DOCSLIB.ORG

Balboa Park Plaza De Panama Project

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Balboa Park Plaza De Panama Project 5.0 Significant Unavoidable Environmental Effects/Significant Irreversible Environmental Changes 5.0 Significant Unavoidable Environmental Effects/Significant Irreversible Environmental Changes CEQA Guidelines Section 15126.2 (b) and (c) require that the significant unavoidable impacts of the project, as well as any significant irreversible environmental changes that would result from project implementation, be addressed in the EIR. 5.1 Significant Environmental Effects Which Cannot Be Avoided if the Project Is Implemented In accordance with CEQA Guidelines Section 15126.2 (b) any significant unavoidable impacts of a project, including those impacts that can be mitigated but not reduced to below a level of significance despite the applicant’s willingness to implement all feasible mitigation measures, must be identified in the EIR. For the project, impacts related to land use, historical resources, visual effects and neighborhood character, and noise would remain significant unavoidable effects of project development. Sections 4.1, 4.2, 4.3, and 4.12 of this EIR provide more detail about the nature and extent of impacts related to the project. All other significant impacts identified in Section 4, Environmental Analysis, of this EIR as resulting from project implementation can be reduced to below a level of significance with the mitigation measures identified in Section 4 and in the MMRP contained within Section 10 of this EIR. 5.2 Irreversible Environmental Changes Which Would Result if the Project Is Implemented In accordance with CEQA Guidelines Section 15126.2 (c): Uses of nonrenewable resources during the initial and continued phases of the project may be irreversible since a large commitment of such resources makes removal or nonuse thereafter unlikely. Primary impacts and, particularly, secondary impacts (such as highway improvements which provide access to a previously inaccessible area) generally commit future generations to similar uses. Also irreversible damage can result from environmental accidents associated with the project. Irretrievable commitments of resources should be evaluated to assure that such current consumption is justified. Page 5-1 5.0 Significant Unavoidable Environmental Effects/Significant Irreversible Environmental Changes Non-renewable resources generally include biological habitat, agricultural land, historical and paleontological resources, mineral deposits, water bodies, and some energy sources. As evaluated in Sections 4.2, 4.6, 4.11, 4.13, 4.16, and Section 8, Effects Found Not to be Significant of this EIR, implementation of the project would not result in significant irreversible impacts to historical (archaeological), biological, paleontological, water, agricultural, or mineral resources. Implementation of the project would irreversibly impact historical resources (built environment) associated with the Balboa Park Historic District as discussed in Section 4.2. In addition, the project would require the irreversible consumption of natural resources and energy. Natural resource consumption would include lumber and other forest products, sand and gravel, asphalt, steel, copper, other metals, and water. Building materials, while perhaps recyclable in part at some long-term future date, would for practical purposes be considered permanently consumed. Energy derived from non-renewable sources, such as fossil and nuclear fuels, would be consumed during construction and operational lighting, heating, cooling, and transportation uses. To minimize the use of energy, water, and other natural resources, the project would incorporate sustainable practices into the site, such as drought-resistant landscaping where feasible and water conservation features such as low-flush toilets, low-flow faucets, and timers on irrigation sprinklers to reduce water demands. As described in Sections 4.7 and 4.15 of this EIR, design considerations aimed at improving energy efficiency and reducing water use have been incorporated into the project design and may serve to reduce irreversible water, energy, and building materials consumption associated with construction and occupation of the project. Page 5-2 6.0 Growth Inducement 6.0 Growth Inducement CEQA Guidelines Section 15126.2(d) requires that an EIR: Discuss the ways in which the proposed project could foster economic or population growth, or the construction of additional housing, either directly or indirectly, in the surrounding environment. Included in this are projects which would remove obstacles to population growth (for example, a major expansion of a waste water treatment plant might, for example, allow for more construction in service areas). Increases in the population might tax existing community services facilities, requiring construction of new facilities that could cause significant environmental effects. Also discuss the characteristic of some projects which may encourage