The Giles W. Brown Residence 4617 East Talmadge Drive San Diego, California 92116

Total Page:16

File Type:pdf, Size:1020Kb

The Giles W. Brown Residence 4617 East Talmadge Drive San Diego, California 92116 Historical Resources Board Nomination for The Giles W. Brown Residence 4617 East Talmadge Drive San Diego, California 92116 Report Prepared By: IS Architecture 5649 La Jolla Boulevard La Jolla, California 92037 (858) 456-8555 August 2006; Revised February 2008 State of California -The Resources Agency Primary#____________________ __ DEPARTMENT OF PARKS AND RECREATION HRI#____________ _ PRIMARY RECORD Trinomial, ______________________ NRHP Status Code____________ _ Other Listings---------------------------------------------------- Review Code Reviewer Date Page _1_ of _1Q_ *Resource Name or#: (Assigned by recorder) The Giles \XI. Brown Residence P1 . Other Identifier: *P2. Location: _ Not for Publication X Unrestricted *a. County: San Diego and (P2c, P2e , and P2b or P2d. Attach a Location Map as necessary.) *b. USGS 7.5' Quad: La Mesa Quadrangle Date 1996 T ISs; R 2W; '!. of V. of Sec M.D. B.M. c. Address: 461 7 East Talmadge Drive City: San Diego Zip: 92116 d. UTM: (Give more than one for large and/or li near resources) Zone mE/ mN e. Other Locational Data: (e.g., parcel#, directions to resource, elevation, etc., as appropriate) A P 465-402-02; Lot 76, Map 1869, T almadge Park Subdivision # 1. *P3a. Description: (Describe resource and its major elements. Include design, materials, condition, alterations, size, setting, and boundaries) The two-story Spanjsh Colonial Revival residence, completed in 1928, fa ces southwest onro East Talmadge Drive in the Talmadge Park # 1 Subdivision. The front yard features mature heritage plantings and trees that are consistenr with the neighborhood's historic landscaping. Lots in the subdivisio n are irregular in size and shape due to the layout o f contour streets following the natural topography o f the land. The residence occupies the southern portion of a long, irregularly shaped lot that is o riented along a northeast-southwest axis. An o riginal attached garage sits at the end o f a short driveway in the west corner. A canyon serves as the northeast boundary. The rear portion of the property is terraced and slopes down into the canyon, offering a great deal o f bo th privacy and space. The lots bo unding the residence to the northwest and southeast feature similar, two-story, Spanish ColonjaJ Revival residences. (See Continuation Sheet) *P3b. Resource Attributes: (List attributes and codes) HP2 (Single Family Pro perty) *P4. Resources Present: X Building __Structure __ Object __ Site __ District __Element of District __Other (Isola tes, etc.) ,.-----------------------------------------------------, P5b. Description of Photo: (view, date, accession#) P5a. Photograph or Drawing (Photograph required for buildings, structures, and SW Elevation, February 2008 *P6. Date Constructed/Age and Source: X Historic Prehistoric Both 1928 (NOC) *P7. Owner and Address: Peter D ennehy & Timothy Jackson 461 7 East Talmadge Dr. San Diego, CA 92116 *P8. Recorded by: (Name, affiliation, and address) IS A rchitecture 5649 La J olla Blvd La J olla, CA 92037 *P9. Date Recorded: August 2006; Revised rebruary 2008 *P1 O.Survey Type: (Descri be) Single Property /\ ssessment for Local Designation *P11 . Report Citation: (Cite survey report and other sources, or enter "none.") None *Attachments: NONE X Location Map X Continuation Sheet .X.Building, Structure, and Object Record Archaeological Record District Record Linear Feature Record ___Milling Station Record Rock Art Record Artifact Record Photograph Record ___Other (List): DPR 523A (1/95) *Required information State of California - The Resources Agency Primary#'---'----'--------------­ DEPARTMENT OF PARKS AND RECREATION HRI#-__-'---------------­ CONTINUATION SHEET Trinomial Page _1._ of _±Q_ *Resource Name or#: (Assigned by recorder) The Giles W. Brown Residence *Recorded by: IS Architecture 'Date August 2006; Revised February 2008 X Continuation _ Update *P3a. (continued) The appearance of the house from the street closely reflects its original 1928 design. The structure sits on a raised concrete foundation with an asymmetrical "L-shaped" footprint. A late 1990s stucco garden wall has been recently reduced in scale by tl1e current owners based upon the recommendations of City HRB staff. The wall encloses a non-historic courtyard located inside the "L" juncttire of the house and garage. Alterations to make the wall more compatible with the original design of the house included reducing its height and removing decorative brick elements. A low-pitched side gabled roof topped with red Mission tile forms the main roof of the residence. As per the Spanish Colonial Revival style, eave overhangs are minimaL The garage features a front gabled roof, also with Mission tile, and a decorative plaster medallion under the gable. The textured stucco on the walls was replaced in kind at some point before 1990 according to previous owner Susan Stewart who purchased the property in 1990. A brick pathway runs from the sidewalk