on the site, a bulky mass that would conform with the 1961 Zoning Resolution, as well as allow for the widening of Liberty Street in conjunction with the construction of 28 Liberty Street, then known as One Chase Manhattan Plaza. Wolfson's building would have had masonry canopies protruding from the floor plates. Also in 1961, SOM was hired as the architecture firm for the proposed building.


140 Broadway, History, Planning and construction
Wolfson died suddenly in June 1962. Upon Morse's request, developer Harry Helmsley agreed to collaborate on the project, and Helmsley created the 140 Broadway Corporation. Lawrence A. Wien also became a sponsor of the project. The plans were modified in May 1963 to provide for a 40-story skyscraper occupying two-fifths of the block. The modified plans also provided for closing Cedar Street, thereby forming a pedestrian plaza extending to 28 Liberty Street, as well as adding subway entrances. By June 1964, Wolfson's estate and Helmsley were about to submit plans for the building.


140 Broadway, History, Planning and construction
Two months later, Wien withdrew from the project and Helmsley modified the building to have 49 floors, still occupying two-fifths of the block. The architects submitted a new-building application to the New York City Department of Buildings in early 1964, though minor changes to the plans were made in subsequent months.


140 Broadway, History, Planning and construction
Demolition of existing buildings on the site started in June 1964. The builders endeavored to reduce noise as much as possible: demolition took place only during off-peak hours, and heavy blankets were used to muffle the sound of blasting as well as contain the debris. Site excavation was completed in the middle of the following year, and construction of the building frame commenced, with 600 workers being employed. Keeping with the noise-reduction policy of the foundation's excavation, the building utilized a "butt-welded structural frame", which necessitated less time on the noisy processes of bolting and riveting.


140 Broadway, History, Planning and construction
One floor was built every two days, and 140 Broadway topped out during June 1966. One person working nearby stated that his lawnmower made more noise than the building's construction. Bunshaft recalled that the building's cost was higher than average "due to the wisdom of Wolfson initially, Helmsley waking up, and Carl Morse urging that it not be the cheapest building in the world but the most economical one...."


140 Broadway, History, Usage
In October 1965, Marine Midland Bank leased the two basements and the first 20 floors. Because the bank was the largest tenant at 140 Broadway, Helmsley's corporation gave the bank naming rights to the building. According to the bank's annual report for that year, 140 Broadway was to be the new headquarters of the bank. The second floor contained the main banking hall. By March 1967, the building was 90% rented. The Department of Buildings gave a temporary occupancy certificate that April, and certified the building as complete in October 1967.


140 Broadway, History, Usage
Other original tenants at the building included Clarke, Dodge Company; Delafield Delafield; Laird Company Corporation; and Control Data Corporation. Later tenants included Morgan Stanley, Paine Webber, Ernest & Ernest, the City Midday Club, Puerto Rico's government, and Helmsley's company Helmsley-Spear. In 1980, HSBC acquired a 51% controlling interest in the Marine Midland Corporation.


140 Broadway, History, Usage
After Helmsley died in January 1997, his widow Leona Helmsley sold off over a dozen of his properties. The New York Times wrote that 140 Broadway had "attracted the most attention from prospective buyers": although the building was only 59% occupied and required renovations, real estate in the Financial District was highly sought. After several bids were received from six "serious finalists", the building was sold to Larry Silverstein's company Silverstein Properties for $190 million in January 1998. Subsequently, Silverstein undertook a $60 million renovation and leased out much of the remaining space.


140 Broadway, History, Usage
At the time, Silverstein harbored concerns that HSBC, which occupied 40% of the space, would move out once its lease expired in 2002. HSBC subsequently moved its primary headquarters to the HSBC Tower in Midtown Manhattan in 2001. Brown Brothers Harriman & Co. was then signed as 140 Broadway's major tenant, moving to 20 floors.


140 Broadway, History, Usage
The building was purchased in 2004 by German firm Union Investment. On June 25, 2013, the New York City Landmarks Preservation Commission designated the Marine Midland Building as a New York City landmark. In January 2018, the building's owners proposed adding circular planters to the plaza, as well as adding "street furniture" on the sidewalk, which would potentially displace street vendors. Despite controversy over the plans, the Landmarks Preservation Commission approved the changes in March 2018. The designs for the renovated plaza call for planters to be installed on the section of the plaza on Liberty Street. By 2021, the building's owners were marketing Brown Brothers Harriman's space for rent.


140 Broadway, Incidents, Bombings
A bombing occurred on 140 Broadway's eighth floor on August 20, 1969, injuring 20 people. Police estimated the bomb to be the equivalent of 25 sticks of dynamite, making it among the city's strongest bomb blasts to date. The explosive was placed in a hallway just off the elevators some time during the evening and it exploded at around 10:30 pm. The injured were working on the night shift in the bank's stock bookkeeping department and were working on the other side of the corridor wall.


140 Broadway, Incidents, Bombings
The inside of this wall was lined with floor-to-ceiling automated file units that weighed 3 tons each and which absorbed most of the blast. Still, the blast moved the file units about a foot, blew out all the windows on that side of the building, and opened a 5-foot (1.5 m) hole in the reinforced concrete floor. The bomber, Sam Melville, was convicted of this and seven other 1969 Manhattan bombings and sentenced to 18 years in prison. He was killed by a state sharpshooter during the Attica Prison riot in September 1971. As a result of the bombing, the Marine Midland Company increased security.


140 Broadway, Incidents, Bombings
In 1972, Ronald Kaufman made an unsuccessful attempt to bomb the building by hiding an explosive in a bank vault. The building was again damaged in 1974, when Fuerzas Armadas de Liberación Nacional Puertorriqueña detonated a car bomb on the adjacent street. The bomb's force was equivalent to 40 sticks of dynamite and scattered debris for one and a half blocks.


140 Broadway, Incidents, Other incidents
On October 20, 1981, a fire occurred at 140 Broadway's 47th floor. When an elevator with five workers inside opened its doors on the 47th floor, the occupants were injured and had to manually seal the door. This prompted an investigation, which found that hundreds of New York City buildings' elevators did not have keys that enabled firefighters to navigate to specific floors. The elevators were supposed to have been upgraded as part of a 1973 law that mandated compliance with a new fire code, including upgrades to elevators that were activated by heat rather than automatically. The law had a deadline of September 1981, and after the fire at 140 Broadway, numerous landlords were given summonses for not complying with the new fire code.


