A communication via e-mail to The Board of Recreation and Park Commissioners from: Peyton Hall
Dear Ms. Patsaouras and Honorable Commissioners,
As consultants to Nederlander, we respectfully submit and request your consideration of the attached report concerning historic preservation and architecture related to Live Nation’s proposed work.
Sincerely,
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!2- #0>=Q><=@ I. Introduction
The Greek Theater, as part of Griffith Park, is designated as a City of Los Angeles Historic-Cultural Monument (Monument). As such, Los Angeles Administrative Code section 22.171.14 sets forth the requirements that the Los Angeles Cultural Heritage Commission must follow in determining whether to allow any proposed substantial alterations. The Cultural Heritage Commission can only issue permits for substantial alterations to the Greek Theater if the requirements of Administrative Code section 22.171.14(a) are met. I am a Historic Preservation Architect, with substantial expertise and experience in the requirements for obtaining building permits for work on designated Monuments. As explained below, The Greek Theater is a classic Greek Revival design. Instead of preserving and protecting that architectural style, Live Nation’s proposal seeks to juxtapose contemporary architectural forms to contrast with the theater’s historic architectural style. Among other things, Live Nation proposes the addition of a modern, curvilinear steel canopy floating above the stage’s roof supported by sleek steel poles. Live Nation also proposes to alter the Primary Façade by adding large, permanent, rectangular structures that notably have no characteristics of the Greek Revival style on each side of the façade. And Live Nation proposes adding two new, large, permanent structures in the forecourt that also have no compatibility with the Greek Revival style and that destroy the spatial relationships of being able to see around the buildings. As explained below, Live Nation’s proposed alterations do not preserve The Greek’s historic architectural and physical characteristics, nor the spatial relationships that characterize the property. Accordingly, Live Nation’s proposed work does not qualify for a permit from the Cultural Heritage Commission.
II. Expertise of the author of this Report
I am the Managing Principal at Historic Resources Group, LLC, which many consider to be the leading consulting firm in the west for the most significant and high profile historic preservation projects. From 1987 through 1995, I was the Director of Architecture at John Ash Group Architects, where I introduced historic preservation practice and therefore established the reputation of the firm as one of the leading Southern California historic preservation architectural firms.
I received my Bachelor of Architecture in 1974 from the University of Virginia School of Architecture, I studied at the Centro di Storia Dell-Architettura “Andrea Palladio” in Vicenza, Italia, and I received my Masters in Environmental Design from the Yale University School of Architecture in 1980 after completing a thesis in historic preservation. I was the first ever Creative Arts Exchange Fellow at the Tokyo National Cultural Properties Institute in Japan, studying the history and technology of building conservation through a United States program administered by the National Endowment for the Arts. I am an Adjunct Professor at the University of Southern California School of Architecture, where I was one of the founding faculty in the Certificate and Master Degree in Historic Preservation Programs (now known as the Heritage Conservation Program). I frequently make presentations on historical preservation to national organizations and institutions. I have contributed to a book on the topic of new additions to historic buildings sponsored by the National Park Service, and authored numerous papers on many topics in architectural preservation.
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In 2010, I was appointed by the President of the American Institute of Architects (“AIA”) to be one of five Members of the Advisory Group to the AIA Historic Resources Committee. I was appointed Chair in 2014, and currently lead the 6,200 historic architect members of the AIA. In 2010, Mayor Antonio Villaraigosa appointed me as a Member of the Los Angeles Mayor’s Design Advisory Panel. I am a Member of the Advisory Board to the Dean of the University of Virginia School of Architecture, and have served on several Boards of Directors, including Co- Chair, Historic Resources Committee, AIA, Los Angeles Chapter; Member of Board of Directors, Western Chapter, Association for Preservation Technology International; Chairman of the Board of Directors, Pasadena Heritage; President and Trustee of the California Preservation Foundation & Californians for Preservation Action.
I have been recognized five times from the Cultural Heritage Commission of the City of Los Angeles for my excellence in historic preservation projects. I have received five National awards from the National Trust for Historic Preservation, and dozens of Preservation Awards from the Los Angeles Conservancy and Preservation Design Awards from the California Preservation Foundation, among other honors.
I have extensive experience with the permitting process before the Cultural Heritage Commission and its administrative staff at the Office of Historic Resources of the Planning Department, City of Los Angeles. Among other projects, I served as the Historic Architect and Lead Consultant or team member in clearing the permits for twelve buildings at El Pueblo, Grauman’s Egyptian and Chinese Theatres, the Gamble House Conservation Project, the Hollywood Palladium, the Annenberg Community Beach House, the Annenberg Center for Performing Arts, the Rose Bowl, the Los Angeles Memorial Coliseum, Frank Lloyd Wright’s Aline Barnsdall House, Ennis House, and Freeman House, Hughes Industrial Historic District (Playa Vista), Doris Duke’s Shangri-La in Honolulu, Wichita’s Orpheum Theater, Fox Studio, Harada House National Historic Landmark, the Point Fermin Lighthouse, and the Cabrillo Beach Bath House, among other projects. A number of my completed projects were under the jurisdiction of the Department of Recreation and Parks of the City of Los Angeles. A copy of my C.V. is attached to this Report.
