DOCSLIB.ORG

Press Release 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PRESS RELEASE FOR IMMEDIATE RELEASE Contact: Stacy Davis [email protected] We Players ANNOUNCES CAST AND CREW for upcoming site­integrated production of “ONDINE” at Sutro Baths and Environs In partnership with the NPS, Golden Gate National Recreational Area Original Play by Jean Giraudoux Adapted by Maurice Valency C0­Directed by Carly Cioffi and Ava Roy Produced by Lauren D. Chavez and Ava Roy Ondine at Sutro May 1 – June 7th, 2015 Friday, Saturday and Sunday afternoons (exact time TBA) ​ 680 Point Lobos Ave, San Francisco, CA 94121 Ticket prices: $35 ­ $80 Advance ticket sales (to We Players mailing list) begin February 2 ​ General ticket sales start March 2 January 26, 2014 (San Francisco, CA): We Players (Artistic Director, Ava Roy; Managing ​ Director, Lauren D. Chavez), presents Jean Giraudoux’s Ondine at Sutro Baths. ​ ​ This site­integrated production is produced in partnership with the Golden Gate National Recreational Area (with whom We Players has been innovating site­integrated theatre since 2008). We Players brings this enchanting love story between a sea spirit and a knight errant to life on the cliffs at Land’s End, where the windswept Monterey Cypress trees tower above and the vast Pacific stretches sparkling to the horizon. Audiences should be prepared to walk; as with all We Players productions, this show is on the move! Action will occur in the ruins of the baths, on the Point Lobos cliffside, and process across the Great Highway into Sutro Heights Park and atop the foundation of Sutro’s former observatory. Ondine at Sutro runs May 1 ­ June 7, 2015. Advance ticket sales ​ ​ ​ open to our mailing list at February 2, 2015. For press reservations or more information call ​ 415.547.0189 or email [email protected]. ​ ​ ANNOUNCING 2015 CAST OF ONDINE AT SUTRO Making their We Players debuts, the company welcomes Olive Mitra as the The Old One/ The ​ Illusionist, Eli Wirtschafter as Bertram the poet, Nick Medina as the King, and Elaine Harris as the ​ ​ lady Bertha. In addition to new talent, many We Players veterans will take the stage including: ​ Benjamin Stowe (Laertes in Hamlet on Alcatraz, 2010; Sir Andrew Aguecheek in Twelfth Night at ​ Hyde Street Pier, 2012; Macduff in Macbeth at Fort Point, 2013) as Ritter Hans von Wittenstein zu ​ Wittenstein; Nathaniel Justiniano (Zeus in The Odyssey on Angel Island, 2012; Ross in Macbeth at ​ ​ Fort Point, 2014) as the Lord Chamberlain; Jack Halton (Polonius in Hamlet on Alcatraz, 2010; ​ ​ ​ ​ Banquo in Macbeth at Fort Point, 2014) will play the fisherman Auguste and Jennie Brick (Captain of ​ ​ ​ the Diamonds in Macbeth at Fort Point 2013 & 2014), a 2014 TBA award nominee for best actress in a ​ ​ featured role will play Auguste’s wife, Eugenie. Julie Douglas (Athena & Circe in The Odyssey on ​ ​ ​ ​ Angel Island, 2012 as well as one of the infamous weird sisters in Macbeth at Fort Point 2013 & 2014), Libby Oberlin (Penelope in The Odyssey on Angel Island, 2012) along with newcomers Mikka ​ ​ ​ ​ Bonel and Becky Robinson­Leviton will conjure and shape­shift together as the ensemble of “ondines”, ​ whose roles range from sea spirits in Act One, to mortals of the King’s court and Han’s servants in Acts Two and Three. Ava Roy, We Players’ Artistic Director, will play the title role. THE PRODUCTION TEAM Roy will both produce, alongside Managing Director Lauren Chavez, and co­direct the production. Carly Cioffi, an accomplished actor, director and former associate artist at ACT (last seen with We ​ Players in 2010 as Gertrude in Hamlet on Alctraz), will co­direct the production alongside Roy. In ​ addition to her role as producer, Mrs. Chavez will bring her choreographer skills to the fore as Movement Director. We Players welcomes costume designer Brooke Jennings, who will create the landscape and Belle Époque­inspired garments for the production. Megan Hillard, who has provided ​ properties and production support in several recent productions, will serve as Properties Master. Resident Music Director Charlie Gurke, a 2014 TBA award winner for his original score for Macbeth at Fort Point, will compose the music and perform alongside Henry Hung (trumpet) and Aaron Priskorn ​ ​ (trumpet) as well as ensemble members Mitra and Wirtschafter. Further credits include Amy Marie Haven as Production Manager, Gabi Immelman as Stage Manager, Lauren Matley as House Manager ​ and Gabriel DeLeon, multi­tasking as Dramaturg, production assistant and ensemble member. EXPERIENCING THE BAY AREA WITH WE PLAYERS As with recent and ongoing collaborations at other National Park Sites (Alcatraz Island 2009­2011, Fort Point 2013­2014, SF Maritime 2011­2017, Marin Headlands 2014­current/ongoing) We Players hopes to entice locals to visit places often left to tourists, and to experience them anew ­­ while offering all visitors a unique way to explore Bay Area sites. "An essential goal of our work is to inspire in our audience personal relationships with the places in which we play," says Artistic Director Ava Roy. Ms. Roy describes Sutro as a perfect location for this playful tale of love and enchantment. She explains, “this simple fable is an allegorical exploration of man’s relationship with the natural world.” Set at San Francisco’s Land’s End, where civilization meets the vast expanse of the Pacific, Roy asserts, “audiences will experience visible and visceral reminders of the mystery and majesty of the sea, and will leave with enhanced appreciation for this stunning and iconic San Francisco site.” ABOUT ONDINE AT SUTRO Ondine is a tragic love story between a mystical creature of the depths and a mortal man of hubris. ​ Worlds collide, the natural world flirts with the established social order and immortal powers plunge into the realm of mortals. Staged in and around the eroded foundations of the massive buildings and grand swimming pools of Sutro Baths and Sutro Heights Park, audiences will move with the action of the play, exploring the park environs while immersed in the enchanted realm of Ondine. Of the title ​ ​ character Roy explains, “Ondine is pure, elemental – she feels everything but is haunted by nothing. She is seeking something intrinsically human to ground her in the currents of an immortal existence.” While this story of the water spirit that craves a human soul is a fairy­tale motif, Giraudoux (the play’s author) explains that “the play becomes the tragedy of man divorced from nature and stultified by his confinement within the strictly human sphere.” ABOUT WE PLAYERS We Players was recently recognized by Backstage.com as one of seven companies around the globe ​ ​ producing groundbreaking immersive theatre. We Players was also honored by San Francisco Magazine with the “Best of the Bay” pick for their unique site­specific performance work noting, “We Players didn’t just break the fourth wall, it toppled the whole playhouse.” Our mission is to create site­integrated performances that transform public spaces into realms of participatory theatre, in an effort to engage with history and the environment, build community, and activate personal relationships with place. Our work inspires, awakens the senses, and connects people with ​ each other and the environment. We Players is a Bay Area arts non­profit founded in 2000 at ​ Stanford University by Ava Roy, and managed by Ava Roy and Lauren Dietrich Chavez since 2009. For more information about We Players, please visit www.weplayers.org. ​ ​ Calendar Listing Information In partnership with the NPS, Golden Gate National Recreation Area We Players presents Ondine at Sutro Original Play by Jean Giraudoux Co­Directed by Carly Cioffi and Ava Roy Performance Dates: Friday, Saturday and Sunday; May 1st – June 7th, 2015 ​ Performance Times: Fridays, Saturdays & Sundays (late afternoon start time TBA) ​ ​ Performance Locations: Sutro Baths and Sutro Heights Park, 680 Point Lobos Avenue, San ​ Francisco, CA 94121 For detailed information about performance dates, times, and locations, please visit our website at WePlayers.org. ​ ​ Tickets: $35­$80 Advance tickets available to members of our mailing list starting February 2nd. General ticket sales begin March 2 at WePlayers.org ​ Information, group sales and educational opportunities: Phone: 415.547.0189 ​ Email: [email protected] ​ Website: WePlayers.org ​ ​ .
Recommended publications
  • STAFF REPORT for CALENDAR ITEM NO.: 9 for the MEETING OF: September 14, 2017