140 Broadway, Incidents, Other incidents
In 1984, a disgruntled maintenance worker removed parts of 140 Broadway's air-conditioning system and stored these components elsewhere. After the air-conditioning system had been taken apart for the winter, the worker, Robert Rodriguez, dumped some crucial components of the air-conditioning system into a tank on the 37th floor, which served the building's sprinkler system. Some 10,000 workers lost air-conditioning for several weeks, being "uncomfortably warm" until June 1984, when Rodriguez was arrested and the parts of the air-conditioning system were retrieved by scuba divers.


140 Broadway, Critical reception
Reviews among architecture critics were largely positive. In 1968, Ada Louise Huxtable of The New York Times described 140 Broadway as "one of the handsomest [skyscrapers] in the city", enhanced by the inclusion of The Cube, and two years later, said that it was the "epitome of nineteen sixties sophisticated architectural elegance" contrasting with the Chamber of Commerce and One Liberty Plaza. Huxtable further stated in 1974 that 140 Broadway was "not only one of [the] buildings I admire most in New York, but that I admire most anywhere".


140 Broadway, Critical reception
Huxtable's successor at the Times, Paul Goldberger, said "the glass curtain wall is dark and refined, it is discreet", and ranked it as SOM's "best" New York City building. Goldberger later said that 140 Broadway probably had the "most beautiful glass 'skin' of any skyscraper in Manhattan". John Tauranac wrote that 140 Broadway was "Manhattan's most elegant tower", while John Morris Dixon, writing in Architectural Forum, said that 140 Broadway was among "the handsomest office buildings in the U.S.A."


140 Broadway, Critical reception
As early as 1996, architect Robert A. M. Stern had suggested that 140 Broadway was a viable candidate for official landmark status. Stern, in his book New York 1960 had said, "Its sleekly Modernist exteriors were an appropriate extension of the building's exterior minimalism", and had called The Cube one of the building's "most memorable aspects". The 2010 version of the AIA Guide to New York City characterized 140 Broadway as "a taut skin stretched over bare bones". 140 Broadway's design was widely imitated. In New York City, subsequent buildings that used a similar style included SOM's Solow Building and Emery Roth's 450 Park Avenue, as well as SOM's designs for 919 Third Avenue and 1166 Avenue of the Americas.


140 Corps Engineer Regiment, Royal Engineers
140 Corps Engineer Regiment was a short-lived Territorial Army (TA) unit of the Royal Engineers based  in the North Midlands of England during the 1960s.


140 Corps Engineer Regiment, Royal Engineers, Organisation
The regiment was formed on 1 May 1961 from individual batteries of TA Royal Artillery regiments that were being broken up. Three of these batteries were transferred to the Royal Engineers (RE) and redesignated as squadrons, giving the regiment the following composition:


140 Corps Engineer Regiment, Royal Engineers, Disbandment
140 Corps Engineer Rgt was disbanded in 1967 when the TA was reduced to the Territorial and Army Volunteer Reserve. RHQ was converted into RHQ for 73 Engineer Rgt at Nottingham, while elements of 438 and 575 Sqns went as infantry to the Derbyshire Battalion, Sherwood Foresters and 115 Sqn to the TAVR III contingent of the Leicestershire Regiment. In 1969 the Derbyshire Battalion was reduced to a cadre (later C (Derbyshire Foresters) Company in 3rd (Volunteer) Bn Worcestershire and Sherwood Foresters Regiment) and 575 (The Sherwood Foresters) Fd Sqn at Chesterfield and Derby was reformed in 73 Engineer Regiment.


140 Corps Engineer Regiment, Royal Engineers, Disbandment
575 Field Squadron was withdrawn from the army's order of battle under the 2020 Army Reserve structure changes and was disbanded in 2014, two troops and the Chesterfield TA Centre (Wallis Barracks) being transferred to 350 (Sherwood Foresters) Fd Sqn in 33 Engineer Regiment (EOD).


140 Days Under the World
140 Days Under the World is a 1964 New Zealand short documentary film about Antarctica. It was nominated for an Academy Award for Best Documentary Short.


140 Gower Street
140 Gower Street was the headquarters of the Security Service (MI5) from 1976 to 1994. The site was acquired by the Wellcome Foundation in 1998.


140 Gower Street, History
In the late 19th century the site at 140 Gower Street was occupied by a modest three-story building which was used by George J. W. Pitman, book publishers. Then in the first half of the 20th century the same building was used for the secondhand book section of H.K. Lewis & Company, book sellers.


140 Gower Street, History
In 1950 the site was acquired by a property developer. After the bookshop was demolished, the site was redeveloped and a new ten-story building constructed in the early 1950s. The new building was occupied by various government offices including the Commission on Industrial Relations. The Security Service (MI5), who had relocated from Leconfield House, occupied the new building, known simply as "140 Gower Street", in 1976: the Director-General's office was on the 6th floor. MI5 moved out of the building to Thames House in 1994 and the site was acquired by the Wellcome Foundation in 1998 and then redeveloped as "Babcock House".


140 Grime St
140 Grime St is the third studio album by British rapper Kano, released on 29 September 2008 by Bigger Picture Music. The album features guest appearances from Ghetts, Skepta, Wiley and Mikey J, with the latter three all contributing production.


140 Grime St, Background
The album came a year after Kano's second studio album, London Town, and after being dropped from 679 Recordings, a record label under Warner Music Group. Kano formed his own label imprint, Bigger Picture Music, deciding to return to a wholly grime approach for 140 Grime St. The album title is a reference to the tempo of grime production and is a continuation of the 'address' theme of his previous albums.


140 Grime St, Release and promotion
The first single was the track "Hustler", which Kano described as "the perfect single (as it explains so much)". Other songs from the CD include "Anywhere We Go", "I Like It" and the autobiographical "Aim for the Sky", in which Kano describes his rise to commercial prominence.


140 Grime St, Release and promotion
As of 2020, the album is unavailable to consume on digital streaming platforms or for purchase via digital download.


140 New Montgomery
140 New Montgomery Street, originally known as The Pacific Telephone & Telegraph Company Building, and, after 1984, as The Pacific Bell Building or The PacBell Building, in San Francisco's South of Market district, is an Art Deco mixed-use office tower located close to the St. Regis Museum Tower and the San Francisco Museum of Modern Art.


140 New Montgomery
The 26-floor building was designed to consolidate numerous smaller buildings and outdated offices into a modern headquarters for The Pacific Telephone & Telegraph Co., and as a result, was designated as the Pacific Telephone & Telegraph Co. Coast Division Offices by the company, though referred to colloquially as The Telephone Building. When it opened on May 30, 1925, The Pacific Telephone Building was San Francisco's first significant skyscraper development, and was the tallest building in San Francisco, until the Russ Building matched its height in 1927 at the time of its completion. The building was the first high-rise south of Market Street, and along with the Russ Building, remained the city's tallest until it was overtaken by 650 California Street in 1964. It was the first high rise located on the west coast to be occupied solely by a single tenant.