up to a center opening in the garden wall south of the garage. There is a large planting bed and a small patch of lawn located on e.ithe.t side of the pathway. The main front entrance is located within the courtyard on the southern end of the elevation. The courtyard features a fountain, tropical plants in curvilinear planting beds and paving stones. The southeast wall of the garage bounds the courtyard to the northwest and features a decorative wood window grill with diamond patterning. Original fenestration on the residence primarily includes single and double wood casement windows with divided lights. Awnings with spear point iron hardware are present above select double-casement windows and pairs of French doors. French doors are typical on the first level and on upper level balconies. Iron sconce light fixtures are located next to the front door and on the rear northeast elevation. The heavy wood panel front door has an eyebrow arch and a single pane of glass in the upper section. According to Susan Stewart, the Pippins- the owners previous to the Stewarts, replaced the original door sometime prior to 1990. She hypothesized that the replacement was likely in response to damage caused by a serious but since-corrected drainage problem: water run-off was draining directly into (and under) the house. The hand-made replacement door is of excellent quality, possesses the hardware of the original door, and is consistent with the Spanish Colonial Revival style. The current O"\vners have recently recreated the door's stucco surround in compliance with HRB Staff recommendations. ln the 1990s, the Stewarts secured the strLLcture with shear walls, banding and tie-downs - a job that reqtUred the removal of the original door surround. HRB staff determined that the atypicaUy wide width of the new surround was not historically appropriate. Historic photos of the neighboring house, 4615 East Talmadge, have been found to show a small portion of the residence. One of the images reveals the shape of the original door surround, which the current owners have used as a guide for the in-kind recreation of the feature. Above the front door, on the south end of the elevation, is a balcony supported by corbel brackets. The balcony features an iron railing and is accessed through Prench doors from the interior. Wood louvered blinds are installed on the interior of the doors. To the north of the balcony are two windows concealed behind decorative stucco vents. North of the front door, the lower portion of the wall features a non-historic leaded glass window and an additional set of French doors. Neither northeast nor southeast side elevations are easily viewed from the street. The northwest elevation is bounded by a non-historic wood fence mounted above a low undulating stucco wall. A non-historic wood fence, but no stucco wall, runs along the southeast property line as well. Modern HVAC equipment is installed in the narrow area berw-een the fence and the house on the southeast elevation. A full-height chimney projects above the roofline. Windows are typical three­ light wood casements. There is a crawlspace access well at ground leveL The back portion of a recently added outdoor patio eave wall fireplace extends out from the main wall plane at the far end. DPR 523L (1/95) *Required information State. of California -The Resources Agency Primary#----'------'---'--------~ DEPARTMENT OF PARKS AND RECREATION HRI#·--------~----~----~----- CONTINUATION SHEET Trinomial Page _3_ of _jQ_ *Resource Name or#: (Assigned by recorder) The Giles W. Brown Residence 'Recorded by: IS Architecture 'Date August 2006; Revised February 2008 X Continuation _ Update *P3a. (continued) The rear northeast elevation-- the most elaborate side of the house, also cannot be viewed from the public right of way. The elevation has an asymmetrical L-shaped plan, multiple level gabled roofs with red l'vfission tile, and an expansive two­ tiered raised patio paved with terra cotta and glazed accent tiles. A tiled central staircase leads down to the sloping backyard. Large planting areas on either side of the stairs are defined by stucco retaining walls. Niature trees, bushes and other large plants constitute the informal backyard landscaping. A new well-executed two-story wing, constructed in 1997-98, is located in the western portion of the rear elevation, not viewable from the street. While staying true to the house's original design, the addition was successful in increasing indoor living space and improving outdoor living space while allowing occupants to continue to enjoy the large lot and dramatic canyon view as was surely originally intended. The original portion of building faces northeast; the second level is set back from the first level and features a side-gabled roof. The majority of the windows are original on this elevation, -with only a few in-ldnd wood window replacements. The new wing bounds the patio to the northwest. It was designed in an architecturally sensitive manner, with a front gabled Nlission tile roof, wood casement and picture windows, and French doors similar to those found on the original structure.