III. Live Nation’s proposed addition of a CANOPY above the stage does not qualify for a permit
A. To obtain a permit from the City, the proposed alteration must (1) comply with the U.S. Secretary of Interior’s Standards for Rehabilitation; (2) preserve the Monument’s historic and architectural qualities and physical characteristics; and (3) comply with CEQA
The City of Los Angeles enacted a Cultural Heritage Ordinance, codified in Los Angeles Administrative Code section 22.171.14(a), governing the issuance of permits for any substantial alterations of designated Monuments, such as The Greek Theater. Specifically, Los Angeles Administrative Code section 22.171.14(a) provides:
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“Standards for Issuance of a Permit for Substantial Alteration. The Commission shall base a determination on the approval of a permit for the substantial alteration of a Monument on each of the following:
1. The substantial alteration, including additional buildings on a site containing multiple buildings with a unified use, complies with the Standards for Rehabilitation approved by the United States Secretary of the Interior; and
2. Whether the substantial alteration protects and preserves the historic and architectural qualities and the physical characteristics that make the site, building, or structure a designated Monument; and
3. Compliance with the California Environmental Quality Act, Public Resources Code Section 21000 et seq.
L.A. Admin. Code § 22.171.14(a).
In other words, each of these three (3) prongs must be satisfied for Live Nation to obtain a permit to work on The Greek Theater: Prong 1: the alteration must comply with the United States Secretary of the Interior’s Standards for Rehabilitation (which Standards are set forth immediately below); Prong 2: the alteration must protect and preserve the historic and architectural qualities, and the physical characteristics, that make the structure a designated Monument; and Prong 3: the alteration must comply with CEQA.
As just stated, Prong 1 requires compliance with the United States Secretary of the Interior’s Standards for Rehabilitation (“Standards”). Those Standards provide, in relevant part:
“(1) A property will be used as it was historically or be given a new use that requires minimal change to its distinctive materials, features, spaces and spatial relationships.
(2) The historic character of a property will be retained and preserved. The removal of distinctive materials or alteration of features, spaces and spatial relationships that characterize a property will be avoided.
(3) Each property will be recognized as a physical record of its time, place and use. Changes that create a false sense of historical development, such as adding conjectural features or elements from other historic properties, will not be undertaken.
(4) Changes to a property that have acquired historic significance in their own right will be retained and preserved.
(5) Distinctive materials, features, finishes and construction techniques or examples of craftsmanship that characterize a property will be preserved.
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(6) Deteriorated historic features will be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature will match the old in design, color, texture and, where possible, materials. Replacement of missing features will be substantiated by documentary and physical evidence.
(7) Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used.
(8) Archeological resources will be protected and preserved in place. If such resources must be disturbed, mitigation measures will be undertaken.
(9) New additions, exterior alterations or related new construction will not destroy historic materials, features and spatial relationships that characterize the property. The new work will be differentiated from the old and will be compatible with the historic materials, features, size, scale and proportion, and massing to protect the integrity of the property and its environment.
(10) New additions and adjacent or related new construction will be undertaken in such a manner that, if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired.”
36 C.F.R. § 68.3(b).
The essence of Prongs 1 and 2 require that substantial alterations to a designated Monument, such as The Greek Theater, must preserve the historic, architectural and physical characteristics that make the structure a designated Monument.
B. The classic Greek Revival pitched roof above the Greek Theater’s Stage House is one of the significant historic and architectural features that defines The Greek
Architecturally, the Greek Theater is a classic Greek Revival design. The Stage House, which is the main stage area, has the characteristic pitched roof, known as a Gable Roof, containing a classic triangular pediment, on top of a rectangular and symmetrical 2-story massing. The pitched Gable roof with triangular pediment is a significant architectural feature of a historic Greek theater building, and a fundamental characteristic of Greek Revival architecture.
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Photograph of The Greek Stage House
C. Live Nation’s plan to install a modern steel truss canopy that floats above the historic architecture conflicts with the qualities that have made the structure a Monument, thereby prohibiting the Commission from issuing a permit
Live Nation’s plan is to “moderniz[e]” The Greek Theatre’s Stage House with a Canopy addition, among other changes. (Live Nation’s Proposal for the Greek Theatre Concession [“LN”] at p. 349) Live Nation’s plan is to have “newer modern forms [that] can juxtapose the classical.” (LN at p. 371) Live Nation explains:
“In place of the stage house, we plan to install a new steel truss canopy that floats above the historic architecture . . . . [T]he new canopy contrasts with the theatre’s historic architectural style . . . . The canopy . . . consists of a curved, three- dimensional steel space truss supported on eight steel columns.” (LN at p. 358)
Live Nation further explains:
“The contemporary architectural form of the new stage canopy over the classical façade below, is a juxtaposition . . . .” (LN at p. 372)
Live Nation’s drawings show the modern, contrasting canopy as follows:
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Live Nation, at p. 359 Live Nation, at p. 360
The Canopy is supported by the addition of eight steel poles, arranged in two groups of four on either side of the stage, and interconnected at the roof level to form four Special Truss Moment Frames in each direction. (LN at p. 358) As illustrated in Live Nation’s drawings, these new steel poles are modern and sleek in stark contrast to the Greek Revival style columns.
While a contrasting, ultra-modern, shiny metallic space-ship look may be aesthetically pleasing to some, the Cultural Heritage Ordinance, codified in the Los Angeles Administrative Code, does not allow the Cultural Heritage Commission to issue permits to create such juxtapositions. Rather, the Los Angeles Administrative Code dictates that the Commission ensure that the substantial alteration “protects and preserves the historic and architectural qualities and the physical characteristics” that define the structure as a historic Monument, here the classic Greek Revival design of a pitched Gable Roof, containing a classic triangular pediment, not a contrasting modern architecture canopy that floats above to create a juxtaposition.
