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Historic-Cultural Monument (HCM) List City Declared Monuments
Historic-Cultural Monument (HCM) List City Declared Monuments No. Name Address CHC No. CF No. Adopted Community Plan Area CD Notes 1 Leonis Adobe 23537 Calabasas Road 08/06/1962 Canoga Park - Winnetka - 3 Woodland Hills - West Hills 2 Bolton Hall 10116 Commerce Avenue & 7157 08/06/1962 Sunland - Tujunga - Lake View 7 Valmont Street Terrace - Shadow Hills - East La Tuna Canyon 3 Plaza Church 535 North Main Street and 100-110 08/06/1962 Central City 14 La Iglesia de Nuestra Cesar Chavez Avenue Señora la Reina de Los Angeles (The Church of Our Lady the Queen of Angels) 4 Angel's Flight 4th Street & Hill Street 08/06/1962 Central City 14 Dismantled May 1969; Moved to Hill Street between 3rd Street and 4th Street, February 1996 5 The Salt Box 339 South Bunker Hill Avenue (Now 08/06/1962 Central City 14 Moved from 339 Hope Street) South Bunker Hill Avenue (now Hope Street) to Heritage Square; destroyed by fire 1969 6 Bradbury Building 300-310 South Broadway and 216- 09/21/1962 Central City 14 224 West 3rd Street 7 Romulo Pico Adobe (Rancho 10940 North Sepulveda Boulevard 09/21/1962 Mission Hills - Panorama City - 7 Romulo) North Hills 8 Foy House 1335-1341 1/2 Carroll Avenue 09/21/1962 Silver Lake - Echo Park - 1 Elysian Valley 9 Shadow Ranch House 22633 Vanowen Street 11/02/1962 Canoga Park - Winnetka - 12 Woodland Hills - West Hills 10 Eagle Rock Eagle Rock View Drive, North 11/16/1962 Northeast Los Angeles 14 Figueroa (Terminus), 72-77 Patrician Way, and 7650-7694 Scholl Canyon Road 11 The Rochester (West Temple 1012 West Temple Street 01/04/1963 Westlake 1 Demolished February Apartments) 14, 1979 12 Hollyhock House 4800 Hollywood Boulevard 01/04/1963 Hollywood 13 13 Rocha House 2400 Shenandoah Street 01/28/1963 West Adams - Baldwin Hills - 10 Leimert City of Los Angeles May 5, 2021 Page 1 of 60 Department of City Planning No. -
The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
Casa Del Prado in Balboa Park
Chapter 19 HISTORY OF THE CASA DEL PRADO IN BALBOA PARK Of buildings remaining from the 1915 Panama-California Exposition, exhibit buildings north of El Prado in the agricultural section survived for many years. They were eventually absorbed by the San Diego Zoo. Buildings south of El Prado were gone by 1933, except for the New Mexico and Kansas Buildings. These survive today as the Balboa Park Club and the House of Italy. This left intact the Spanish-Colonial complex along El Prado, the main east-west avenue that separated north from south sections The Sacramento Valley Building, at the head of the Plaza de Panama in the approximate center of El Prado, was demolished in 1923 to make way for the Fine Arts Gallery. The Southern California Counties Building burned down in 1925. The San Joaquin Valley and the Kern-Tulare Counties Building, on the promenade south of the Plaza de Panama, were torn down in 1933. When the Science and Education and Home Economy buildings were razed in 1962, the only 1915 Exposition buildings on El Prado were the California Building and its annexes, the House of Charm, the House of Hospitality, the Botanical Building, the Electric Building, and the Food and Beverage Building. This paper will describe the ups and downs of the 1915 Varied Industries and Food Products Building (1935 Food and Beverage Building), today the Casa del Prado. When first conceived the Varied Industries and Food Products Building was called the Agriculture and Horticulture Building. The name was changed to conform to exhibits inside the building. -
The Artist Creating a 150-Foot-Long Glass Rainbow
The Artist Creating a 150-Foot-Long Glass Rainbow nytimes.com/2019/02/07/t-magazine/sarah-cain-san-francisco-airport.html By Alice Newell-Hanson February 6, 2019 The first paintings that Sarah Cain remembers admiring as a teenager were works by Joan Mitchell, Philip Guston and Robert Motherwell which, thanks to a public arts fund, lined the walls of an otherwise dismal underground mall in Albany, N.Y., not far from where she grew up, in Kinderhook. “My parents didn’t really take me to museums, so that is where I saw the first real art, mixed in with shops and a McDonald’s,” says Cain, who is now 40 and an established artist herself. In July, she will unveil a major public work of her own, a 150-foot-long series of 37 vividly colorful stained-glass windows, funded by the San Francisco Arts Commission, which she hopes will inspire passers-by in an equally unlikely setting: the new AirTrain terminal at the city’s international airport. Cain lived in San Francisco for 10 years in the late 1990s and early 2000s; she studied art at the San Francisco Art Institute, and later Berkeley, then stayed in the area, making ephemeral large-scale paintings inside the abandoned buildings where her artist friends squatted. The San Francisco airport installation, her first permanent public work, channels the outsider ethos of 1/3 those early pieces as well as the rainbow-colored prismatic compositions of her more recent paintings and drawings, but stained glass is a relatively new medium for her. -