and facilitate other activities that could significantly affect the environment, either individually or cumulatively. It must not be assumed that growth in any area is necessarily beneficial, detrimental, or of little significance to the environment. The City’s Significance Determination Thresholds provide further guidance to determine potential significance for growth inducement. Based on the Thresholds, a significant impact could occur if a project would: induce substantial population growth in an area, either directly (for example, by proposing new homes and businesses) or indirectly (for example, through extension of roads or other infrastructure). Accelerated growth may further strain existing community facilities or encourage activities that could significantly affect the surrounding environment. According to the City’s Significance Determination Thresholds, growth inducement “is usually associated with those projects that foster economic or population growth, or the construction of additional housing, either directly or indirectly which may result in the construction of major and new infrastructure facilities. Also, a change in land use policy or projects that provide economic stimulus, such as industrial or commercial uses, may induce growth.” In addition, the Thresholds state that “the analysis must avoid speculation and focus on probable growth patterns or projects” (City of San Diego 2011a). 6.1 Project Effects on Growth Since the project only involves improvements within Balboa Park, there are no elements associated with an increase in population or the provision or need for additional housing. Page 6-1 6.0 Growth Inducement In addition, the project would serve existing and future residents but does not contain any new elements, such as commercial or industrial uses, that would stimulate economic growth which would in turn induce population growth. While the proposed improvements are intended to enhance recreational use of Balboa Park, they would not remove any existing obstacles to growth. As a result, the project would not tax existing community services facilities, requiring construction of new facilities that could cause significant environmental effects For these reasons, the project would not be growth inducing. Page 6-2 7.0 Cumulative Impacts 7.0 Cumulative Impacts Section 15130(a) of the State CEQA Guidelines requires a discussion of cumulative impacts of a project “when the project’s incremental effect is cumulatively considerable.” Cumulatively considerable, as defined in Section 15065(a)(3), “means that the incremental effects of an individual project are significant when viewed in connection with the effects of past projects, the effects of other current projects, and the effects of probable future projects.” According to Section 15130(b) of the CEQA Guidelines, the discussion of cumulative effects “need not be provided as great detail as is provided the effects attributable to the project alone. The discussion should be guided by the standards of practicality and reasonableness.” According to Section 15130(b)(1) of the CEQA Guidelines, the discussion of cumulative effects is to be based on either (a) a list of past, present, and probable future projects producing related or cumulative impacts, including, if necessary, those impacts outside the control of the agency, or (b) a summary of projections contained in an adopted plan or related planning document that describes or evaluates conditions contributing to the cumulative effect. The basis of and geographic area for the analysis of cumulative impacts is dependent on the nature of the issue. For this analysis, where evaluation of potential cumulative impacts are localized (e.g., noise, traffic, visual quality, biological, and historical resources, and public utilities), a list of projects was employed. For potential cumulative impacts that are more regional in scope (e.g., air quality and global warming), planning documents were used in the analysis. List of Projects Considered for Cumulative Analysis Five projects (Figure 7-1) have been identified for consideration in this cumulative effects analysis—St. Paul’s Cathedral and Residences, Upas Street Jack-in-the-Box, Park Boulevard Promenade, and the Laurel Street (Cabrillo) Bridge Overcrossing Seismic Retrofit/Rehabilitation and Up-lighting projects. The St. Paul’s Cathedral and Residences project went to City Council, was revised, and approved on November 8, 2011. The project, as approved, includes renovation of existing Cathedral facilities and the development of mixed-used residential, office, and retail buildings. The project site contains a total
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Balboa Park Facilities