Nor would the design meet the United States Secretary of the Interior’s Standards for Rehabilitation, which is a second hurdle that Live Nation would have to pass in order to obtain a permit for this work.
Standard Two requires: (2) The historic character of a property will be retained and preserved. The removal of distinctive materials or alteration of features, spaces and spatial relationships that characterize a property will be avoided.
Standard Nine requires: (9) New additions, exterior alterations or related new construction will not destroy historic materials, features and spatial relationships that characterize the property. The new work will be differentiated from the old and will be compatible with the historic materials, features, size, scale and proportion, and massing to protect the integrity of the property and its environment.
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Live Nation’s proposed addition of an ultra-modern steel canopy juxtaposed over traditional Greek Revival architecture does not retain or preserve the character of The Greek. Instead, it destroys the historic features and spatial relationships that characterize the property. For this second and independent reason, a permit cannot issue.
Photograph of The Greek Stage House Live Nation, at p. 359
No matter how aesthetically pleasing the contrasting architectural styles may be to some, the law does not permit such a deviation from the Stage House’ historic and architectural qualities and characteristics. Thus, Live Nation’s proposed canopy does not qualify for a permit.
IV. Live Nation’s proposed addition of FOUR NEW RECTANGULAR STRUCTURES does not preserve the historical and architectural qualities that have made the structure a Monument, and therefore does not qualify for a permit
Live Nation’s plan to “moderniz[e]” The Greek Theater also includes a “Historic Façade transformation” and “Front Plaza Renovation” (LN at p. 349) by adding four new, permanent, rectangular structures – two that flank the north and south ends of the front historic façade, and two that will be constructed and placed in the forecourt.
A. Live Nation’s proposed alteration of The Greek’s PRIMARY FAÇADE by the addition of RECTANGULAR STRUCTURES does not qualify for a permit
The architectural style of the Primary Façade of The Greek is also classic Greek Revival. The Primary Façade contains classic Greek Revival design elements such as the triangular pediments at the roof line, pilasters (an element giving the appearance of a supporting column), and entablature (the portion above the columns but below the roof comprised of the architrave, frieze and cornice), among other elements.
7 Altering a primary façade is a major architectural event, and one that, if not done properly, could cause the building to lose its designation as a Monument. Live Nation proposes altering the Primary Façade by adding two new, large, permanent, rectangular structures on each side of the façade. (LN at p. 361) The following Live Nation drawing shows one of its proposed new rectangular structures at the far right, physically attached to the entry gate:
Live Nation, at p. 367
As can be seen, the new structures proposed by Live Nation are large, plain rectangular structures that notably have no characteristics of the Greek Revival style. The contrast between the existing structure (i.e., the building sans the large curvilinear Canopy), and Live Nation’s proposed rectangular addition attached to the entry gates on the right, can be seen in Live Nation’s drawing (above). The existing designated Monument in the middle of the photograph has the classic Greek triangular pediments at the roof line, and classic Greek fluted columns, among other Greek Revival style details. The entry gates also have a Greek Revival entablature towards the top.
By contrast, the new rectangular structures are simply large, permanent, rectangular buildings abruptly abutted to each side of the existing classic Greek Revival façade. The proposed two building additions are not set back, nor do they contain any architectural articulation such as a reveal or hyphenation as recommended by National Park Service guidelines for application of Standard Nine. Significantly, they have no Greek Revival elements – not the classic Greek roof, triangular pediments, Greek columns, or any other element that conveys Greek Revival. Their shape and massing does not reflect or recall that of the historic Monument, and they are not subordinated to the historic building by being set back from the building or in any other way. Because they do not protect or preserve the classic Greek Revival style of the Primary Façade, they violate Prongs 1 and 2 of the Los Angeles Administrative Code, and therefore do not qualify for a permit from the Cultural Heritage Commission.
A second reason Live Nation does not qualify for a permit from the Cultural Heritage Commission for the two new rectangular buildings attached to the primary façade is because their scale and location will alter the spatial relationships that characterize the property in violation of U.S. Secretary of the Interior’s Standard No. 2, and the proposed additions will destroy the spatial relationships that characterize the property, in violation of Standard No. 9.
8 The Greek Theater complex includes the theater proper (known as the Stage House and described above), the cavea (the sitting area), the south Concessions/Administration building, the north Concessions building, the box office, the parking lot and, importantly, the surrounding setting in the hilltops. As can be seen from Live Nation’s drawing (above), the positioning and size of the new structures completely destroys the spatial relationships of being able to see around the buildings. This is a separate and independent reason why the Cultural Heritage Commission cannot issue a permit for Live Nation’s proposed bid.
B. Live Nation’s proposed addition of two RECTANGULAR STRUCTURES in the forecourt does not qualify for a permit
Live Nation similarly proposes the addition of two new, large, permanent structures in the forecourt, as illustrated in the following drawing by Live Nation:
Live Nation, at p. 360
As with the two rectangular structures that abut the primary façade, the two large, permanent, rectangular structures in the forecourt have no compatibility with the Greek Revival style other than a rectangular plan, and rather than protecting and preserving the character of the classic Greek Revival style (which is required for the Cultural Heritage Commission to issue a permit), these structures are not subordinated to the form and character of the historic building.
The greater diminishment of historic character is that the scale and location of the two rectangular structures in the forecourt compete with the classic Greek façade, and visually block access to the view that currently exists without those structures, thereby destroying the spatial relationship of building to setting that characterizes the property. For this separate and independent reason, Live Nation’s plans do not qualify for a permit from the Cultural Heritage Commission.