140 New Montgomery
AT&T sold the building in 2007, and as of 2013, Internet company Yelp is the main tenant.


140 New Montgomery, Construction and original tenant
At the time of its construction, it housed The Pacific Telephone & Telegraph Co., a member of the Bell System. The building once had a bell motif in many places on its façade, most notably surrounding the arch over the main entrance doors on New Montgomery Street. After the breakup of the Bell System (AT&T) in 1984, and the formation the Regional Bell Operating Companies, also known as the Baby Bells, Pacific Telephone changed its name to Pacific Bell.


140 New Montgomery, Construction and original tenant
Statues of eight eagles (each 13 feet (4.0 m) in height) perch atop the tower's crown. The building has an L—shaped floor plan, and the architecture decoratively incorporates spotlights to show the exterior's terra cotta ornamentation day and night.


140 New Montgomery, Construction and original tenant
In 1929, Sir Winston Churchill visited the building and made his first transatlantic telephone call, phoning his London home.


140 New Montgomery, Construction and original tenant
For 44 years until 1978, the top of the roof was used to convey official storm warnings to sailors at the direction of the United States National Weather Service, in the form of a 25 feet (7.6 metres) long triangular red flag by day, and a red light at night.


140 New Montgomery, In the 21st century
In 2007, the PacBell Building was sold by AT&T to Stockbridge Capital Group and Wilson Meany Sullivan for US$118 million. In 2008, the new owners filed plans to convert the tower into 118 luxury condominiums. However, those plans were put on hold during the 2008 financial crisis, and the building sat empty for nearly six years.


140 New Montgomery, In the 21st century
Following a surge in office demand in 2010–2011, Wilson Meany Sullivan changed the plans back to office space. Major renovation work began in February 2012, to improve the building's seismic performance, install all–new mechanical, electric, plumbing and fire sprinkler systems, and preserve and restore the building's historic lobby, at an estimated cost of US$80–100 million. In 2012, Yelp announced it had signed a lease on the building's 100,000 square feet (9,300 m2) of office space through 2020. After two expansions, the company held a total of almost 150,000 square feet (14,000 m2) on 13 floors in the fall 2015.


140 New Montgomery, In the 21st century
In April 2016, Pembroke Real Estate Inc., a Boston–based REIT, acquired 140 New Montgomery as part of its portfolio — its second acquisition in San Francisco. According to property records, Pembroke paid US$284 million for the property, at around US$962 per square foot.


140 New Montgomery, In the 21st century
The building as seen from Yerba Buena Gardens, near the San Francisco Museum of Modern Art


140 Proof
140 Proof is an advertising company that uses social data from many sources to target relevant ads based on consumers' interests as indicated by their social activity across networks.


140 Proof, History
140 Proof was launched in 2009 by Jon Elvekrog and John Manoogian III. The company partners with a large number of apps and social networks to use people's public social network activities to target relevant ads with the blended interest graph.


140 Proof, History
140 Proof began as an app-based network: its name is a reference to the 140-character limit on Twitter. 140 Proof does not serve ads on the Twitter website itself; instead its API is used by third-party apps to display targeted ads appearing on apps, social sites and mobile networks. Additionally, the service allows advertisers to run campaigns on blogging platforms like WordPress and Tumblr.


140 Proof, History
Brands advertising via 140 Proof’s API include Victoria’s Secret, UPS, Nike, AT&T, Microsoft, General Motors and Levi’s. While its largest market is the United States, 140 Proof also serves customers internationally.


140 Proof, History
In 2012 the company launched a platform to help big media brands monetize their content. The platform allows media brands to offer their advertisers social ads and access to their audience in settings beyond their home website. Additionally, media brands can use 140 Proof’s targeted advertising algorithms to reach people with interests similar to their existing audience.


140 Proof, History
During the 2012 U.S. elections, 140 Proof provided social advertising to political campaigns. Campaigns could custom-build target audiences for their ads, or choose from 140 Proof’s pre-built voter personas, which included “Swing Voters” and “Tea-Partiers”. The ad service worked best for customers campaigning at the state level or higher, because its targeting technology is more effective with larger audiences.


140 Proof, History
In 2014 the company was granted a patent for targeting users based on persona data. 140 Proof's patented method includes the steps of receiving an advertisement request from a third-party environment with associated content, identifying a content stream that includes a reference to the third-party content, identifying a persona based on the user associated with the identified content stream and serving an advertisement to the third-party environment based on the identified persona.


140 Proof, History
In August, 2016, 140 Proof was acquired by AcuityAds for up to $20 million in cash.


140 Proof, Mobile advertisements
140 Proof’s ads appear in mobile apps, mobile social reader apps, and mobile networks. Ads are targeted to specific audiences based on public interest graph data.


140 Proof, Mobile advertisements
In 2012, 140 Proof began offering video on any app running 140 Proof ads. Its first video ad campaign was for Chevrolet during the Super Bowl. The ads generated 50 million impressions in 2 days and resulted in 120,000 downloads of Chevy’s “Chevy Game Time” app. Like its text ads, the videos show up in users’ social streams on apps that run 140 Proof ads. Users can watch, rate and share the video without leaving the page.


140 Proof, The blended interest graph
Public social activity from the interest graph is the primary data source 140 Proof uses to make its ads more relevant. Apps using 140 Proof give the company a user ID list stripped of names, along with the public information in that user’s profile. 140 Proof’s algorithms assemble ‘personas’ of users based on keywords in users’ posts and who users are following. By combining information on several of a user’s stated interests, interest graphs allow 140 Proof to infer further about the user’s interests.


140 Proof, The blended interest graph
Brands can then choose personas toward which they can target their ads. For example, an advertiser might want to reach just sports fans, or either sports fans or mothers, or only sports fans who are also mothers.


140 Siwa
Siwa (minor planet designation: 140 Siwa) is a large and dark main-belt asteroid that was discovered by Austrian astronomer Johann Palisa on October 13, 1874, and named after Šiwa, the Slavic goddess of fertility.


140 Siwa
The Rosetta comet probe was to visit Siwa on its way to comet 46P/Wirtanen in July, 2008. However, the mission was rerouted to comet 67P/Churyumov-Gerasimenko and the flyby had to be abandoned.


140 Siwa
Attempts to measure the rotation period of this asteroid have produced inconsistent results ranging from 14.7 to 32 hours. Photometric observations of this asteroid at the Organ Mesa Observatory in Las Cruces, New Mexico during 2010 gave an irregular light curve with a period of 34.407 ± 0.002 hours and a brightness variation of 0.05 ± 0.01 in magnitude.