    ';'fl 0 BalboaPark Cl ub a) Timken MuseumofArt ~ '------___J .__ _________ _J o,"'".__ _____ __, 8 PalisadesBuilding fDLily Pond ,------,r-----,- U.,..p_a_s ..,.t,..._---~ i3.~------ a MarieHitchcock Puppet Theatre G BotanicalBuild ing - D b RecitalHall Q) Casade l Prado \ l::..-=--=--=---:::-- c Parkand Recreation Department a Casadel Prado Patio A Q SanD iegoAutomot iveMuseum b Casadel Prado Pat io B ca 0 SanD iegoAerospace Museum c Casadel Prado Theate r • StarlightBow l G Casade Balboa 0 MunicipalGymnasium a MuseumofPhotograph icArts 0 SanD iegoHall of Champions b MuseumofSan Diego History 0 Houseof PacificRelat ionsInternational Cottages c SanDiego Mode l RailroadMuseum d BalboaArt Conservation Cente r C) UnitedNations Bui lding e Committeeof100 G Hallof Nations u f Cafein the Park SpreckelsOrgan Pavilion 4D g SanDiego Historical Society Research Archives 0 JapaneseFriendship Garden u • G) CommunityChristmas Tree G Zoro Garden ~ fI) ReubenH.Fleet Science Center CDPalm Canyon G) Plaza deBalboa and the Bea Evenson Fountain fl G) HouseofCharm a MingeiInternationa l Museum G) SanDiego Natural History Museum I b SanD iegoArt I nstitute (D RoseGarden j t::::J c:::i C) AlcazarGarden (!) DesertGarden G) MoretonBay Ag T ree •........ ••• . I G) SanDiego Museum ofMan (Ca liforniaTower) !il' . .- . WestGate (D PhotographicArts Bui lding ■ • ■ Cl) 8°I .■ m·■ .. •'---- G) CabrilloBridge G) SpanishVillage Art Center 0 ... ■ .■ :-, ■ ■ BalboaPar kCarouse l ■ ■ LawnBowling Greens G 8 Cl) I f) SeftonPlaza G MiniatureRail road aa a Founders'Plaza Cl)San Diego Zoo Entrance b KateSessions Statue G) War MemorialBuil ding fl) MarstonPoint ~ CentroCu lturalde la Raza 6) FireAlarm Building mWorld Beat Cultura l Center t) BalboaClub e BalboaPark Activ ity Center fl) RedwoodBrid geCl ub 6) Veteran'sMuseum and Memo rial Center G MarstonHouse and Garden e SanDiego American Indian Cultural Center andMuseum $ OldG lobeTheatre Comp lex e) SanDiego Museum ofArt 6) Administration BuildingCo urtyard a MayS.
    [Show full text]
  • Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival Into Balboa Park
    Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival into Balboa Park By Iris H.W. Engstrand G. Aubrey Davidson’s laudatory address to an excited crowd attending the opening of the Panama-California Exposition on January 1, 1915, gave no inkling that the Spanish Colonial architectural legacy that is so familiar to San Diegans today was ever in doubt. The buildings of this exposition have not been thrown up with the careless unconcern that characterizes a transient pleasure resort. They are part of the surroundings, with the aspect of permanence and far-seeing design...Here is pictured this happy combination of splendid temples, the story of the friars, the thrilling tale of the pioneers, the orderly conquest of commerce, coupled with the hopes of an El Dorado where life 1 can expand in this fragrant land of opportunity. G Aubrey Davidson, ca. 1915. ©SDHC #UT: 9112.1. As early as 1909, Davidson, then president of the Chamber of Commerce, had suggested that San Diego hold an exposition in 1915 to celebrate the opening of the Panama Canal. When City Park was selected as the site in 1910, it seemed appropriate to rename the park for Spanish explorer Vasco Nuñez de Balboa, who had discovered the Pacific Ocean and claimed the Iris H. W. Engstrand, professor of history at the University of San Diego, is the author of books and articles on local history including San Diego: California’s Cornerstone; Reflections: A History of the San Diego Gas and Electric Company 1881-1991; Harley Knox; San Diego’s Mayor for the People and “The Origins of Balboa Park: A Prelude to the 1915 Exposition,” Journal of San Diego History, Summer 2010.
    [Show full text]
  • The Making of the Panama-California Exposition, 1909-1915 by Richard W
    The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Winter 1990, Volume 36, Number 1 Thomas L. Scharf, Editor The Making of the Panama-California Exposition, 1909-1915 by Richard W. Amero Researcher and Writer on the history of Balboa Park Images from this article On July 9, 1901, G. Aubrey Davidson, founder of the Southern Trust and Commerce Bank and Commerce Bank and president of the San Diego Chamber of Commerce, said San Diego should stage an exposition in 1915 to celebrate the completion of the Panama Canal. He told his fellow Chamber of Commerce members that San Diego would be the first American port of call north of the Panama Canal on the Pacific Coast. An exposition would call attention to the city and bolster an economy still shaky from the Wall Street panic of 1907. The Chamber of Commerce authorized Davidson to appoint a committee to look into his idea.1 Because the idea began with him, Davidson is called "the father of the exposition."2 On September 3, 1909, a special Chamber of Commerce committee formed the Panama- California Exposition Company and sent articles of incorporation to the Secretary of State in Sacramento.3 In 1910 San Diego had a population of 39,578, San Diego County 61,665, Los Angeles 319,198 and San Francisco 416,912. San Diego's meager population, the smallest of any city ever to attempt holding an international exposition, testifies to the city's extraordinary pluck and vitality.4 The Board of Directors of the Panama-California Exposition Company, on September 10, 1909, elected Ulysses S.