St. Bartholomew's Church and Community House: Draft Nomination
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ST. BARTHOLOMEW’S CHURCH AND COMMUNITY HOUSE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: St. Bartholomew’s Church and Community House Other Name/Site Number: 2. LOCATION Street & Number: 325 Park Avenue (previous mailing address: 109 East 50th Street) Not for publication: City/Town: New York Vicinity: State: New York County: New York Code: 061 Zip Code: 10022 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _X_ Public-Local: District: Public-State: Site: Public-Federal: Structure: Object: Number of Resources within Property Contributing Noncontributing 1 buildings sites structures objects 1 Total Number of Contributing Resources Previously Listed in the National Register: 2 Name of Related Multiple Property Listing: DRAFT NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ST. BARTHOLOMEW’S CHURCH AND COMMUNITY HOUSE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, 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. -
NEIL AYLING: COMPOSITE ORDER 17 JANUARY - 1 MARCH, 2014 Private View, Thursday 16 January, 6 - 9Pm
NEIL AYLING: COMPOSITE ORDER 17 JANUARY - 1 MARCH, 2014 Private View, Thursday 16 January, 6 - 9pm Composite Order presents a series of new sculptures by British artist Neil Ayling (b.1983), exploring the interiors of Venetian churches and basilica, specifically St. Giorgio Maggiore on the Palladio Island. Ayling encountered a number of these classical buildings on a recent trip to the Venice Biennale and became fascinated by a particular architectural feature dating from the Renaissance period called Composite Order, that describes a combination of particular decorative styles used to embellish the uppermost section of a column. For his large-scale sculptures, that are up to nine feet high, Ayling used the photographs he made of the architectural details as a starting point, reconfiguring them by cutting and folding the printed image along the lines and angles of the building, creating structural forms that splay out in every angle creating irregular shapes entirely at odds with the logics of classical composition. Some of the sculptures are covered in fragments of the photographic images, applied using wet plaster, similar to the tradition of frescoes and trompe l’oeil common to Venetian churches. The exhibition also includes a site-specific installation made in response to the gallery’s architecture. Installed at ceiling height, the piece twists its way throughout the two gallery buildings, drawing the viewers’ eye upwards and echoing the effect of entering the cavernous interiors of the churches in Venice. Notes for Editors: • Neil Ayling was born in Ascot, Berkshire in 1983 and currently lives and works in London. Ayling graduated from Winchester School of Art, Sculpture, and then went on to the Royal College of Art and graduated in 2010 (MA Fine Art Sculpture). -
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. -
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. -
A Historic Guide to Pasadena
A HISTORIC GUIDE TO PASADENA WELCOME TO CICLAVIA—PASADENA Welcome to CicLAvia Pasadena, our first event held entirely outside of the city of Los Angeles! And we couldn’t have picked a prettier city; OUR PARTNERS bordered by the San Gabriel Mountains and the Arroyo Seco, Pasadena, which means “Crown of the Valley” in the Ojibwa/Chippewa language, has long been known for its beauty and ideal climate. After all, a place best known for a parade of flower-covered floats— OUR SUPPORTERS OUR SPONSORS City of Los Angeles Cirque du Soleil the world-famous Tournament of Roses since Annenberg Foundation Tern Bicycles Ralph M. Parsons Foundation The Laemmle Charitable Foundation 1890—can’t be bad, right? Rosenthal Family Foundation Los Angeles County Bicycle