9 V. CONCLUSION
The Cultural Heritage Commission can only issue permits for substantial alterations to the Greek Theater if the requirements of Administrative Code section 22.171.14 are met. Live Nation’s proposal does not meet the minimum requirements of the Administrative Code for the reasons explained above, including that the Canopy roof above the stage, the two rectangular structures that abut the primary façade and the two rectangular structures in the forecourt fail to comply with the United States Secretary of the Interior’s Standards for Rehabilitation, and fail to preserve and protect the historic and architectural qualities and characteristics of The Greek, among other reasons. Accordingly, Live Nation’s proposed work does not qualify for a permit from the Cultural Heritage Commission.
I was retained by Nederlander/AEG to review its proposal for compliance with the Administrative Code and the Standards for Rehabilitation. In contrast to Live Nation’s proposal, the proposal submitted by Nederlander/AEG is in full compliance with the Administrative Code and the Standards for Rehabilitation.
Respectfully submitted,
Peyton Hall, FAIA Historic Resources Group, LLC 12 S. Fair Oaks Avenue Pasadena California 91105
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$VSSJDVMVN7JUBF Peyton Hall, FAIA Managing Principal, Historic Resources Group, LLC
12 S. Fair Oaks Avenue, Pasadena, California 91105 Tel 626 793 2400 x 107 Fax 626 793 2401 Email [email protected]
Home: 55 N. Lima St., Sierra Madre, California 91024 Tel 626 355 1201 Fax 626 355 1201 Email [email protected]
Education: Name/location Number of years Degree ______
Brunswick High School 5 High School Diploma Lawrenceville, Virginia 1969 ______
Centro di Storia Dell-Architettura Certificate “Andrea Palladio” 1972 Vicenza, Italia ______
School of Architecture 5 Bachelor of Architecture University of Virginia 1974 Charlottesville, Virginia ______
School of Architecture 2 Master of Environmental Design Yale University 1980 New Haven, Connecticut ______
Practice: California Licensed Architect #12867, 1982 ______
Selected Projects: Los Angeles Memorial Coliseum Earthquake Restoration Project; for Cordell Associates and the Los Angeles Coliseum Commission, with HNTB Architects, Los Angeles, 1994
Los Angeles Memorial Coliseum NFL Project; for Latham & Watkins and the Los Angeles Coliseum Commission, with NBBJ, Los Angeles, 1999
The Rose Bowl NFL Project; for the Rose Bowl Operating Company, with HOK, Pasadena, California, 2004
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
The American Cinematheque at Grauman’s Egyptian Theatre for the American Cinematheque, with Hodgett + Fung Design Associates Hollywood, California, 1999
Grauman’s Chinese Theatre Restoration for Mann Theatres with Behr Browers Architects, Hollywood, California, 2002
Kidspace Museum, for Kidspace Museum, with Michael Maltzan Architect, Pasadena, California, 2004
Howard Hughes Industrial Historic District, Playa Vista Office Development for Maguire Partners with Frank O. Gehry Associates, Los Angeles, California, 2002
Visitors Center for David Alfaro Siqueiros’ Mural “La America Tropical” for the Getty Conservation Institute with Pugh + Scarpa Architects El Pueblo de Los Angeles Historic Monument, 2002
Broad Contemporary Art Museum for the Los Angeles County Museum of Art, with Renzo Piano Building Workshop & Gensler, Los Angeles, California, 2004
The Gamble House Conservation Project for The Gamble House, USC, Historic Architect & Lead Consultant; Pasadena, California, 2004
Frank Lloyd Wright’s Aline Barnsdall (Hollyhock) House Earthquake repairs and strengthening for City of Los Angeles Department of Recreation and Parks, with Levin and Associates Architects Hollywood, California, 2003
Frank Lloyd Wright’s Freeman House Concrete textile block repair and replacement demonstration project, for the School of Architecture, University of Southern California, Hollywood, California, 2004
Frank Lloyd Wright’s Ennis-Brown House Earthquake repair project, for the Trust for Cultural Preservation, and the Ennis House Foundation with Wiehle Carr Architects, Hollywood, California, 2004
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
Eero Saarinen’s General Motor’s Technical Center preservation standards review for Hodgetts + Fung Design Associates Warren, Michigan, 2003
Harley Davidson Museum Schlitz Park, Schlitz Brewery Building for the Harley Davidson, Inc. Milwaukee, Wisconsin, 2003
Harada House Stabilization & Historic Structure Report for the Riverside Metropolitan Museum Riverside, California, 2007
Shangri-La Historic Structure Report for the Doris Duke Foundation for Islamic Art Honolulu, Hawaii, 2007-2008
Pasadena City Hall Seismic Strengthening & General Rehabilitation for the City of Pasadena Pasadena, California, completed 2007
Rose Bowl Renovation Project for the City of Pasadena, Rose Bowl Operating Company Pasadena, California, 2009-2014 (projected)
Annenberg Community Beach House (at the Marion Davies Estate, 415 Pacific Coast Highway) for the City of Santa Monica, Fred Fisher Partners, and Pankow Builders with Fred Fisher Partners Santa Monica, California, 1999-2009
Wallace Annenberg Center for Performing Arts for the City of Beverly Hills Public Works Department and the Wallis Annenberg Center for Performing Arts with Studio Pali Fekeete Beverly Hills, California, 2008-
Fox Theatre Rehabilitation for the City of Riverside with Richard F. McCann Architects Riverside, California, 2007-2010
Sunnylands Transition Project (at the Walter and Leonore Annenberg estate, an A. Quincy Jones-designed desert house) for Fred Fisher Partners and the Annenberg Foundation Rancho Mirage, California, 2010-1011 projected
Greystone Mansion Master Business Plan and various projects for the City of Beverly Hills and the Friends of Greystone Beverly Hills, California, 2007-present
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com Virginia Robinson Gardens assessment and improvements for Kelly Sutherlin Mcleod Architects, the Friends of “VRG,” and the County of Los Angeles Beverly Hills, California, 2009-present
Positions held:
Director of Architecture John Ash Group Architects, Los Angeles, 1987-1995
Given the assignment as project architect on two local landmarks, the Eastern Columbia Building and the Helms Bakery Building, established the reputation of the firm as one of the leading historic preservation architects in Southern California. This lead directly to such commissions as the seismic rehabilitation of seven buildings in the founders’ district of El Pueblo, Los Angeles, adaptive re-use of the Alex Theatre in Glendale, California, and the Los Angeles Memorial Coliseum Restoration Project.
