Attachment E

Total Page:16

File Type:pdf, Size:1020Kb

Attachment E ATTACHMENT E BANKAMERICARD PLAZA 101 S. Marengo Avenue Pasadena, CA HISTORIC RESOURCES EVALUATION Prepared for: Rising Realty 523 W. 6th St., #600 Los Angeles, CA 90014 Prepared by: November 10, 2015 BANKAMERICARD CENTER, 101 S MARENGO AVE, PASADENA NOVEMBER 10, 2015 HISTORIC RESOURCES EVALUATION TABLE OF CONTENTS 1. INTRODUCTION ............................................................................................................................. 2 1.1 Methodology ..................................................................................................................................... 2 1.2 Results of Study ................................................................................................................................. 2 2. PRIOR EVALUATIONS ..................................................................................................................... 3 3. ARCHITECTURAL DESCRIPTION ...................................................................................................... 6 4. HISTORIC CONTEXTS .................................................................................................................... 10 4.1 Background: Development of BankAmericard Center .................................................................... 10 4.2 Edward Durell Stone ........................................................................................................................ 11 4.3 Redevelopment and Corporate Headquarters in Pasadena ............................................................ 14 4.4 BankAmericard and the Modern Credit Card Market ..................................................................... 16 4.5 Architectural and Landscape Design Context .................................................................................. 21 5. REGULATIONS AND CRITERIA FOR EVALUATION .......................................................................... 25 5.1 National Register of Historic Places ................................................................................................. 25 5.2 California Register of Historical Resources ...................................................................................... 26 5.3 City of Pasadena Criteria for Designation of Historic Resources ..................................................... 26 6. EVALUATION OF SIGNIFICANCE ................................................................................................... 28 6.1 National Register of Historic Places ................................................................................................. 28 6.2 California Register of Historical Resources ...................................................................................... 28 6.3 City of Pasadena Designation of Historic Resources ....................................................................... 30 7. FINDINGS .................................................................................................................................... 31 8. RESOURCES ................................................................................................................................. 31 8.1 Publications and Reports ................................................................................................................. 31 8.2 Archival and Newspaper Sources .................................................................................................... 32 ARCHITECTURAL RESOURCES GROUP 1 BANKAMERICARD CENTER, 101 S MARENGO AVE, PASADENA NOVEMBER 10, 2015 HISTORIC RESOURCES EVALUATION 1. INTRODUCTION Rising Realty Partners has requested this Historic Resources Evaluation to inform the potential purchase and future adaptive reuse of the office building at 101 S. Marengo Ave. in Pasadena. Completed in 1974, the building is a late work of the well‐known American Modernist architect Edward Durell Stone. As a part of due diligence for the purchase, Architectural Resources Group was asked to examine the potential historical significance of the property. While the property has not been fully evaluated in the past, it has been identified in surveys as potentially historically significant. The building’s provenance as the work of a well‐known architect and its large size in a prominent position in the Pasadena Civic Center has served to raise its profile. 1.1 Methodology To complete this Historic Resources Evaluation (HRE), ARG performed the following tasks: Made site visits to inspect and photograph the exterior and surroundings of the property. Conducted local research at the Pasadena Public Library Centennial Room (special collections) and the Pasadena Museum of History, as well as extensive on‐line research in the Los Angeles Times. Performed research specific to the building in the Edward Durell Stone Archives at the University of Arkansas, the main repository of Stone’s work. Located and reviewed as‐built plans for the building. Applied the criteria for evaluation of the National Register of Historic Places, California Register of Historical Resources, and City of Pasadena landmarks. Identified the character‐defining features of the building. This evaluation was prepared by Jennifer Trotoux, Associate (Project Manager), Evanne St. Charles, and Katie Horak, Principal (Principal in Charge). All are Architectural Historians and Historic Preservation Planners with ARG. The Project Manager has been with ARG for nine years and has nearly twenty years of experience in the evaluation of historic resources in Southern California. All meet the Secretary of the Interior’s Professional Qualifications Standards in History and Architectural History. 