Recommended publications
  • Hollywood Movie Stars California History Section Display
    CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater.
    [Show full text]
  • Exhibitors Herald (16 April 1927): Grauman's Chinese Theatre
    18 BETTER THEATRES SECTION OF April 16, 1927 "Reflecting the Most Glorious Period in Architectural F antasy"- • Grauman's new Chinese theatre as viewed from Hollywood Boulevard, Los Angeles. The house is heing erected at a cost of $2,000,- 000. It will seat 2,200 on one floor. • , 1 rauman s • Something Di -Daring-.and, Apparently Charming VERITABLE crown jewel in H oll y­ Fronting on famed H ollywood boulevard lamps casting iridescent rays. An ornate A wood's diadem of magnifi cent and novel at Orchid avenue in the very heart of the and dainty pagoda garden house forms the architecture, Grauman's Chinese theatre, cinema capital of the world, all the mys­ box office. hailed as th e mos t ornate playhouse yet to tery of the Orient is suggested by its low­ The massive but delicately fabricated be dedicated to Thespi s, is co mpleted, ering minarets of burnished copper frown­ front of the theatre, reaching gel feet above ready to be elaborately furnished fo r a in g in si lent grandeur on one of the the forecourt, like a titanic pagoda shrine spectacular opening ea rly in May. bl1 siest thorough fa res of the universe. of the Chinese dynasties before the time The palatial edifice is a monument to the A solid facade of maso nry, 40 feet hi gh, of King Solomon, enhances the illusion genius of Sid Grauman, nationall y famed surmounted by four ornate obelisks, pre­ created in the court of entering another as an artifice r of magnificent playhouses sents the effect of a huge gate of entrance worId.
    [Show full text]
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
    [Show full text]
  • Program, Grauman's Chinese Theatre (Text Transcription)
    Program, Grauman’s Chinese Theatre Hollywood, California [cover image: sketch of Grauman’s Chinese Theatre] [page 2, borders decorated with floral designs and Chinese characters] PROGRAMME Grauman’s Chinese Theatre offers “GLORIES OF THE SCRIPTURES” A Sid Grauman Presentation, on the Prologue for Cecil B. De Mille’s “THE KINF OF KINGS” By JEANNIE MACPHERSON Overture Grauman’s Chinese Symphony Orchestra, Arthur Kay conductor, Albert Hay Malotte at the mighty Wurlitzer Organ. Locale – the meeting place of the populace I. Twilight prayers of the common people. II. Dance of the Palms – Theodore Kosloff dancers III. Chant of the Israelite High Priests. “The Holy City” – High Priest Chandowsky. IV. The Boy Soprano – Stewart Brady. TABLEAUX A. Joseph and his Brethren. (Just after his sale into slavery). B. Daniel in the Lion’s Den. C. The Star of Bethlehem. D. The Nativity. E. The Flight Into Egypt. [notes at foot of page 2]: M. Ellis Read, house manager; Lester Cole, stage assistant to Mr. Grauman. Musical Score for “the King of Kings” personally created by Dr. Hugo Reisenfeld; Orchestrations by Otto Potoker. [page 3] “THE KING OF KINGS” CAST • Jesus, the Christ – H.B. Warner • Mary, the Mother – Dorothy Cummings • The Twelve Apostles o Peter – Ernest Torrence o Judas – Joseph Schildkraut o James – James Neill o John – Joseph Striker o Matthew – Robert Edeson o Thomas – Sidney D’Albrook o Andrew – David Imboden o Philip – Charles Belcher o Bartholomew – Clayton Packard o Simon – Roberts Ellsworth o James, the less – Charles Requa o Thaddeus – John T. Prince • Mary Magdalene – Jacqueline Logan • Caiaphas, High Priest of Israel – Rudolph Schildkraut • The Pharisee – Sam DeGrasse • The Scribe – Casson Ferguson • Pontius Pilate, Governor of Judaea – Victor Varconi • Proculla, wife of Pilate – Majel Coleman • The Roman Centurion – Montague Love • Simon of Cyrene – William Boyd • Mark – M.