Principal and Director of Architecture Historic Resources Group, LLC, Pasadena, California, 1995-present
Recruited by the leading historic preservation consulting firm in the west, became an ownership partner within two years. Expanded the firm’s capability in construction technology, alternative building code standards, architectural conservation, and developed an integrated collaborative design approach that has helped to double size of the firm as the sought-after consultant for significant and high-profile historic preservation, conservation, and adaptive re-use projects.
Adjunct Professor School of Architecture, University of Southern California, Los Angeles, California 1998-present
Wrote the first syllabus and taught the first course in building conservation for the university. One of three faculty members (Kenneth Breisch, Ph.D., Christy Johnson McAvoy, and Peyton Hall) who inaugurated the new courses offered in the recently established Certificate in Historic Preservation Program, and Master Degree in Historic Preservation Program.
Served as a guest lecturer annually in the Summer Program in Historic Preservation at USC, prior to the founding of the Certificate in Historic Preservation Program, and as a volunteer substitute lecturer for Jeffrey Chusid during that period, constituting approximately 15 years of work for USC.
President (volunteer community service) California Preservation Foundation & Californians for Preservation Action San Francisco, California Trustee, 1998-2004; President, 2002-2004
As Trustee, Peyton Hall was Chair of the Education Committee, where he expanded and increased the number and reach of educational workshops for constituents around the entire state by assisting staff in writing grant applications for outside support, and planning for an educational program on a year-round, year-in-advance basis.
As President, Hall was responsible with the Executive Director for moving the organization’s headquarters from Oakland to a more visible prestigious historic office building location in downtown San Francisco. He led the grant-writing effort that resulted in receiving the first HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com major grant, a $100,000 gift for expanding the capacity and financial support of the organization. He led the search committee to hire a new Executive Director for the organization. He led, as President of an overlapping Board of Directors, the re-activation of the long dormant Californians for Preservation Action, a lobbying organization, and the hiring of the group’s first professional lobbyist in the state capital. The Foundation’s economic stability, visibility, educational reach, and effectiveness in the halls of government were improved substantially during his tenure. His deliberate focus during two years as President on (a) economic stability; and (b) advocacy at the state government level contributed substantially to a stronger and more effective organization in the eyes of its members, local organizations, and state government.
Chair (volunteer community service) Pasadena Heritage Pasadena, California Member of Board of Directors, 1994-2000; Chairman of the Board, 1998-2000
Pasadena Heritage educates and advocates for historic preservation in the City of Pasadena.
Member of Board of Directors Western Chapter, Association for Preservation Technology International Western Region of the United States Member of the Board of Directors, 1997-2010
Past Co-Chair, Historic Resources Committee American Institute of Architects, Los Angeles Chapter 1998-Current
Member of the Advisory Group, Historic Resources Committee American Institute of Architects Washington, D.C.. Term 2010-2015
Selected at the national committee level as one of the 5 national Advisors to the AIA’s Historic Resources Committee, rotating into the Chairmanship in 2015. This is the body that represents the practice of historic architecture among members of the AIA in the United States.
Member of the Los Angeles Mayor’s Design Advisory Panel Appointed by Antonio Villaraigosa City of Los Angeles Term 2010-present
Member of the Advisory Board to the Dean of the School of Architecture University of Virginia Term 2010-present
Legal Consulting: MTA: Hollywood subway construction damage claims
City of Pasadena, Rose Bowl: defense of injury claim; went to trial as expert witness regarding historic architecture issues; City of Pasadena successfully defended against the claim
Al Malaikah Shrine Auditorium: defense of injury claim: settled
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com Villa Riviera condominium association: dispute regarding unapproved alterations by an owner in a historic building: settled
Standard Hotel: defense of injury claim regarding nonconforming historic architecture issues: settled
Research completed:
Japan United States Creative Arts Exchange Fellow Fellow in residence at the Tokyo National Cultural Properties Institute National Endowment for the Arts funded by the Japan United States Friendship Commission, 1978-1979
First program fellow selected for international arts exchange fellowship; researched urban development and historic preservation (historic district planning and landmark conservation) in the context of a nation with exemplary cultural property protection laws but intense land use pressures. Studied with the Institute staff. Traveled nationwide to meet with regional and local officials, professors, students, and representatives of grass-roots organizations to exchange information about how to preserve historic districts in the path of redevelopment and public works, and current engineering and science for conservation of building materials.
Academic involvement: Faculty School of Architecture, University of Southern California, Los Angeles, California
Adjunct Professor, 1999-present Studio juror Guest lecturer, periodic Summer Program in Historic Preservation, 1994-present
Perennial faculty member in the intensive two-week summer educational program for graduate, post-graduate, and post-professional students with a general or vocational interest in historic preservation. Hall teaches the subject of construction documents and construction supervision; he has also substituted for faculty and sat on studio juries for historic preservation related juries.