140 Siwa
A 2004 study of the spectrum matched a typical C-type asteroid with typical carbonaceous chondrite makeup. There are no absorption features of mafic minerals found. The classification was later revised to a P-type asteroid.


140 Squadron (Israel)
140 Squadron of the Israeli Air Force, also Golden Eagle Squadron, is an F-35I "Adir" squadron based at Nevatim Airbase in Israel.


140 Squadron (Israel)
Formerly an F-16A/B squadron, the squadron was closed on 2 August 2013, as part of IDF budget cuts, its aircraft allocated to 116 Squadron (Defenders of the South).


140 Squadron (Israel)
In 2015 it was announced that the "Golden Eagle" will be the first Lockheed Martin F-35 Lightning II Squadron in the IAF. The squadron received its first two aircraft on December 12, 2016.


140 Squadron, Republic of Singapore Air Force
The 140 Squadron "Osprey" of the Republic of Singapore Air Force currently operates twelve F-16 Fighting Falcon of the F-16C/D Block 52 version. Based in Tengah Air Base, the squadron goes by the motto "Stand Firm in Defence" with the Osprey adopted as its mascot.


140 Squadron, Republic of Singapore Air Force, History
The Squadron was set up in September 1970 as Singapore's first Air Defence Fighter Squadron and received their first aircraft - twenty refurbished Hawker Hunters aircraft in July 1970. The Hawker Hunters served faithfully for twenty years, after which they were replaced by the F-16A/Bs in 1990. These were, in turn, replaced by newer F-16C/Ds in 2000 and were subsequently transferred to Royal Thai Air Force the same year.


140 Squadron, Republic of Singapore Air Force, Information
The tail is adorned with a red checkered tailband. The squadron's logo is centered with the serial number on the base of the tail. This scheme was already applied during the F-16A/B era.


140 Squadron, Republic of Singapore Air Force, Achievements
140 Squadron is also a consistent winner in the annual Singapore Armed Forces Best Unit Competition for the Air Force, having emerged as the Best Fighter Squadron since the competition's inception back in 1985. Namely: 1985, 1987, 1991, 1992, 1993, 1994, 1996, 1999, 2003, 2006, 2007, 2009, 2016.


140 Squadron, Republic of Singapore Air Force, Achievements
140 Squadron won the Best Squadron for the Hotshot Challenge 2016. It celebrated its 45th anniversary in 2015 and won the Best Fighter Squadron.


140 Squadron, Republic of Singapore Air Force, Latest photo
A retired 140 Sqn Hawker Hunter FGA.74S - serial number 527, parked outside the RSAF Museum.


140 Squadron, Republic of Singapore Air Force, Latest photo
Pilots of 140 Sqn responding to a simulated quick reaction alert (QRA) to scramble their F-16Cs.


140 St Georges Terrace
140 St Georges Terrace is a 30-storey skyscraper in Perth, Western Australia. Opened in 1975, the 131-metre (430 ft) tower was known as the AMP Building or AMP Tower after its owner and former flagship tenant, AMP Limited. The building became the tallest completed skyscraper in Perth in 1975, a title which it held only until 1976, when Allendale Square was opened.


140 St Georges Terrace, Site history and construction
The site at the corner of St Georges Terrace and William Street known as "Carr's Corner" was purchased by AMP in 1910, and in 1915 the AMP Chambers designed by Oldham and Cox were built on the corner. This six-storey building was clad with sandstone, and the interior was decorated with jarrah.


140 St Georges Terrace, Site history and construction
The top of the building featured an iconic bronze statue, which became a landmark atop the chambers. The 12-foot (3.7 m) high statue depicted four figures: a central figure symbolised protection, and it was flanked by a man, woman and child. Weighing around 2,000 pounds (910 kg), the sculpture was hollow with a wooden base and was thought to have been made in Europe.


140 St Georges Terrace, Site history and construction
When AMP announced plans to demolish the building and erect in its place a modern skyscraper, the National Trust refused to classify the building as in need of protection. The Trust Administrator N.J. Armitage instead applauded the development and the open space that would be created in the forecourt of the new tower. Although the building could not be saved from demolition, the iconic statue atop it was saved by Clive Rutty and purchased by millionaire collector Lew Whiteman, who paid $1000 for it.


140 St Georges Terrace, Site history and construction
When the statue was removed from the building on 19 March 1972, a piece of wood was found within it with the names on it of the four men who erected it in October 1914. AMP later asked to buy the statue back from Whiteman, and he told them they did not deserve it. After the death of Whiteman, the statue was bought at auction for A$60,800 by the land developers, Sherwood Overseas, and placed in its current position as a contribution to public art. It now stands in the centre of a lake of Floreat Waters, on the western side of Herdsman Lake.


140 St Georges Terrace, Site history and construction
The developers were allowed to build their tower beyond the allowable plot ratio because of planning concessions awarded in return for the provision of public amenities, namely the open space in front of the building and seats provided for the public. A further bonus was given for the linking of the development with the Elders development across St Georges Terrace. Demolition of the old building started in May 1972; construction on the foundations of the office tower then proceeded, and the construction of the tower was completed in 1975.


140 St Georges Terrace, Site history and construction
The building originally housed an observation deck on the 29th floor, offering sweeping views across the central business district. However, when both its west and east views were blocked by the construction of the BankWest Tower in 1988 and Central Park in 1992, this observation deck was closed.


140 St Georges Terrace, Post-completion
When the tower was first built in 1975, an "iconic" commissioned sculpture by Howard Taylor was installed in its forecourt. The sculpture, entitled "The Black Stump", was constructed of concrete and mosaic tile and weighed more than 28 tonnes (62,000 lb). It was relocated to the University of Western Australia in 1990, where it has remained beside the Octagon Theatre ever since.


140 St Georges Terrace, Post-completion
The building was used by AMP as its state headquarters from its opening in 1975 until 2002 when most of its staff moved to West Perth offices. The last AMP staff shifted out of the building in 2003.


140 St Georges Terrace, Post-completion
Since 1997, the tower has been used as a launching pad for some shells in the annual Lotterywest Skyworks fireworks display.


140 St Georges Terrace, Post-completion
Owned by AMP companies since 1915, the building was put on the market by owner AMP Asset Management in 2000 and was expected to fetch A$80 million. A Perth-based syndicate headed by Brett Wilkins offered to buy the tower for between $75 and 80 million. However, the property failed to sell,and remained within AMP ownership. In August 2005,the building was sold by AMP Life Statutory Fund No 1 to the AMP-managed Australian Core Property Portfolio for $153.5 million.