1.2 Results of Study As a result of the research and analysis that ARG undertook for this report, we found that the property is not eligible for designation as a historic resource under the criteria of the National Register or the California Register, or as a City of Pasadena Landmark. A detailed analysis of the historic contexts in which the building was considered and a discussion of the application of the criteria follows. ARCHITECTURAL RESOURCES GROUP 2 BANKAMERICARD CENTER, 101 S MARENGO AVE, PASADENA NOVEMBER 10, 2015 HISTORIC RESOURCES EVALUATION 2. PRIOR EVALUATIONS Due to its unmistakable presence at the juncture of the Old Pasadena and Civic Center areas of Central Pasadena, the 1974 BankAmericard Center is a high‐profile building in Pasadena’s urban environment. It is also associated with a prominent architect, Edward Durell Stone. The building was a project of Pasadena’s Community Redevelopment Agency and completed at the time of a number of other corporate development projects that began to transform the commercial landscape of Pasadena during the early 1970s. As a result of this prominence, the building has been identified in local surveys of historic resources two times in the past decade despite its age of less than fifty years. In 2004, the City of Pasadena enacted its Central District Specific Plan in order to “provide for systematic implementation of the General Plan, as related to the properties within the boundaries of the Central District Specific Plan area.” As part of the plan, a reconnaissance survey was conducted to identify potentially historic properties within the boundaries of the Central District. The subject property was included in a 2007 survey, and was given a status code of 7N, meaning that the property “needs to be reevaluated.”1 The preliminary evaluation, written at the time by a senior planning staff member, noted that the property should be considered in the contexts of the work of Edward Durell Stone, the Community Redevelopment Agency, and late‐modern corporate architecture. All three are addressed in this report. In 2007, the City of Pasadena received a Certified Local Government (CLG) grant from the State Office of Historic Preservation (SHPO) to commission a Historic Context Report for the city’s Cultural Resources of the Recent Past. The report, completed by Historic Resources Group and Pasadena Heritage, identified Edward Durell Stone as one of the significant architects whose work from the study period, 1935‐1965, is found in Pasadena. BankAmericard Center was noted as one of these works, and described as “the first major success” of the City’s redevelopment efforts. In 2011, Pasadena received another CLG grant for the Historic Designed Gardens of Pasadena project to undertake a Historic Context Statement, reconnaissance survey, and Multiple Property Documentation form. This project included the corporate plazas of Pasadena through 1975 within its purview, so the subject property was included. The reconnaissance survey gave the plaza (separate from the rest of the property) of the BankAmericard Center an evaluation code of 3S, a property that is individually eligible for the National Register of Historic Places. Presumably, the fact that the plaza was known to be designed by a prominent firm, was characteristic of an identifiable period in Pasadena’s development history, and remains unaltered were enough to gain it the highest evaluation in the survey. It should be noted, however, that a reconnaissance survey, by its nature, leaves for the future the level of intensive evaluation that is necessary to understand a resource and its place in a community’s history. 1 RTKL Associates, Inc., Central District Specific Plan Appendix E: Survey of Historic Properties, prepared for the City of Pasadena Planning and Development Department, Nov. 2004. ARCHITECTURAL RESOURCES GROUP 3 BANKAMERICARD
Recommended publications
  • Tear It Down! Save It! Preservationists Have Gained the Upper Hand in Protecting Historic Buildings
    Tear It Down! Save It! Preservationists have gained the upper hand in protecting historic buildings. Now the ques- tion is whether examples of modern architecture— such as these three buildings —deserve the same respect as the great buildings of the past. By Larry Van Dyne The church at 16th and I streets in downtown DC does not match the usual images of a vi- sually appealing house of worship. It bears no resemblance to the picturesque churches of New England with their white clapboard and soaring steeples. And it has none of the robust stonework and stained-glass windows of a Gothic cathedral. The Third Church of Christ, Scientist, is modern architecture. Octagonal in shape, its walls rise 60 feet in roughcast concrete with only a couple of windows and a cantilevered carillon interrupting the gray façade. Surrounded by an empty plaza, it leaves the impression of a supersized piece of abstract sculpture. The church sits on a prime tract of land just north of the White House. The site is so valua- ble that a Washington-based real-estate company, ICG Properties, which owns an office building next door, has bought the land under the church and an adjacent building originally owned by the Christian Science home church in Boston. It hopes to cut a deal with the local church to tear down its sanctuary and fill the assembled site with a large office complex. The congregation, which consists of only a few dozen members, is eager to make the deal — hoping to occupy a new church inside the complex.