Coalition David Bohnett Foundation Indie Printing Today’s route centers on Colorado Boulevard— Wahoo’s Fish Taco OUR MEDIA PARTNERS Walden School Pasadena’s main east-west artery—a road with a The Los Angeles Times Laemmle Theatres THANKS TO long and rich history. Originally called Colorado 89.3 FM KPCC Public Radio La Grande Orange Café Time Out Los Angeles Old Pasadena Management District Street, the road was named to honor the latest Pasadena Star-News Pasadena Arts Council state to join the Union at the time (1876) and Pasadena Heritage Pasadena Museum of History was changed to “Boulevard” in 1958. The beau- Playhouse District Association South Lake Business Association tiful Colorado Street Bridge, which was built in 1913 and linked the San Gabriel Valley to the San Fernando Valley, still retains the old name. -
Wilshire Boulevard Temple Restored
SOCIETY OF ARCHITECTURAL November/December HISTORIANS/ SOUTHERN CALIFORNIA CHAPTER NEWS 2013 Members’ Celebration 1 President’s Letter 2 Killingsworth’s CSULB Plan 3 Bookmarks: Guest Reviewer 4 IN THIS ISSUE SAH/SCC Publications for Sale 5 Photo: Tom Bonner Tom Photo: exterior plaster, cast stone, and marble, to the interior Hugo Ballin murals, art glass, and plaster Wilshire dome. Among the most challenging components of the project was restoring the coffered plaster dome ceiling, rose window, art glass, and cast-stone surround. Landscape components by KSA Landscape Architecture include Wilshire and Hobart Boulevard Temple Boulevards’ streetscapes, parking lot, a container garden, and a communal outdoor garden accessed from the east portal of the Sanctuary. Enclosed by new gates at Wilshire Boulevard Restored that were inspired by the curved forms of the dome, the communal garden is a place for the congregation to gather as a community in reflection or celebration. SAH/SCC Members’ Celebration Thursday, November 7, 2013, SAH/SCC Members’ Celebration: Wilshire Boulevard Temple Restored—Thursday, November 7, 2013, 6:30PM-8:30PM 6:30PM-8:30PM; 3663 Wilshire Blvd., LA; free for SAH/SCC Members in good standing; $10 for non- member guests, applicable to new membership; reservations are required; registration—see order form on This year, SAH/SCC celebrates our members— Page 6, call 800.972.4722, or go to www.sahscc.org. and a great historic building—at Wilshire Boulevard Temple, the 84-year-old synagogue recently restored by Levin & Associates Architects. Principal architect Brenda Levin, FAIA, will give us a behind-the-scenes look at the restoration process while we sit in the awe- inspiring sanctuary. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Ventura County Cultural Heritage Board Agenda Ju 23 2012 Notice Is Hereby Given That on Monday, July 23, 2012; the Cultural Heritage Board Will Convene at 10:30A.M
Ventura County Cultural Heritage Board Agenda Ju 23 2012 Notice is hereby given that on Monday, July 23, 2012; the Cultural Heritage Board will convene at 10:30a.m. for a tour of the Hueneme Masonic Cemetery located at the north side of Etting and Pleasant Valley Roads, Oxnard, CA 93030, after the tour, the Cultural Heritage Board will reconvene at 1 :1Sp.m. to hold a public meeting ãt the Oxnard Public Library Meeting Room B located at2Sl South A Street, Oxnard, CA. Members of the public are welcome to attend. 1. ROLL CALL Patricia Havens, Fìicki Mikkelsen, John Kulwiec, Don Shorts, Gary Blum, Stephen Schafer, and Miguel Fernandez 2. ORAL COMMUNICATIONS Discussion is limited to items not on this agenda which are within the purview of the Board Each speaker is allowed 5 minutes. Board may question the speaker but there will be no debate or decision. Staff may refer the matter for investigation and report. 3- APPROVAL OF MINUTES March 12,2012 Minutes April 09,2012 Minutes May 14,2012 Minutes 4. CONVENE THE MEETING OF THE OXNARD CULTURAL HERITAGE BOARD a) Hueneme Masonic Cemetery Concerns at Pleasant Valley and Etting Roads, Oxnard CA. Action: Review Staff Report and Provide Direction to staff b) Landmark No. 18, Japanese Cemetery at the corner of Pleasant Valley and Etting Roads, Oxnard, lnstallation of Two Benches, Project No. 12-389 Action: Consider Certificate of Appropriateness 5. CONVENE THE MEETING OF THE PORT HUENEME CULTURAL HER¡TAGE BOARD a) Review of the Final Berylwood Historic District HABS Survey completed by Jennifer Krintz and Shannon Davis, Architectural Historians, ASM Affiliates, May 2012 Action: Review and provide comments to Navy Base Ventura County, SHPO and Advisory Council 6.