140 St Georges Terrace, Post-completion, Refurbishments
In 1992, the building underwent refurbishment, but this was mostly only minor cosmetic refurbishment. Coinciding with the completion of Central Park, the $15 million project was conducted by Multiplex. The refurbishment involved a facelift for the ground floor lobby, including polished granite flooring, wall panelling and coffered ceilings with concealed lighting, improved revolving doors, new glass and planter boxes. The facelift also saw the repaving of the building's forecourt with cobblestone, new landscaping, further public seating and the integration of the tower's underground car parking with Central Park's.


140 St Georges Terrace, Post-completion, Refurbishments
Despite the 1992 refurbishment, by 2000 the building was already widely regarded as in need of an upgrade. In 2003, when the building was "almost empty", an extensive refurbishment of the building was undertaken, at a cost of A$34 million. The largest office tower refurbishment in Perth's history, work started in April 2003. The refurbishment was mostly an internal one, refreshing office floors and replacing building services such as air conditioning and lifts. The bulk of the facade remained unchanged, aside from a new "two-storey high, 15-metre long bronzed-glass canopy" at ground level. The glass of the canopy is coated with small white dots which have a shading effect during the day, but uplighting produces a white ceiling effect at night. This canopy was intended to give the tower a more prominent entrance. The refurbishment also involved the installation of new conference facilities.


140 St Georges Terrace, Post-completion, Refurbishments
The 2003 refurbishment was designed by architects Cox Howlett & Bailey Woodland, and the refurbishment contract won by Multiplex. The project took until 2005,finishing on-time and on-budget. The refurbishment was a success, with the building going from "sparesely occupied" at the start of the refurbishment project to "practically full" in 2006. The refurbishment was also expected to give the tower a "4.5 Australian Building Greenhouse Rating" due to its new, energy-efficient lifts, air conditioning, window tinting and double glazing.


140 St Georges Terrace, Design
140 St Georges Terrace features a service core design, with the concrete core containing the lifts and two stairwells. The perimeter of the square cross-section tower features load-bearing columns, allowing the office floors to remain mostly column-free. The building has one service lift and twelve passenger lifts: six for the low-rise portion of the building (floors 1–14) and six for the high-rise (floors 15–28). The low-rise and high-rise portions of the building are clearly visible on the exterior of the building, as they are separated by a plant level.


140 St Georges Terrace, Design
The base of the tower is located 15 metres (49 ft) above sea level, and the roof of the building rises 131 metres (430 ft) above the street below. The building has 28 office levels, in addition to the ground floor, basement levels and plant room. According to Emporis, the 29th (top) floor was once an observation level which closed following the construction of the taller BankWest and Central Park towers around it. The floor-to-floor height in the tower is 3,660 mm (144 in), and the ceiling height is 2,740 mm (108 in). The building has 29,800 m2 (321,000 sq ft) of net lettable area, and has an underground car park with 260 spaces.


140 West 57th Street
140 West 57th Street, also known as The Beaufort, is an office building on 57th Street between Sixth Avenue and Seventh Avenue in Midtown Manhattan in New York City. It was built from 1907 to 1909 and designed by Pollard and Steinam, who also simultaneously designed the neighboring, nearly identical building at 130 West 57th Street. The buildings are among several in Manhattan that were built in the early 20th century as both studio and residences for artists.


140 West 57th Street
140 West 57th Street is fifteen stories tall, with fourteen stories facing 57th Street, as well as a penthouse. The lowest two stories of the primary facade along 57th Street are clad in limestone, while the upper stories are clad in brick. The facade contains both broad and narrow bays with metal-framed studio windows, some of which are double-height. Along 57th Street, there are cornices above the second story. There were double-height studios on the 57th Street side and smaller residences at the back of the building.


140 West 57th Street
140 West 57th Street was developed upon land owned by artist Robert Vonnoh. Although marketed as artists' studios, 140 West 57th Street was also home to lawyers, stock brokers, teachers, and other professionals. The building was converted into a rental-apartment structure in 1944, and was subsequently converted into an office building during the late 20th century. 140 West 57th Street was designated a city landmark by the New York City Landmarks Preservation Commission in 1999.


140 West 57th Street, Site
140 West 57th Street is on the southern side of 57th Street between Sixth Avenue and Seventh Avenue, two blocks south of Central Park in the Midtown Manhattan neighborhood of New York City. According to the New York City Department of City Planning, the lot measures 80 feet (24 m) wide along 57th Street and is 100 feet (30 m) deep. The building abuts Metropolitan Tower to the west and 130 West 57th Street to the east.


140 West 57th Street, Site
Other nearby buildings include the Russian Tea Room, Carnegie Hall Tower, and Carnegie Hall to the west; the Louis H. Chalif Normal School of Dancing and One57 to the northwest; the Nippon Club Tower and Calvary Baptist Church to the north; 111 West 57th Street to the northeast; the Parker New York hotel to the east; and CitySpire, New York City Center, and 125 West 55th Street to the south.


140 West 57th Street, Site
130 and 140 West 57th Street are part of an artistic hub that developed around the two blocks of West 57th Street from Sixth Avenue west to Broadway during the late 19th and early 20th centuries, following the opening of the nearby Carnegie Hall in 1891. Several buildings in the area were constructed as residences for artists and musicians, such as 130 and 140 West 57th Street, the Rodin Studios, and the Osborne Apartments, as well as the demolished Sherwood Studios and Rembrandt. In addition, the area contained the headquarters of organizations such as the American Fine Arts Society, the Lotos Club, and the American Society of Civil Engineers. The sites occupied by 130 and 140 West 57th Street were historically occupied by brownstone townhouses in the late 19th century.


140 West 57th Street, Design
140 West 57th Street was designed by Pollard and Steinam, who also designed the neighboring studios at 130 West 57th Street. Both structures were constructed simultaneously and were designed nearly identically as studio apartments for artists. 140 West 57th Street is 150 feet (46 m) tall; the front portion along 57th Street contains 14 stories while the rear portion contains 12 stories. The building has also historically been known as The Beaufort. It is one of a few remaining artists' studio buildings in New York City with distinct living and working spaces for artists.


140 West 57th Street, Design, Facade
The main facade overlooking 57th Street consists of five vertical bays, which contain metal windows and are separated by brick piers. The westernmost, center, and easternmost bays are wider, and alternate with two narrower bays. The rear facade is made of brick.