    [Show full text]
  • Ray Bromley Edward Durell Stone. from the International Style to a Personal Style1
    DOI: 10.1283/fam/issn2039-0491/n47-2019/231 Ray Bromley Edward Durell Stone. From the International Style to a Personal style1 Abstract Edward Durell Stone (1902-1978) was an American modernist who devel- oped a unique signature style of ‘new romanticism’ during the middle phase of his career between 1954 and 1966. The style was employed in several dozen major architectural projects and it coincided with his second marriage. His first signature style project was the U.S. Embassy in New Delhi, and the most famous one is the John F. Kennedy Center for the Performing Arts in Washington D.C. He achieved temporary global renown with his design for the U.S. Pavilion at the Brussels World’s Fair in 1958. Sadly, his best projects are widely scattered and he has no significant signature style works in New York City, where he based his career. His current obscurity is explained by the eccentric character of his signature style, his transition from personal design to corporate replication, and the abandonment of signature design principles after the breakdown of his second marriage. Key-words Modernism — New Romanticism — Signature Style Edward Durell Stone (EDS, 1902-1978) was an American modernist and post-modernist architect, who studied art and architecture at the University of Arkansas, Harvard and M.I.T., but who never completed an academic degree. The high point of his student days was a two year 1927-1929 Rotch Fellowship to tour Europe, focusing mainly on the Mediterranean countries, and preparing many fine architectural renderings of historic buildings. His European travels and Rotch Fellowship drawings reflected a deep appreciation of Beaux Arts traditions, but also a growing interest in modernist architecture and functionalist ideals.
    [Show full text]
  • The Visitor's Guide to the Florida Capitol
    The VisitFloridaCapitol.com Visitor’s Guide to the Florida Capitol The VisitFloridaCapitol.com Visitor’s Guide to the Florida Capitol presented by VISIT FLORIDA PRESENTED BY Contents Welcome .................................................................................................................................................................. 4 Capitol Information .................................................................................................................................................. 5 Times of Operation............................................................................................................................................... 5 State Holidays Closed .......................................................................................................................................... 5 Frequently Asked Questions ................................................................................................................................. 6 Capitol Grounds Map ........................................................................................................................................... 9 Artwork in the Capitol ........................................................................................................................................ 10 Your Event at the Capitol ................................................................................................................................... 10 Security .............................................................................................................................................................
    [Show full text]
  • Architectural Findings
    Architectural Findings Summary of Architectural Trends 1940‐70 National architectural trends are evident within the survey area. The breakdown of mid‐20th‐ century styles and building types in the Architectural Findings section gives more detail about the Dayton metropolitan area’s built environment and its place within national architectural developments. In American Architecture: An Illustrated Encyclopedia, Cyril Harris defines Modern architecture as “A loosely applied term, used since the late 19th century, for buildings, in any of number of styles, in which emphasis in design is placed on functionalism, rationalism, and up‐to‐date methods of construction; in contrast with architectural styles based on historical precedents and traditional ways of building. Often includes Art Deco, Art Moderne, Bauhaus, Contemporary style, International Style, Organic architecture, and Streamline Moderne.” (Harris 217) The debate over traditional styles versus those without historic precedent had been occurring within the architectural community since the late 19th century when Louis Sullivan declared that form should follow function and Frank Lloyd Wright argued for a purely American expression of design that eschewed European influence. In 1940, as America was about to enter the middle decades of the 20th century, architects battled over the merits of traditional versus modern design. Both the traditional Period Revival, or conservative styles, and the early 20th‐century Modern styles lingered into the 1940s. Period revival styles, popular for decades, could still be found on commercial, governmental, institutional, and residential buildings. Among these styles were the Colonial Revival and its multiple variations, the Tudor Revival, and the Neo‐Classical Revival. As the century progressed, the Colonial Revival in particular would remain popular, used as ornament for Cape Cod and Ranch houses, apartment buildings, and commercial buildings.