    [Show full text]
  • NEA-Annual-Report-1992.Pdf
    N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992.
    [Show full text]
  • History of the Museum
    HISTORY OF THE MUSEUM The Timken Museum of Art owes its existence to the combined efforts and generosity of two families: the prominent Timken family from Canton, Ohio, and Anne and Amy Putnam who arrived in San Diego with their family in the early 1900s. HENRY H. TIMKEN Henry H. Timken built a home in San Diego in 1887. It still stands today at the corner of First and Laurel. Timken exemplified the 19th-century American entrepreneur. He was an immigrant who built a great fortune based on hard work and inventiveness. Timken was born on a farm near Bremen, Germany, in 1831. He was only seven years old when his family left Germany for America and settled on a farm in Benton County, Missouri. As a teenager, he became an apprentice to a carriage and wagon maker in St. Louis. By the time he was 24, he was operating his own carriage shop. He later joined his father- in-law in a carriage building business in Belleville, Illinois. His industrial career was interrupted by the Gold Rush and the Civil War. He searched for gold in Colorado and enlisted in the Army (he was mustered out by the time he was serving as a Captain in the 13th Union Regiment). Returning to St. Louis, Timken established his own carriage factory. In 1877, he converted the factory to make the "Timken Buggy Spring" – a device that made a carriage ride smoother. Timken’s real legacy to industrial America was an invention that helped revolutionize transportation. His invention was a tapered roller bearing.
    [Show full text]
  • Robert F. Smith, Jr. Museum Management Symposium
    Balboa Park Cultural Partnership Centro Cultural de la Raza House of Hospitality Japanese Friendship Garden Society of San Diego Mingei International Museum Museum of Photographic Arts Reuben H. Fleet Science Center San Diego Air & Space Museum San Diego Art Institute: Museum of the Living Artist San Diego Automotive Museum San Diego Hall of Champions Sports Museum San Diego Historical Society San Diego Junior Theatre San Diego Model Railroad Museum San Diego Museum of Art The Balboa Park Cultural Partnership San Diego Museum of Man presents San Diego Natural History Museum Spanish Village Art Center The Old Globe Timken Museum of Art Veterans Museum & Memorial Center WorldBeat Center Robert F. Smith, Jr. Zoological Society of San Diego Museum Management Symposium st 21 Century Leadership for Nonprofit Organizations The Partnership’s mission is to enrich the cultural life of San Diego by facilitating collaborative efforts among member institutions as well as between the Partnership and the community; to enable Balboa Park cultural institutions to achieve their full individual and collective potential; and to preserve and enhance the cultural assets of Balboa Park for future generations. November 19, 2007 9:00 a.m. to 11:00 a.m. James S. Copley Auditorium Balboa Park Cultural Partnership San Diego Museum of Art 1549 El Prado, Suite One San Diego, CA 92101 619.232.7502 www.bpcp.org Mr. Robert F. Smith, Jr. Robert F. Smith, Jr. Robert (Bob) F. Smith, Jr. was the co-founder and president of Museum Management Symposium Strategies & Teams, Inc., an international consulting company based in San Diego. Mr. Smith’s service to Balboa Park began when he Welcome was a young newsboy, selling daily papers at the California-Pacific Dr.