140 West 57th Street, Design, Facade
The base is composed of the first and second stories. At the base, the central bay contains a slightly projecting entrance pavilion clad with rusticated and vermiculated limestone blocks. Within this entrance pavilion is an arch with voussoirs flanking a volute above the top of the arch, and a double door flanked by a pair of flat pilasters. The remainder of the base contains storefronts or store entrances on the first story. The second story contains multi-section rectangular windows in the wide bays and pairs of sash windows in the narrow bays. Atop the second story is a projecting terracotta cornice, which contains a frieze with alternating circles and triglyphs, as well as a pattern of mutules alternating with rosettes or lozenges on the underside of the cornice.


140 West 57th Street, Design, Facade
The twelve upper stories are similar in design to each other and contain several types of windows. The windows in the outermost wide bays, and on the third through tenth stories of the center bay, project slightly from the facade and contain trapezoidal frames. The outermost bays contain double-height windows. These double-height windows were designed to maximize sun exposure. The windows in the narrow bays, and in the eleventh through fourteenth stories of the center bay, do not project. In all bays, there are geometric white-painted spandrels between the windows on each story, and the windows have white mullions. The original design contained a metal cornice above the fourteenth story, matching that of 130 West 57th Street, but the cornice was removed sometime in the 20th century.


140 West 57th Street, Design, Interior
The building was designed with 36 studios. Its location on the south side of 57th Street, a major road that was wider than parallel streets, ensured that the interiors would be brightly lit by sunlight from the north, for the benefit of the artists working there. The interiors contained double-height studios, characterized by House Beautiful magazine as "a splendid backdrop for tapestry or painting". The double-height studios were behind the wide bays facing 57th Street, and each contained a living room, kitchen, four bedrooms, and servants' rooms.


140 West 57th Street, Design, Interior
Behind the narrow bays were studio rooms, some of which could be used as separate apartments. There were smaller apartments in the rear, which contained two bedrooms and a kitchenette. The building had separate elevators for passengers and freight, as well as resident amenities such as a vacuum cleaning facility, a laundry room, a mail chute, dumbwaiters, and telephone service in each residence.


140 West 57th Street, Design, Interior
140 West 57th Street was altered in 1998 and reclassified as a mid-rise office building with commercial units. According to the Department of City Planning, the building has a gross floor area of 90,000 square feet (8,400 m2) and has a single unit. Renovation plans released in 2020 indicate that the building is to be converted into commercial units, with two per floor.


140 West 57th Street, History
Cooperative apartment housing in New York City became popular in the late 19th century because of overcrowded housing conditions in the city's dense urban areas. When 140 West 57th Street was constructed, there were some co-ops in the city that catered specifically to artists, including the Bryant Park Studios and the Carnegie Studios, but these were almost always fully occupied and did not provide adequate space for artists to both live and work.


140 West 57th Street, History
The 67th Street Studios, constructed between 1901 and 1903 at 23–29 West 67th Street near Central Park, were the first artists' cooperatives in the city that were also specifically designed to provide duplex working and living areas for artists. The success of the 67th Street Studios prompted the development of other artists' studios in that area.


140 West 57th Street, History, Artists' studios
Robert Vonnoh, an artist residing in one of the 67th Street Studios, bought four brownstone townhouses at 134–142 West 57th Street in mid-1907. Ownership of the brownstones was transferred to the 136 West 57th Street Corporation that August. The corporation was operated by president Walter G. Merritt and secretary Payson McL. Merrill. Pollard and Steinam were hired to design a $500,000 apartment house at the site, with seven double-height stories in the front and twelve single-height stories in the rear.


140 West 57th Street, History, Artists' studios
The architects had also been hired for the nearly identical, adjacent development at 130 West 57th Street, developed by the same individuals. Building permits for 140 West 57th Street were filed with the New York City Department of Buildings in December 1907. The construction contract was awarded to William J. Taylor, and funded with a $475,000 loan from the Metropolitan Life Insurance Company. The building was completed in January 1909.


140 West 57th Street, History, Artists' studios
Although marketed as artists' studios, 140 West 57th Street was also home to lawyers, stock brokers, teachers, and other professionals. The tenants included opera singer Beniamino Gigli, as well as sculptor and forger Ernest Durig. The building originally had an entrance staircase, but it was removed in 1922 as part of a project to widen West 57th Street. Sometime during the 20th century, the original cornice was removed and the ground story storefronts were installed.


140 West 57th Street, History, Later use
The building was converted to a rental apartment in 1944. The Dry Dock Savings Institution sold the building to an investment syndicate for $335,000 cash in January 1945. The building was resold to the Parkbridge Corporation in late April 1945, and resold again within one week. At the time, 140 West 57th Street had 68 residential units and two stores.


140 West 57th Street, History, Later use
When Macklowe Properties bought 140 West 57th Street in 1981, the building still contained residential units. Harry Macklowe, the head of Macklowe Properties, transferred some of the air rights above 140 West 57th Street to the adjacent plot to the west in 1984. This enabled the Metropolitan Tower, which was being built on that plot, to be erected at a greater height than would be normally allowed under zoning codes. Macklowe also planned to reface 140 West 57th Street with a glass facade, but he decided against doing so.


140 West 57th Street, History, Later use
Planet Hollywood opened a location at the building's base in 1991, and the Motown Cafe and Planet Hollywood's Merch Shop occupied the storefronts at 130 and 140 West 57th Street. Macklowe wished to convert the building to office space, and between 1995 and 1998, bought out the last residents. The New York City Landmarks Preservation Commission (LPC) designated 130 West 57th Street as an official city landmark on October 19, 1999.


140 West 57th Street, History, Later use
The Planet Hollywood at the building's base had closed by late 2000, when the restaurant moved to Times Square. During the early 21st century, office tenants included a consultant group, a violin reseller, a triathlon athletes' specialty company, and a jewelry showroom. By 2008, Macklowe was in debt and placed 140 West 57th Street for sale; The Feil Organization purchased 140 West 57th Street the next year for $59 million.


140 West 57th Street, History, Later use
In 2015, Feil hired Goldstein Hill & West to conduct a study on the feasibility of converting the building back to residential use, and the architects found that the building could be expanded by about 11,000 square feet (1,000 m2). Feil stopped renewing leases for 140 West 57th Street's office plans in early 2016, and Goldstein Hill & West filed plans that November to convert the building to 34 residential condominiums. After Feil found that the air-rights transfer in 1984 prevented the expansion of the building, the company sued Goldstein Hill & West. MdeAs Architects submitted revised plans to the LPC in July 2020, which entailed modifying the facade, reinstalling the cornice, expanding the 13th story at the rear, and converting the interior to a commercial structure.