    [Show full text]
  • Public Masterworks the Standard Oil Commission
    Public Masterworks The Standard Oil Commission Working with the greatest architects of the 20th century, such early large-scale forms were Multi-Plane screens, by the 1960s he feet in height. Architectural in size and energized by sunlight and as Eero Saarinen, Gordon Bunshaft, I.M. Pei, Minoru Yamasaki was exploring other ideas for public sculpture which paralleled the the open air, the alternately arranged slender rods whispered tonal and Edward Durell Stone, Harry Bertoia created more than fifty techniques of his smaller scaled works. Significant projects such melodies while veiling and diffusing the view of the building and sur- large-scale sculptures in prominent public spaces located in cit- as his Dandelion fountain for the Joslyn Art Museum in Omaha, rounding landscape—the overall experience is both mesmerizing ies throughout the United States and around the world (Norway, Nebraska (Stone 1963), a molten bronze mural for the Dulles Inter- and stimulating. Venezuela). Like his private works, Bertoia’s commissioned sculp- national Airport in Chantilly, Virginia (Saarinen 1963) and a Welded tures are aesthetic objects that explore natural phenomena such Form fountain for the Civic Center in Philadelphia, Pennsylvania No other works in Bertoia’s extensive oeuvre match the impres- as light, motion and sound. Much larger in scale, these works func- (Stone 1967) illustrate the depth and variety of Bertoia’s unique sive scale of the Sonambients for the Standard Oil Commission. Sonambients at this scale have a visceral effect, multiplying and tion within the broader constraints of architecture, transforming artistic vision. A select bibliography for Bertoia’s Standard Oil Commission and interacting within the spaces in which they reside.
    [Show full text]
  • The Los Angeles Public Landscapes of Ralph Cornell Los Angeles, CA
    What’s Out There® The Los Angeles Public Landscapes of Ralph Cornell Los Angeles, CA Welcome to What’s Out There Los Angeles – The What’s Out There Los Angeles – The Public Landscapes Public Landscapes of Ralph Cornell, organized by of Ralph Cornell was accompanied by the development The Cultural Landscape Foundation (TCLF) with of an exhibit of his drawings, photographs, and personal support from local and national partners. effects. On view at the UCLA Charles E. Young Research The narratives and photographs in this guidebook describe Library, the installation was curated by Steven Keylon, Kelly thirteen sites, just a sampling of Cornell’s built legacy. The Comras, Sam Watters, and Genie Guerrard and introduced sites were featured in What’s Out There Weekend Los Angeles, with a lecture on Cornell’s legacy given by Brain Tichenor, which offered free, expert-led tours in November 2014. This professor of USC’s School of Architecture. The tours, What’s Out There Weekend—the eleventh in an on-going series exhibit, and lecture were attended by capacity crowds, of regionally-focused tour events increasing the public visibility demonstrating the overwhelming public interest to discover Franklin D. Murphy Sculpture Garden, photo by Matthew Traucht of designed landscapes, their designers, and their patrons—is more about this significant shaper of Southern California. TCLF’s first focused on the work of a single designer. This guidebook and the What’s are Out There Weekends In researching the extant public landscapes of Ralph Cornell dovetail with the Web-based What’s Out There, the nation’s we came to understand why he is called “the Olmsted most comprehensive, searchable database of our shared of Los Angeles.” A prolific designer, author, mentor, and landscape legacy.