    [Show full text]
  • P-234 W.E. Jones Theatre Collection, 1916-1933
    P-234 W.E. Jones Theatre Collection, 1916-1933 Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: 1916 – 1933 Extent: 1 letter box; 1 oversize box, 1 folder Language: English Abstract: W.E. Jones was a theatre manager in San Diego and Los Angeles who was associated with several theatres between 1916 and 1933 particularly the Pickwick and Superba in San Diego, and the Superba and Largo in Los Angeles. The W.E. Jones Theatre Collection is comprised of individual photographs as well as a scrapbook of clippings and photographs which focus on stage sets and lobby displays for various films—mainly Universal films of 1920. There are a few photos of other theatres such as the Cameo and the Rampart for which an association with W.E. Jones could not be determined. Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: W.E. Jones Theatre Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: P-26 Motion Picture Collection GC 1146 Theater Programs Collection, ca. 1893-1958 GC 1155ov Theater in Los Angeles Scrapbook, 1886-1924 Seaver Center for Western History Research P-234 Historical Note: Little information could be found regarding any of the theatres pictured in the collection except that they existed between 1916 and 1933. The Superba Theatre in Los Angeles was located at 518 S. Broadway, which later became the site of the Roxie Theatre in 1932.
    [Show full text]
  • Commercial Properties Associated with the Entertainment Industry, 1908-1980
    LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Commercial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources January 2020 SurveyLA Citywide Historic Context Statement Entertainment Industry/Commercial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT 2 Office Buildings Associated with the Entertainment Industry 2 Movie Theaters Associated with the Entertainment Industry 6 Awards Ceremonies Associated with the Entertainment Industry 10 Social Scene Associated with the Entertainment Industry, 1908-1980 15 SELECTED BIBLIOGRAPHY 20 SurveyLA Citywide Historic Context Statement Entertainment Industry/Commercial Properties Associated with the Entertainment Industry, 1908-1980 PREFACE This theme is a component of SurveyLA’s citywide historic context statement and provides guidance to field surveyors in identifying and evaluating potential historic resources relating to commercial properties that have a specific association with the entertainment industry. Refer to www.historicplacesla.org for information on designated resources associated with this context (or themes) as well as those identified through SurveyLA and other historic resources surveys. CONTRIBUTORS This context was prepared by Christine Lazzaretto, Molly Iker-Johnson, and Morgan Quirk, Historic Resources Group, with significant guidance and input from Christy Johnson McAvoy. Christy is the founding principal of Historic Resources Group, with over thirty years of experience in historic preservation in Southern California. Christine is a Principal at HRG; she earned her Master of Historic Preservation degree from the University of Southern California, and has been a practicing professional since 2005.
    [Show full text]
  • Hollywood Is a District of Los Angeles Located Northwest of Downtown Los Angeles and West of Glendale. Due to Its Fame and Cult
    Hollywood is a district of Los Angeles located northwest of Downtown Los Angeles and west of Glendale. Due to its fame and cultural identity as the historical center of movie studios, the word "Hollywood"is often used as a metonym of American cinema, and it is also often used to denote the largest district of Los Angeles. His two nicknames "StarStruck Town" and "Tinseltown"refer to the interrelationship between the American film industry in Hollywood. Today, however, most production companies are scattered in other nearby neighborhoods, such as Westside, but several of the major studios such as editing, visual effects or post-production are still in Hollywood, such as studios Paramount Pictures. In the 1880s, a couple from Kansas, Harvey Henderson Wilcox (who made his fortune in real estate despite the loss of the use of his legs due to typhoid fever) and his wife Daeida Wilcox Beveridge, decided to relocate from Topeka to Los Angeles. In 1886, Wilcox bought 0.6 km2 of land in the countryside west of the city on the foothills of Cahuenga Pass. It Daeida Wilcox who chose the name "Hollywood" for the property, referring to a colony of German immigrants named and located in Ohio. She became acquainted during a train journey to the east, talking to a woman there. The pleasant sound of the word itself, the ranch was so named. The most famous avenue in Hollywood is Hollywood Boulevard. It extends from east to west from Vermont Avenue to Sunset Boulevard. It houses not only the Walk of Fame (the famous star with the names of stars), but also the Grauman's Chinese Theatre and the Kodak Theater which is awarded every year the Academy Awards.