140 William Street
140 William Street (formerly BHP House) is a 41-storey steel, concrete and glass building located in the eastern side of the central business district of Melbourne, Victoria, Australia. Constructed between 1969 and 1972, BHP House was designed by the architectural practice Yuncken Freeman alongside engineers Irwinconsult, with heavy influence of contemporary skyscrapers in Chicago, Illinois. The local architects sought technical advice from Bangladeshi-American structural engineer Fazlur Rahman Khan, of renowned American architectural firm Skidmore, Owings & Merrill, spending ten weeks at its Chicago office in 1968.


140 William Street
At the time, BHP House was known to be the tallest steel-framed building and the first office building in Australia to use a “total energy concept” – the generation of its own electricity using BHP natural gas. The name BHP House came from the building being the national headquarters of BHP. BHP House has been included in the Victorian Heritage Register (Number H1699) for significance to the State of Victoria for following three reasons:


140 William Street, Key influences and design approach
Containing 41 floors and standing at 152m tall, BHP House was designed in a ‘Modern Style’ during the 1960s. The design was promoting the use of steel in Australian construction and sought to establish new national height standards for a steel-framed structure. Consisting of three dominant materials - steel, concrete and glass - BHP House was the tallest building in the city upon completion.


140 William Street, Key influences and design approach
The building's expressed gridded structure was a clear break from the sheer curtain walls of the 1950s and 1960s, and like the pioneering skyscrapers of Mies van der Rohe, it was designed as a three dimensional sculptural monument, detached from the surrounding cityscape. In the architectural field, BHP House is regarded as one of the most notable projects by Yuncken Freeman Architects due to cutting edge techniques for an office building such as flush glazing, minimalist interiors and expressed structural bracing.


140 William Street, Key influences and design approach
Yuncken Freeman carried out a series of experiments for the design proposals of BHP House in the construction processes of their own offices in 1970, located at 411-415 King Street, Melbourne. Under the advice of Fazlur Khan, a structural engineer from Skidmore, Owings & Merrill, the design revolves around four basic components in order to reinvent the tower as a ‘cantilever’ and achieve the properties of a ‘giant stiff structural tube’. The four components consist of a steel-framed flooring system, a steel-framed central core, a steel and glass façade, and steel trusses that connect the central core to the façade.


140 William Street, Key influences and design approach
Innovative techniques were employed to lay the foundations of the building – a concrete raft which was poured in a single continuous action. The weight of the floor structure was reduced by using open-web steel beams and a lightweight layer of concrete. Along with cap and belt trusses, this flooring system performed a stiffening effect and allowed structural loads to be transferred down through the central steel-framed core and the outer steel-framed façade, eradicating the need for internal columns and providing flexibility for internal spaces.


140 William Street, Key influences and design approach
The design of the building was also notable for the ‘total energy system’ which allowed electrical generation using BHP natural gas. BHP House set the standard for many subsequent office buildings and led to the change of Melbourne Town Planning Codes which were altered to cater for increased building heights and floor areas. When completed, it was the second tallest building in Australia behind Australia Square.


1400
Year 1400 (MCD) was a leap year starting on Thursday (link will display the full calendar) of the Julian calendar. The year 1400 was not a leap year in the Proleptic Gregorian Calendar.


1400 AM
The following radio stations broadcast on AM frequency 1400 kHz. 1400 kHz is defined as a Class C (local) frequency in the coterminous United States and such stations on this frequency are limited to 1,000 watts. U.S. stations outside the coterminous United States (Alaska, Hawaii, Puerto Rico, & the U.S. Virgin Islands) on this frequency are defined as Class B (regional) stations.


1400 Guineas Stakes
The 1400 Guineas Stakes was a flat horse race in Great Britain open to thoroughbreds aged four years. It was run at Newmarket and was one of the most important races of the second half of the 18th century.


1400 Guineas Stakes, History
The 1400 Guineas was established in 1757 to be first run on the Monday before the first Thursday in October 1758. It was established by the 2nd Marquess of Rockingham, Marquess of Granby, 2nd Earl of Northumberland, 1st Earl of Gower, Sir James Lowther, Thomas Panton and Jenison Shafto. They agreed the race was to be run over the Beacon course at Newmarket and would be open to four-year-old colts and fillies. They paid a 200 guineas subscription each to enter their horse. Colts would carry 8 st 7 lb and fillies 8 st 4 lb.


1400 Guineas Stakes, History
The race was initially to be run for five consecutive years from 1758, but was subsequently renewed in 1763. The weights were changed in 1768, with colts carrying 8 st 10 lb and fillies 8 st 7 lb. The race was discontinued after 1782 and a similar race was started for three-year-olds in 1784.


1400 Smith Street
1400 Smith Street (formerly Enron Complex) is a 691 ft (211 m) tall skyscraper located in downtown Houston, Texas, United States. The building has 50 floors and is the 11th tallest building in the city. Designed by architectural firm Lloyd Jones Brewer and Associates, the building was completed in 1983. The 1,200,000-square-foot (110,000 m2) office tower is situated on Houston's six-mile (10 km) pedestrian and retail tunnel system that links many of the city's downtown towers. It was formerly Four Allen Center, a part of the Allen Center complex.


1400 Smith Street
The building was the former headquarters of Enron, one of America's largest commodities trading companies during the 1990s and later infamous for its financial scandal in 2001. 1400 Smith Street was originally known as Four Allen Center prior to Enron relocating to Houston in 1985. Before Enron's collapse, the energy giant constructed a second, similar building across the street, connected to 1400 Smith Street by a circular skywalk.


1400 Smith Street
In 2006, Brookfield Properties acquired the 1,200,000-square-foot (110,000 m2) Four Allen Center for $120 million. At the same time, Brookfield announced that Chevron USA signed a lease for the entire building. Brookfield held 4 Allen Center in a joint partnership with the private equity group The Blackstone Group. As of 2006, the joint venture has 7,400,000 square feet (690,000 m2) of office space in Downtown Houston, making it the largest office owner in the central business district.


1400 Smith Street
Beginning in 2006, Chevron leased the entirety of the building. Earlier in 2011 Brookfield Properties, the owner of the building, searched for a prospective buyer. In June 2011, Chevron bought the building from Brookfield for $340 million. Brookfield confirmed the purchase on June 24, 2011. If Chevron had not fully occupied the building, Brookfield would have put the building on the market, and Holliday Fowler Fenoglio LP would have had the listing.


1400 Tirela
1400 Tirela (prov. designation: 1936 WA) is an asteroid and the parent body of the Tirela family, located in the outer regions of the asteroid belt. It was discovered on 17 November 1936, by French astronomer Louis Boyer at the Algiers Observatory in North Africa. The asteroid has a rotation period of 13.4 hours and measures approximately 16 kilometers (9.9 miles) in diameter. It was named after Charles Tirel, a friend of the discoverer.