    [Show full text]
  • Rational Register of Historic Places Egistration Form
    NPS Form l 0-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service rational Register of Historic Places egistration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin l 6A). Complete each item by marking ''x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "NIA" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form I 0-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Noll, Willis, Residence other names/site number Site #WA0928 2. Location street & number 531 N. Sequoyah Drive D not for publication city or town Fayetteville D vicinity state Arkansas code AR county Washington code 143 zip code 72701 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this 1:8] nomination D request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set for in 36 CFR Pan 60. [n my opinion, the property 1:8] meets D does not meet the National Register criteria. [recommend that this property be considered significant.
    [Show full text]
  • The Grille Is Gone: the Rise and Fall Screen Block
    --------- ----------------------------- The Grille Is Gone: The Rise and Fall Screen Block Anthony Rubano Project Designer Illinois Historic Preservation Agency Springfield, Illinois The image of perforated precast concrete units will of production, or strength of concrete block. Clay forever be connected to the American 1950s and producers quickly realized their drain tiles and flue 1960s. Screen block became a ubiquitous element liners, when cut into four-inch lengths, could be sold both inside and outside of residential and public as premium screen units. Some clay companies buildings across the country. As an inexpensive tinted their clay bodies, while others used vitreous and durable construction system, concrete screen glazes to infinitely increase their block's color block was unsurpassed in the postwar era. Its palette. Grilles appeared in other materials, such as informality and stylishness coupled with the nation's unglazed terra cotta, limestone, and precast concrete preoccupation with the interconnection of interior panels. But none had screen block's ease of and exterior space fostered its growth in popularity. manufacture, which enabled block producers to As with most design trends, the screen unit began more easily modify their lines to "compete as a high-style tool limited in application and successfully in today's architectural market against acceptance. But unlike other materials whose rises aluminum, steel, and glass."1 in popularity were hampered by expense, unavailability, or difficult installation, screen block The National Concrete Masonry Association was used by all segments of the population in (NCMA) defines screen walls as "those wall applications from solar screens to fences to structures constructed from concrete shapes having bookshelves.
    [Show full text]
  • Welcome New Usmodernist Friends! Monday, March 2, 2020
    From: USModernist Newsletter - George Smart <[email protected]> Sent: Monday, March 2, 2020 10:51 AM To: [email protected] Subject: Welcome New Friends! Neutra / Jacks / Nims / Frey / and Sean Hannity? USModernist and NCModernist are part of Modernist Archive Inc, a 501C3 nonprofit educational archive providing donors, volunteers, and advocates the information and organization they require to passionately engage the documentation, preservation, and promotion of residential Modernist architecture. Get connected to exciting tours, parties, design competitions, and the show named as #2 in DWELL's top architecture and design podcasts, USModernist Radio. View newsletter in browser. See past newsletters. Online store - with all the thoroughly ridiculous coffee cups, logowear, and mousepads you could possibly want! All proceeds benefit USModernist's ongoing documentation, preservation, and promotion work. Welcome New USModernist Friends! Monday, March 2, 2020 Welcome to all the new friends we met last week in Palm Springs! If you attended any of our Modernism Week events, you're now connected to our weekly wrapup of Modernist news, tours, and events around the US. You will get this newsletter just about every Monday, and you can unsubscribe at any time (see bottom of page). ________________________________________________________ Get your company, studio, or practice involved in the wildly growing mid-century Modernist movement documenting, preserving, and promoting residential Modernist design across the US! Become a sponsor! NEWSLETTER SPONSORS NEWS Architect Ernest (Ennie) Jacks Jr. passed away on February 14. After serving in WWII, Jacks joined the Los Angeles office of Craig Ellwood, where he worked on the historic Case Study House program of the professional journal Arts & Architecture.