    [Show full text]
  • Academy of Motion Picture Arts & Sciences
    AMPAS FUBlICATIONS Acadilmyof Motion (, ""'.". /I.~ts and I::"" ... ~ .:",-!. L~Jr~ ry I -_._' >..'- --'>,,'-;- C;:;h----t. APRIL BULLETIN ACADEMY OF MOTION PICTURE ARTS & SCIENCES EXECUTIVE OFFICES AND LOUNGE: ROOSEVELT HOTEL,7010 HOLLYWOOD BLVD. TEL. GR-2134 No. XX HOLLYWOOD. CALIF.• APRIL 8. 1929 No. XX JUDGING ACADEMY ' BY THE RECORD The Academy will celebrate the second anniver­ Other types of criticisms have been captious, sary of its foundation by a dinner the night of May thoughtless or even malicious in their inspiration, 16, the first and chief feature being the formal be­ marked by distortions of facts and frequently by stowal of Merit Awards for distinguished achieve­ outright misstatements. Obviously, the Academy of ments of 1928. Particulars of the dinner will be Motion Picture Arts and Sciences cannot descend to found elsewhere in this issue of the Bulletin. the absurdity of a personal controversy with any With the near approach of the second anniversary dubious assailant of this character. The answers, if of the Academy's organization it is timely to report any should ever be required, will again be found in to the Academy membership on behalf of the officers the Academy's actual achievements. and Board of Directors the exact progress that has The aims and purposes of the Academy may be been made in carrying out the purposes for which again summarized as follows: the Academy was founded. How substantial this 1. Promotion of harmonious and equitable rela­ progress has been will be judged by the record rather tions within the production industry. than by laudatory superlatives on one hand or cap­ '2.
    [Show full text]
  • Frances Marion and the Powerful Women of Early Hollywood
    LOS ANGELES IN 1924 was still coming in to its own. It had been Spanish territory when, a century and a half earlier, Franciscan friars cut a swath through the native villages and built the mission and plaza that soon formed the nucleus of the pueblo of Los Angeles. There was a brief Mexican reign before California was “proclaimed for America” in 1846, but while the gold rush that stimulated statehood in 1850 made a huge impact on northern California, turning San Francisco into a major cosmo- politan city, Los Angeles remained a “tough cow town.” It wasn’t until the land boom of the late 1800s that major changes grew visible, followed by an economic downturn, and soon Midwestern families were joining together to buy hundreds of acres, moving en masse to the area to create their own communities infused with their own values. The discovery and exploitation of oil quickly accelerated the changes, spurring the development of the port and interspersing lean-to refineries and wells away among the orange groves, the churches, a few hotels, and clusters of houses and shops. By the beginning of the new century, the southland was a series of three dozen incorporated towns and it was close to impos- sible to know where one began and another ended. The region was tied together by the Red Cars, electric trains running from San Fernando down to Newport Beach and from Riverside out to the Pacific Ocean, providing cheap, easy access from one town to the next for tourists and commuters alike. The sun, the dry air, and the ocean all factored into slowly but surely 1 Beauchamp.indd 1 10/26/2005 11:19:53 AM bringing the new phenomenon of movie making to the area.