1400 Tirela, Orbit and classification
Tirela is the parent body of the Tirela family, a fairly large asteroid family, also known as the Klumpkea family, after its largest member 1040 Klumpkea. It orbits the Sun in the outer main belt at a distance of 2.4–3.9 AU once every 5 years and 6 months (2,018 days). Its orbit has an eccentricity of 0.23 and an inclination of 16° with respect to the ecliptic. The asteroid was first identified as 1930 UQ at Lowell Observatory in October 1930. The body's observation arc also begins at Lowell Observatory, with a precovery taken the night before its first identification.


1400 Tirela, Naming
This minor planet was named after Charles Tirel a friend of discoverer Louis Boyer- The official naming citation was mentioned in The Names of the Minor Planets by Paul Herget in 1955 (H 127).


1400 Tirela, Physical characteristics
In both the Tholen- and SMASS-like taxonomy of the Small Solar System Objects Spectroscopic Survey (S3OS2), Tirela is a dark D-type asteroid. Conversely, the overall spectral type of the Tirela family is that of an S-type which agrees with the determined albedo (see below) by WISE and Akari.


1400 Tirela, Physical characteristics, Rotation period and poles
In the early 2000s, a rotational lightcurve of Tirela was obtained from photometric observations by a group of Hungarian astronomers. Lightcurve analysis gave a rotation period of 13.356 hours with a brightness amplitude of 0.55 magnitude (U=2), superseding the result from a previous observation that gave a period of 8 hours. A 2016-published lightcurve, using modeled photometric data from the Lowell Photometric Database, gave a concurring sidereal period of 13.35384±0.00001 hours, as well as two spin axis of (58.0°, −80.0°) and (297.0°, −41.0°) in ecliptic coordinates (λ, β).


1400 Tirela, Physical characteristics, Diameter and albedo
According to the surveys carried out by the Japanese Akari satellite and the NEOWISE mission of NASA's WISE telescope, Tirela measures between 14.67 and 15.697 kilometers in diameter and its surface has an albedo between 0.216 and 0.227. The Collaborative Asteroid Lightcurve Link assumes a standard albedo for carbonaceous asteroids of 0.057 and calculates a diameter of 29.21 kilometers based on an absolute magnitude of 11.4.


1400 in Scotland
Events from the year 1400 in the Kingdom of Scotland.


1400s (decade)
The 1400s ran from January 1, 1400, to December 31, 1409.


1400s BC (decade)
The 1400s BC is a decade which lasted from 1409 BC to 1400 BC.


1400s in art
The decade of the 15th century in art involved some significant events.


1400s in poetry
Nationality words link to articles with information on the nation's poetry or literature (for instance, Irish or France).


1400s in poetry, Births
Death years link to the corresponding "[year] in poetry" article:


1400s in poetry, Deaths
Birth years link to the corresponding "[year] in poetry" article:


1400–1500 in European fashion
Fashion in 15th-century Europe was characterized by a series of extremes and extravagances, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing doublets and hose of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jewelled, and feathered.


1400–1500 in European fashion
As Europe continued to grow more prosperous, the urban middle classes, skilled workers, began to wear more complex clothes that followed, at a distance, the fashions set by the elites. It is in this time period that we begin to see fashion take on a temporal aspect. People could now be dated by their clothes, and being in "out of date" clothing became a new social concern. National variations in clothing seem on the whole to have increased over the 15th century.


1400–1500 in European fashion, General trends, New trends emerge among the Danes
The Lübeckian chronicler Arnold mocked changes in Danish attire he attributes to the increasing economic power of the Danes:


1400–1500 in European fashion, General trends, New trends emerge among the Danes
The Danes, who imitate the habits of the Germans...are now adopting the dress and weapons of other nations. Previously, they dressed like seamen because they lived by the coast and were always preoccupied with ships, but now they clothe themselves not only in scarlet, parti-coloured and grey furs, but also in purple and fine linens. The reason for this is that they have all become very rich due to the fishing that takes place every year around Scania.... They catch the herring at no cost to themselves, by the abundant grace of God, while the merchants offer the best they have in order to secure a good bargain - and sometimes even lose their lives in shipwrecks.


1400–1500 in European fashion, General trends, New trends emerge among the Danes
Historians conjecture that the raw materials used to make clothing changed along with the styles, from wool to linens, as well as the colors of the textiles, and the types of weave, from homespun grey woolens to imported red and darkly colored textiles.


1400–1500 in European fashion, General trends, Dominance of the Burgundian court
With England and France mired in the Hundred Years War and its aftermath and then the English Wars of the Roses through most of the 15th century, European fashion north of the Alps was dominated by the glittering court of the Duchy of Burgundy, especially under the fashion-conscious power-broker Philip the Good (ruled 1419–1469). Having added Holland and Flanders to their dominion, the Dukes of Burgundy had access to the latest fabrics of Italy and the East and to English wool exports through the great trading cities of Bruges and Antwerp.


1400–1500 in European fashion, General trends, Dominance of the Burgundian court
Purchases of fabrics through Italian merchants like the two cousins both named Giovanni Arnolfini amounted to a noticeable proportion of all government expenditure. Especially in Florence, where sumptuary laws prevented the citizens from wearing the most luxurious cloths on which the city's fortunes were built, the materials of men's clothing in particular often appear plain in paintings, but contemporaries who understood the difference in grades of cloth very well would have appreciated the beauty and great expense of a very fine grade.


1400–1500 in European fashion, General trends, Fabrics and fur
Wool was the most popular fabric for all classes by far, followed by linen and hemp. Wool fabrics were available in a wide range of qualities, from rough undyed cloth to fine, dense broadcloth with a velvety nap. High-value broadcloth was a backbone of the English economy and was exported throughout Europe.


1400–1500 in European fashion, General trends, Fabrics and fur
Wool fabrics were dyed in rich colours, notably reds, greens, golds, and blues, although the actual blue colour achievable with dyeing with woad (and less frequently indigo) could not match the characteristic rich lapis lazuli pigment blues depicted in contemporary illuminated manuscripts such as the Très Riches Heures du duc de Berry.


1400–1500 in European fashion, General trends, Fabrics and fur
Silk weaving was well established around the Mediterranean by the beginning of the 15th century, and figured silks, often silk velvets with silver-gilt wefts, are increasingly seen in Italian dress and in the dress of the wealthy throughout Europe. Stately floral designs featuring a pomegranate or artichoke motif had reached Europe from China in the 14th century and became a dominant design in the Ottoman silk-producing cities of Istanbul and Bursa, and spread to silk weavers in Florence, Genoa, Venice, Valencia, and Seville in this period.