Refer to “Positions Held” above for description of employment as Lecturer.
Guest Lecturer and Juror
Hall has guest lectured classes at UCLA, the University of Virginia, and Woodbury University, assisted in teaching at UC Riverside for one quarter, and is a frequent guest juror for preservation studios at Cal Poly Pomona.
Presentations made: The following presentations were all made at the NATIONAL level, at the national meetings of national organizations and institutions of national or international scope.
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
“Architecture as Artifact: Integrated approach to conservation of finishes at the Gamble House” A Joint conference of ICOM-DEMHIST and three ICOM-CC working Groups The Getty Conservation Institute, Los Angeles, California, November 6-9, 2012
Co-author with Edward Bosley, Anne Mallek, John Griswold, and Kelly Sutherlin McLeod of paper presented by Kelly Sutherlin McLeod
“The Gamble House Conservation Project” American Institute of Architects National Convention and Expo Los Angeles, California, 2006
Moderator, and co-presenter with Kelly Sutherlin Mcleod, AIA, and John Griswold, Griswold Conservation Associates
“Conserving Frank Lloyd Wright’s Textile block Houses: Historic Context, Experience, and Prospects” Association for Preservation Technology International Annual Conference Atlanta, 2007
Co-presented with Jeffrey M. Chusid, Cornell University
“Conducting a Historic Structures Report” American Institute of Architects National Convention and Expo Los Angeles, California, 2006
Co-presenter of the day-long workshop on how to prepare a historic structure report that is sponsored annually by the AIA National Historic Resources Committee at the annual convention of the AIA..
“Designing for History” American Institute of Architects National Convention and Expo Saturday Seminar, San Diego, California, 2003
Sponsored by the AIA National Historic Resources Committee in a successful proposal for a presentation on a historic preservation topic for the San Diego Convention. This was the only historic preservation content at the convention other than tours of historic sites.
“Innovative Designs and Solutions—Life Safety;” Session Chair Building Codes and Historic Rehabilitation Conference San Francisco, California, 2004
Sponsored by the U. S. Department of the Interior, National Park Service, Association for Preservation Technology International, American Institute of Architects California Council, et al.;; Planning Committee and Session Chair for the West Coast venue of a national-level conference focused on alternative standards for historic buildings attended by professionals and public agency staff from across the United States.
“Reconsidering the Criteria for Design of Additions to Historic Buildings” HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com Third National Forum on Preservation Practice: A Critical Look at Design in Historic Preservation Goucher College, Baltimore, Maryland, 2002
The Forums are biennial conferences sponsored for preservation professionals by the National Park Service in partnership with the AIA National Historic Resources Committee, and 9 participating college preservation programs. Papers from the conference will be published by the University of Delaware in a new book focused on issues of design and historic preservation.
“Conducting a Historic Structures Report” National Preservation Conference Los Angeles, 2000
Co-presenter with James Malanaphy, AIA, of the day-long workshop on how to prepare a historic structure report that is sponsored annually by the AIA National Historic Resources Committee at the annual conferences of the National Trust for Historic Preservation.
“El Pueblo de Los Angeles: Birthplace of the City” National Preservation Conference Los Angeles, 2000
Co-presenter with Jean Bruce Poole, Historian of workshop tour of the Los Angeles’s primary history park for the annual conference of the National Trust for Historic Preservation
“Managing and Using Computers for Documentation” Association for Preservation Technology International Annual Conference Chicago, 1996
Presented two designs for simple databases that can be used to record and organize building histories and building conditions, database application software, and portable computer solutions for recording information in the field.
“Integration of Three Dimensional Digital Scanning, Rectified Photography, and AutoCAD in the Documentation of Saint Vincent de Paul Church” Association for Preservation Technology International Annual Conference Galveston, 2004
In November, 2004, Hall will co-present with Christopher Gray of the Mollenhauer Group a technically state of the art, highly detailed, and efficient project for the documentation of a historic cathedral in Los Angeles as the first phase in preparation of a Historic Structure Report. The integrated scanning and photographic methods were implemented with Plowman Craven Associates of London, and represent the first application on a large church in the United States.
“Egyptian Revival,” co-presented with Craig Hodgetts Getty Conservation Institute Los Angeles, 1999
Hall and Hodgetts were selected to present the very first “Issues in Conservation” lecture, a series designed by the Getty Conservation Institute to bring art and architectural conservation to the general public. The subject of the presentation was the American Cinematheque’s rehabilitation of Grauman’s Egyptian Theatre, HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com Hollywood, California, a project that combined meticulous decorative paint restoration with the addition of state-of-the-art audio-visual systems and uncompromised contemporary design additions.
“Preservation Colloquium: Historic Theatres” Society of Architectural Historians Annual Meeting Los Angeles, 1998
Hall represented theatrical and building conservation issues on a multidisciplinary panel presented and then discussed issues related to the history, preservation, and continued use of significant theatre buildings, at the annual national conference of the SAH.
“Japanese Study Mission to the United States on Seismic Retrofit of Historic Buildings”
California Office of Historic Presentation Sacramento, San Francisco, and Los Angeles, 1995.
Hall was invited by the State Historic Preservation Officer (SHPO) to Assist in programming site visits, presenting case studies, and interpreting for a blue ribbon mission of officials representing governmental agencies and non-governmental organizations in Japan.