    [Show full text]
  • Dtla: the Greatest Comeback Kid There Ever Was
    DTLA: THE GREATEST COMEBACK KID THERE EVER WAS By: Historic Core BID 2021 1894 drawing by Bruce Wellington Pierce: portion from Third Street (bottom left) to Plaza (top right). The Red Sandstone Courthouse with its clocktower is prominent at center. At upper right is Los Angeles High School on Fort Moore Hill. The “center” of Los Angeles was El Pueblo until the late 1890s when the street car, electricity, & rails connecting LA to the E. Coast moved everyone to today’s Civic Center. However, when the Alexandria opened in 1906, everything changed and the Historic Core became the new city center. 1908- Cole’s opens. 1910- Population: 319,198 1915- 55,00 cars drive in LA. 1917- Grand Central Market opens. 1917- Million Dollar Theater opens, Sid Grauman’s first project. 1919- United Artists group founded by Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Girffith. 1920- 80% of films in the world shot in CA. 1922- Radio stations go live in LA. 1923- Millennium Biltmore and Rosslyn Hotels open. 1924- Population reaches 1M. 1925- LA Center Public Library opens. 1927- United Artists Building opens. 1928- City Hall opens. Downtown’s Golden Age: By the year 1920, the city's private and municipal rail lines were the most extended and most comprehensive in the world in mileage. They were better than NYC’s according to historians. By this time, a steady influx of residents and aggressive land developers had transformed the city into a large metropolitan area, with the Historic Core at its center. The Historic Core was made up of 23 financial structures, including the city's first skyscraper, and three luxury hotels: The Alexandria, the Rosslyn, and the Biltmore.
    [Show full text]
  • Hollywood Boulevard) Facade Has Entrances and Windows Recessed Between Corinthian Pilasters
    1935 Remodelinq A fall 1935 remodeling of 6780 greatly reduced the overall building volume. As a result of a Highland Avenue street widening program, the structure height was reduced to one story (approximately 26'-0") which required demolition of the top three floors. The entire Highland Avenue facade was also removed from its granite base and moved 15'-0" east to allow additional space for the street widening. It was during this construction that the exterior walls became reinforced concrete. All existing interior columns were removed and replaced with single span roof trusses (Summerbell) and an ornamental ceiling installed. Approximately $40,000 was spent by the owners for the reconstruction with an additional $20,000 spent by Bank of America for interior changes and modern bank fixtures. The bank occupied the entire new building with the exception of a small storeroom built at the rear of the structure facing Highland Avenue. Existing safe deposit box facilities in the basement were moved to the ground floor, although the bank vaults remained in the basement (according to newspaper accounts). However, the permit for new work lists the installation and building of a new vault; its location was not noted. It was noted that business continued without interruption, despite the size of work. Upon completion, the structure dimensions were lis 64'-0" on Hollywood Existinq Buildinq Condition Exterior The existing building remains a Beaux-Arts classical one-story reinforced concrete building; essentially the same since 1935. The exterior is clad interra cotta resting on a minimal granite base. The front (Hollywood Boulevard) facade has entrances and windows recessed between Corinthian pilasters.
    [Show full text]
  • Million Dollar Theater Building
    Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2019-244-HCM ENV-2019-245-CE HEARING DATE: February 7, 2019 Location: 306-316 West Third Street; TIME: 10:00 AM 301-313 South Broadway PLACE : City Hall, Room 1010 Council District: 14 - Huizar 200 N. Spring Street Community Plan Area: Central City Los Angeles, CA 90012 Area Planning Commission: Central Neighborhood Council: Downtown Los Angeles Legal Description: Property of T.D. Stimson Tract, LT E PROJECT: Historic-Cultural Monument Application for the MILLION DOLLAR THEATER BUILDING REQUEST: Declare the property a Historic-Cultural Monument OWNER/APPLICANT: Adam Daneshgar Langdon Street Capital 9777 Wilshire Boulevard, Suite 811 Beverly Hills, CA 90212 GCS Emerald LLC Et al. c/o Langdon Street Capital LLC and GCS Equity LLC P.O. Box 1936 Beverly Hills, CA 90213 PREPARER: Amanda Yoder Duane GPA Consulting 617 South Olive Street, Suite 910 Los Angeles, CA 90014 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as an Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings. VINCENT P. BERTONI, AICP Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Melissa Jones, Planning Assistant Office of Historic Resources Attachment: Historic-Cultural Monument Application CHC-2019-244-HCM 306-316 West Third Street; 301-313 South Broadway Page 2 of 3 SUMMARY The Million Dollar Theater Building is a twelve-story mixed-use commercial building located on the southwest corner of Broadway and Third Street in Downtown Los Angeles.
    [Show full text]