    [Show full text]
  • The Trees of Balboa Park by Nancy Carol Carter
    The Trees of Balboa Park By Nancy Carol Carter Landscape architect Samuel H. Parsons, Jr. noted with enthusiasm the growth of trees and shrubs in City Park when he returned to San Diego in 1910. Five years had elapsed since his New York firm had submitted a comprehensive master plan for the layout of the 1,400 acres set aside as a park in 1868, but mostly left in a natural state for the next few decades. Parsons had returned to San Diego because the city had decided to host an international exposition in 1915. He was hired this time to assess progress on City Park’s master plan and to suggest improvements in all of San Diego’s parks. He thought San Diego had made good progress in engi- neering roads and otherwise fulfilling the landscape plan of City Park.1 His formal report to the park commissioners, submitted June 28, 1910, includes a description of trees and other plantings in the park. By the time Parsons wrote this report, City Park had been in existence for forty-two years and was estimated to contain about 20,000 healthy trees and shrubs. The park commission kept careful records of 2,357 shrubs and vines planted in 1909, but earlier landscape records are sketchy.2 In 1902, Parsons had suggested that the mesas be left open to preserve the stunning views stretching from the mountains to the ocean. “Overplanting is a common mistake everywhere,” he said, “A park is too often perverted to a sort of botanical garden, where a heterogeneous lot of plants are gathered together and massed in a haphazard fashion.”3 He was trying to help San Diegans understand the difference between a park and botanical garden and perhaps obliquely com- menting on the hodgepodge of homegrown efforts to develop the park before 1910.
    [Show full text]
  • San Diego History Center Is a Museum, Education Center, and Research Library Founded As the San Diego Historical Society in 1928
    The Jour nal of Volume 56 Winter/Spring 2010 Numbers 1 & 2 • The Journal of San Diego History San Diego History 1. Joshua Sweeney 12. Ellen Warren Scripps 22. George Washington 31. Florence May Scripps 2. Julia Scripps Booth Scripps Kellogg (Mrs. James M.) 13. Catherine Elizabeth 23. Winifred Scripps Ellis 32. Ernest O’Hearn Scripps 3. James S. Booth Scripps Southwick (Mrs. G.O.) 33. Ambrosia Scripps 4. Ellen Browning Scripps (Mrs. William D.) 24. William A. Scripps (Mrs. William A.) 5. Howard “Ernie” Scripps 14. Sarah Clarke Scripps 25. Anna Adelaide Scripps 34. Georgie Scripps, son 6. James E. Scripps (Mrs. George W.) (Mrs. George C.) of Anna and George C. 7. William E. Scripps 15. James Scripps Southwick 26. Baby of Anna and Scripps 8. Harriet Messinger 16. Jesse Scripps Weiss George C. Scripps 35. Hans Bagby Scripps (Mrs. James E.) 17. Grace Messinger Scripps 27. George H. Scripps 36. Elizabeth Sweeney 9. Anna Scripps Whitcomb 18. Sarah Adele Scripps 28. Harry Scripps (London, (Mrs. John S., Sr.) (Mrs. Edgar B.) 19. Jessie Adelaide Scripps England) 37. John S. Sweeney, Jr. 10. George G. Booth 20. George C. Scripps 29. Frederick W. Kellogg 38. John S. Sweeney, Sr. 11. Grace Ellen Booth 21. Helen Marjorie 30. Linnie Scripps (Mrs. 39. Mary Margaret Sweeney Wallace Southwick Ernest) Publication of The Journal of San Diego History is underwritten by a major grant from the Quest for Truth Foundation, established by the late James G. Scripps. Additional support is provided by “The Journal of San Diego Fund” of the San Diego Foundation and private donors.
    [Show full text]
  • San Diego History Center Is a Museum, Education Center, and Research Library Founded As the San Diego Historical Society in 1928
    The Journal of San Diego Volume 61 Winter 2015 Numbers 1 • The Journal of San Diego History Diego San of Journal 1 • The Numbers 2015 Winter 61 Volume History Publication of The Journal of San Diego History is underwritten by a major grant from the Quest for Truth Foundation, established by the late James G. Scripps. Additional support is provided by “The Journal of San Diego History Fund” of the San Diego Foundation and private donors. The San Diego History Center is a museum, education center, and research library founded as the San Diego Historical Society in 1928. Its activities are supported by: the City of San Diego’s Commission for Arts and Culture; the County of San Diego; individuals; foundations; corporations; fund raising events; membership dues; admissions; shop sales; and rights and reproduction fees. Articles appearing in The Journal of San Diego History are abstracted and indexed in Historical Abstracts and America: History and Life. The paper in the publication meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Front Cover: Clockwise: Casa de Balboa—headquarters of the San Diego History Center in Balboa Park. Photo by Richard Benton. Back Cover: San Diego & Its Vicinity, 1915 inside advertisement. Courtesy of SDHC Research Archives. Design and Layout: Allen Wynar Printing: Crest Offset Printing Editorial Assistants: Travis Degheri Cynthia van Stralen Joey Seymour The Journal of San Diego History IRIS H. W. ENGSTRAND MOLLY McCLAIN Editors THEODORE STRATHMAN DAVID MILLER Review Editors Published since 1955 by the SAN DIEGO HISTORICAL SOCIETY 1649 El Prado, Balboa Park, San Diego, California 92101 ISSN 0022-4383 The Journal of San Diego History VOLUME 61 WINTER 2015 NUMBER 1 Editorial Consultants Published quarterly by the San Diego History Center at 1649 El Prado, Balboa MATTHEW BOKOVOY Park, San Diego, California 92101.