Summary of regional and local presentations:
Recognized as a leading professional in historic preservation, Hall has been an invited speaker at many workshops and conferences. These educational activities include presentation of papers and talks at meetings sponsored by the California State Historic Preservation Office, the California Council for the Promotion of History, the California Preservation Foundation, the Los Angeles Conservancy, Pasadena Heritage, Fullerton Heritage, the Glendale Historical Society, and the Beverly Hills Historical Society.
Topics he has presented include historic preservation and heritage tourism in ethnically-identified sites, historic theatre rehabilitation, historic building code application, database applications for building surveys and historic structure reports, interpretation of the Secretary of the Interior’s Standards for Historic Properties, economic incentives for historic preservation, historic preservation in Japan, and “the doctor is in” sessions where panelists provide general advice to anyone with a preservation problem.
This participation continues and is current, having presented at a symposium on Non-destructive Investigation at the annual conference of the California Preservation Foundation in 2009, and at the Gamble House for the annual conference of the Association for Preservation Technology International in 2009.
Significant awards, honors, and recognition:
American Institute of Architects:
AIA School Award, University of Virginia School of Architecture 1974, National Los Angeles Chapter Recognition Angels Flight Funicular Railway Restoration 1996, Local HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com California Council Design Award The American Cinematheque at the Egyptian Theatre, 1999 Team Award for Hotel Casa Del Mar, International Interior Design Association, 2001, California Chapter Robert D. Winter Award, Blinn House Foundation, 2007
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
National Trust for Historic Preservation:
National Honor Award Los Angeles Memorial Coliseum Restoration Project 1995 National Honor Award American Cinematheque at the Egyptian Theatre, Hollywood, California 2000 National Trust/ HUD Secretary's Award for Excellence in Historic Preservation Ziegler Estate/La Casita Verde, Highland Park, California 2003 National Honor Award Pasadena City Hall, Pasadena, California, 2008
California Preservation Foundation:
Preservation Design Award Angels Flight Funicular Railway Los Angeles 1997 Preservation Design Award Union Center for the Arts Los Angeles 1999 Preservation Design Award American Cinematheque at the Egyptian Theatre Hollywood, California 2000 Preservation Design Award Pico-Garnier Blocks, El Pueblo de Los Angeles Historic Monument 2001 Preservation Design Award The Gamble House Historic Structure Report Pasadena, California 2001 Preservation Design Award Southwest Community Services Center at the Ziegler Estate Highland Park, California 2002 Preservation Design Award Cabrillo Beach Bath House San Pedro, California 2003 Preservation Design Award Point Fermin Lighthouse Restoration San Pedro, California 2004 Preservation Design Award The Gamble House Conservation Project Pasadena, California 2005
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
Preservation Design Award Van Nuys Municipal Building (“Van Nuys City Hall”) Rehabilitation Van Nuys, City of Los Angeles, 2006 Preservationist of the Year President’s Award Program 2007 (this award recognizes only one individual each year who joins a distinguished list of people who have made significant contributions to the preservation of historic resources in the State of California Preservation Design Award Sacramento Memorial Auditorium Historic Structure Report, Sacramento, California 2007 Preservation Design Award Ennis House Stabilization & Restoration Project, Los Angeles 2008 Preservation Design Award The MacGowan Residence, Los Angeles 2008 Preservation Design Award Pasadena City Hall Seismic Upgrade & Rehabilitation, Pasadena, CA 2008 Preservation Design Award Hollywood Palladium, Hollywood, California 2009 Preservation Design Award Malibu Pier, Malibu, California 2009
Los Angeles Conservancy: Preservation Award Alex Theatre Rehabilitation Glendale, California 1994 Preservation Award Los Angeles Memorial Coliseum Earthquake Restoration Los Angeles 1995 Preservation Award Angels Flight Funicular Railway Los Angeles 1996 Preservation Award Cypress Park Community Center Los Angeles 1998 Preservation Award The Rose Bowl Historic Structure Report Pasadena, California 1998 Preservation Award Studio Mill Adaptive Reuse at Charlie Chaplin Studios for A & M Records Hollywood, California 1998
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
Preservation Award American Cinematheque at the Egyptian Theatre Hollywood, California 1999 Preservation Award The Gamble House Historic Structure Report Pasadena, California 2000 President’s Award Pico-Garnier Blocks, El Pueblo de Los Angeles Historic Monument Los Angeles 2001 Preservation Award Southwest Museum Community Services Center at the Ziegler Estate Highland Park, California 2002 Preservation Award Cabrillo Beach Bath House San Pedro, California 2003 Preservation Award Grauman’s Chinese Theatre Restoration Hollywood, California 2003 Preservation Award Point Fermin Lighthouse Restoration San Pedro, California 2004 Preservation Award The Gamble House Conservation Project Pasadena, California 2005 Preservation Award Van Nuys Municipal Building (“Van Nuys City Hall”) Rehabilitation Van Nuys, City of Los Angeles, 2006 Preservation Award Eastern Columbia Building Rehabilitation Los Angeles, California 2008 Preservation Award Maltman Bungalows Rehabilitation Los Angeles, California 2008 Preservation Award Pasadena City Hall Seismic Upgrade & Rehabilitation Pasadena, California 2008 Preservation Award Ennis House Stabilization and Restoration Los Angeles, California 2008
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
Preservation Award Hollywood Palladium, Hollywood, California 2009 Preservation Award Annenberg Community Beach House at Santa Monica State Beach Santa Monica, California 2010
Cultural Heritage Commission, City of Los Angeles
Historic Preservation Award of Excellence Winery Office Restoration, El Pueblo de Los Angeles Historic Monument Los Angeles 1995 Historic Preservation Award, Honorable Mention Union Center for the Arts Los Angeles 1997 Historic Preservation Design Excellence Award Angels Flight Funicular Railway Los Angeles 1997 Historic Preservation Award of Excellence American Cinematheque at the Egyptian Theatre Hollywood, California 2000
Blinn House Foundation, Pasadena, California Dr. Robert Winter Award for leadership and historic preservation May, 2011
Yale University:
Parsons Medal in City Planning 1980
Books or articles written by or about Peyton Hall:
Written by:
1. Author Richard Longstreth, et al., Editors
Title “Reconsidering the Guidelines for Design of Additions to Historic Building,”
Publication/publication date
David Ames & Richard Wagner, Eds., DESIGN & HISTORIC PRESERVATION: THE CHALLENGE OF COMPATIILITY, University of Delaware Press, Newark, Delaware, 2009. HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
Written about:
1. Author Louise Roug
Title “A genteel face-lift; With utmost patience and a delicate touch, craftsmen are painstakingly restoring Pasadena's landmark Gamble House.