    [Show full text]
  • John Young Architect
    JOHN YOUNG ARCHITECT _________CONTENTS_________________________________________________________________________ John Young Curriculum Vitae Services References List of Projects Brochure of Selected Projects JOHN YOUNG CURRICULUM VITAE PROFESSIONAL PRACTICE __________________________________________________________________________________ Principal John Young Architect 1970-Present SENIOR ARCHITECT CONSULTANT __________________________________________________________________________________ Natsios Young Architects 1993-Present NYC Department of Buildings 2016-2018 PB World/Dattner Architects 2006-2008 Karl Fischer Architect 2005 Michael Zemsky Architect 2004 Rafael Vinoly Architect 2002-2003 Fox & Fowle 1998 Richard Cook & Associates 1998 Bell Larson Architects 1997-98 Buttrick White Burtis Architects 1997 May Pinska Architects 1997 Natsios & Associates Architect 1993-97 Michael Sorkin Studio 1987-93 Chelsea Custom Corporation 1986-93 G. P. Winter Associates 1987-93 Coop Himmelblau Architects 1992 George Langer Associates PE 1987-1992 Lebbius Woods/Michael Sorkin 1992 Republic National Bank 1992 Office of Edward Durell Stone 1991 NYC School Construction Authority 1990 Hotel Pierre 1983-89 Teachers College Columbia University 1973-1986 Kevin Walz Design 1988 The Croxton Collaborative 1988 Langer-Bodak Partners 1986 Prentice Chan Ohlhausen Architects 1985 _________REGISTRATION_________________________________________________________________________ Architect New York State 1970 _________DEGREES_________________________________________________________________________
    [Show full text]
  • National Geographic Society Headquarters
    NPS Form 10-900 OMB No. 1024-0018 (Expires 5/31/2012) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property historic name National Geographic Society Headquarters other names/site number 2. Location street & number 1145 17th Street NW not for publication city or town Washington vicinity state District of Columbia code DC county code zip code 20036 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination _ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property _ meets _ does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: national statewide local Signature of certifying official/Title Date State or Federal agency/bureau or Tribal Government In my opinion, the property meets does not meet the National Register criteria.
    [Show full text]
  • The 150 Favorite Pieces of American Architecture
    The 150 favorite pieces of American architecture, according to the public poll “America’s Favorite Architecture” conducted by The American Institute of Architects (AIA) and Harris Interactive, are as follows. For more details on the winners, visit www.aia150.org. Rank Building Architect 1 Empire State Building - New York City William Lamb, Shreve, Lamb & Harmon 2 The White House - Washington, D.C. James Hoban 3 Washington National Cathedral - Washington, D.C. George F. Bodley and Henry Vaughan, FAIA 4 Thomas Jefferson Memorial - Washington D.C. John Russell Pope, FAIA 5 Golden Gate Bridge - San Francisco Irving F. Morrow and Gertrude C. Morrow 6 U.S. Capitol - Washington, D.C. William Thornton, Benjamin Henry Latrobe, Charles Bulfinch, Thomas U. Walter FAIA, Montgomery C. Meigs 7 Lincoln Memorial - Washington, D.C. Henry Bacon, FAIA 8 Biltmore Estate (Vanderbilt Residence) - Asheville, NC Richard Morris Hunt, FAIA 9 Chrysler Building - New York City William Van Alen, FAIA 10 Vietnam Veterans Memorial - Washington, D.C. Maya Lin with Cooper-Lecky Partnership 11 St. Patrick’s Cathedral - New York City James Renwick, FAIA 12 Washington Monument - Washington, D.C. Robert Mills 13 Grand Central Station - New York City Reed and Stern; Warren and Wetmore 14 The Gateway Arch - St. Louis Eero Saarinen, FAIA 15 Supreme Court of the United States - Washington, D.C. Cass Gilbert, FAIA 16 St. Regis Hotel - New York City Trowbridge & Livingston 17 Metropolitan Museum of Art – New York City Calvert Vaux, FAIA; McKim, Mead & White; Richard Morris Hunt, FAIA; Kevin Roche, FAIA; John Dinkeloo, FAIA 18 Hotel Del Coronado - San Diego James Reid, FAIA 19 World Trade Center - New York City Minoru Yamasaki, FAIA; Antonio Brittiochi; Emery Roth & Sons 20 Brooklyn Bridge - New York City John Augustus Roebling 21 Philadelphia City Hall - Philadelphia John McArthur Jr., FAIA 22 Bellagio Hotel and Casino - Las Vegas Deruyter Butler; Atlandia Design 23 Cathedral of St.
    [Show full text]