    [Show full text]
  • Keeping Balboa Park Magnificent in Its Second Century
    Prepared by The Trust for Public Land Center for City Park Excellence Washington, D.C. August 2006 Keeping Balboa Park Magnificent In its Second Century A Look at Management, Fundraising, and Private Partnerships at Five Other Major U.S. City Parks Balboa Park, San Diego. Photos Courtesy of Balboapark.org Introduction Covering 1,200 acres, containing an amazing 85 cultural, conservation and recreation organizations within its boundaries, and attracting upwards of 13 million visitors a year, San Diego’s Balboa Park ranks as one of the very most significant urban parks in America. Nevertheless, looking beyond the flamboyant Spanish architecture, exotic flora and man- icured lawn bowling fields, a park is revealed that is facing huge challenges, including hundreds of millions of dollars of repairs, a crisis of invasive plant species, unresolved issues about automobiles, large areas of contaminated land, a population of homeless per- sons, erosion, conflicts between user groups and - worst - an inability to keep up with day-to-day park maintenance. In order to help determine the best possible model for successfully and sustainably oper- ating a park as large and complex as Balboa, the Legler Benbough Foundation commis- sioned the Center for City Park Excellence (CCPE) to produce a short study of public- private partnerships operating in four other major cities: New York, St. Louis, Houston and Atlanta. Following a summary discussion of Balboa Park, the report describes the private support structures developed for Central Park and Prospect Park in New York, Forest Park in St. Louis, Piedmont Park in Atlanta and Hermann Park in Houston.
    [Show full text]
  • Reciprocal Membership Program
    4525 Oak Street, Kansas City, Missouri 64111 nelson -atkins.org 816.751.1ART Reciprocal Membership Program Society of Fellows members get the experience of sharing in privileges at institutions participating in any of our reciprocal programs by presenting your specially-marked membership card. Please note some participating institutions have restrictions specific to their organization. We recommend contacting the institution you plan to visit in advance to confirm details of their participation. If you need assistance, call 816.751.1ART (1278), option 3. RECIPROCAL NETWORKS Art Museum Reciprocal Network Reciprocal Organization of Associated Museums (ROAM) North American Reciprocal Network Western Reciprocal Network RECIPROCAL PRIVILEGES ALABAMA ARKANSAS Craft and Folk Art Museum, Los Birmingham Museum of Art The Arkansas Arts Center, Little Angeles Carnegie Rock Crocker Art Museum, Sacramento Gadsden Museum of Art Crystal Bridges Museum of Fine Arts Museums of San Jule Collins Smith Museum at American Art, Bentonville Francisco Auburn University Fort Smith Regional Art Museum Fullerton Museum Center Kentuck Museum, Northport South Arkansas Arts Center, El Hammer Museum UCLA Mobile Museum of Art Dorado Japanese American National Montgomery Museum of Fine Arts CALIFORNIA Museum, Los Angeles ALASKA Asian Art Museum of San Laguna Art Museum Anchorage Museum at Francisco Long Beach Museum of Art Rasmuson Center Bowers Museum, Santa Ana Mingei International Museum, Valdez Museum & Historical California Historical Society Escondido and San Diego Archive Museum, San Francisco Monterey Museum of Art and ARIZONA Cantor Art Center at Stanford Monterey Museum of Art at La Heard Museum North, North University Mirada Scottsdale Center for Contemporary Art, Museum of Contemporary Art Heard Museum, Phoenix Sacramento (MOCA), Los Angeles Museum of Northern Arizona Charles F.
    [Show full text]