Publication/publication date
Los Angeles Times, April 7, 2004
"It is unquestionably one of the most important buildings in America, and being constructed in wood, it's relatively fragile," says Peyton Hall, principal of the Historic Resources Group, which is working on the renovation. Conservators approached the task with care, he says, inspired by the medical dictum "First, do no harm."
2. Author Michael T. Jarvis
Title “You’re Never Too Antique for Playtime; Preservation Isn’t Napping in Highland Park”
Publication/publication date
Los Angeles Times, November 23, 2003
“Last month the L.A. city-owned site won the National Trust for Historic Preservation’s Housing and Urban Development Secretary’s Award for excellence in Historic Preservation.” “It’s wonderful the way these grand rooms lend themselves to a comfortable space for little children,” says Judy Nygren, executive director of the Mount Washington Pre-school and Child Care Centers, which operates La Casita Verde.” “Nygren praises the consultants at Historic Resources Group as ‘the masterminds’ of the project.” “PPeyton Hall, the private firm’s director of architecture, says the mansion was a challenge. ‘It’s a very fragile two-story wood-frame structure. You still get the sense that nothing has changed despite the interior reinforcement work.’”
3. Author Gordon Bock
Title “Anniversary Interview,” with Peyton Hall, FAIA, celebrating the 35th Anniversary of the magazine that helped to establish the old-house movement in the United States.
Publication/publication date
Old House Journal, October , 2008
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
4. Author Gordon Smith
Title “Meticulous restoration treats historic Gamble House like a museum piece”
Publication/publication date
Copley News Service, July 18, 2004
“Their approach was to treat the entire house like a museum object—one of the first times a historic house in the United States has been subjected to such intensive scrutiny, and the resulting restoration work was carried out with such exacting attention to detail.”
“In 1998, in what could be called one of the most thorough home inspections of all time, architect Peyton Hall began going over the house inch by inch, ultimately producing a historic structures report two years later that dtailed the house’s overall condition and what needed attention the most.”
5. Author Brian Pontolilo
Title “Gamble House Restoration under way”
Publication/publication date
Fine Homebuilding/2004
“For the first six years, we were just planning, said Hall. We took samples from different locations on the exterior of the house and sent them to a lab, where they identified 13 different conditions from severely rotted to perfectly preserved wood.”
6. Author Jennifer Minasian
Title “Take II: Historic Adaptive Re-use; Hollywood’s Egyptian Theatre
Publication/publication date
Volume 5 (A magazine of design and construction in the new millennium)/1999
“An important part of the equation in any project like this is the preservation consultant, who is often described as the advocate for the building. Historic Resources Group, whose offices are located a short walk from the Egyptian, is represented on the project team by preservation architect Peyton Hall, AIA.”
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com
7. Author Sara L. Cannon, Producer; Giorgio Carlevaro, Director
Title “Restoring the Romanza: The Rehabilitation of Hollyhock House”
Publication/publication date
Documentary video, 2003
Peyton Hall is prominently featured among the on camera interviews at Frank Lloyd Wright’s Hollyhock House, Aline Barnsdall’s home on Olive Hill in Los Angeles. Hall monitored the restoration work during 2002-2003.
8. Author Huell Howser Productions
Title “Visiting with Huell Howser: Angels Flight”
Publication/publication date
Feature video, 1996
Howser produces the California counterpart to “On the Road with Charles Kuralt,“ providing valuable documentation of living and built culture across the state. The programs are produced for KCET, the PBS affiliate in Los Angeles, and aired on other PBS network stations in California. Peyton Hall received the most “air time” among all of the individuals who were interviewed for this one hour special about the history and restoration of the short but beloved funicular railway that connects Los Angeles’ Bunker Hill with the ethnically rich Broadway district in downtown.
9. Author Huell Howser Productions
Title “Visiting with Huell Howser: Egyptian Theatre”
Publication/publication date
Feature video, 1998
Howser produces the California counterpart to “On the Road with Charles Kuralt,“ providing documentation of living and built culture across the state. The programs are produced for KCET, the PBS affiliate in Los Angeles, and aired on other PBS network stations in California. Peyton Hall is featured in this episode taped upon the completion of the restoration of Sid Grauman’s Egyptian Theatre in Hollywood.
HISTORIC RESOURCES GROUP, LLC 12 S. Fair Oaks Avenue, Pasadena, California 91105 Telephone 626 793 2400 Facsimile 626 793 2401 www.historicresourcesgroup.com