    STAFF REPORT for CALENDAR ITEM NO.: 9 for the MEETING OF: September 14, 2017

    STAFF REPORT FOR CALENDAR ITEM NO.: 9 FOR THE MEETING OF: September 14, 2017 TRANSBAY JOINT POWERS AUTHORITY BRIEF DESCRIPTION: Adopt rules and regulations for the TJPA’s park on the roof of the transit center, and authorize staff to proceed with requesting proposed amendments to the San Francisco Municipal Code to make TJPA’s park a “park” subject to certain rules and regulations under the Municipal Code. EXPLANATION: The 5.4-acre park and botanical garden on the roof of the Salesforce Transit Center (named “Salesforce Park” and referred to herein as “TJPA’s park”) will be a unique open space and amenity in an area of the City with few parks. TJPA’s park is expected to be a destination for visitors that will include area residents, workers, transit riders and tourists, with programs and events (activation) designed to ensure that the open space is populated throughout the daytime and evening hours of operation. The TJPA is developing a park security program that will support the following goals: • Create an exceptional visitor experience • Preserve the park’s unique ecosystem • Enable full activation of the park • Provide a safe and secure park for all users Most San Francisco parks are owned by the City and County of San Francisco; are under the control, management, and direction of the San Francisco Recreation and Park Commission and the Recreation and Parks Department staff; and are subject to the rules and regulations in the San Francisco Park Code and other provisions of the Municipal Code. The TJPA’s park, like all other San Francisco parks, requires rules and regulations to ensure the enjoyment and safety of all visitors and preservation of the public resource.
  • U12 Activities - Passing & Receiving for Possession

    U12 Activities - Passing & Receiving for Possession

    U12 Activities - Passing & Receiving for Possession Objective: To improve the players’ ability to pass, receive and possess the soccer ball when in the attack Technical Warm up Organization Coaching Pts. Dutch Square: Passing: Half of the players on the inside of the square Toe up (inside) or down & turned (with soccer balls), half on the outside. The in (outside) insiders will pass the soccer ball to the Placement of non-kicking foot outsiders. The outsiders will pass the ball and good balance back with one or two touches to the insiders. Receiving: The insiders will receive the soccer ball and Keep feet moving before ball look for another outsider to pass to. After a arrives and go to it few minutes, switch insiders with outsiders. Keep ankle of receiving foot Coach: have players pass and receive with locked and body behind ball the right and left foot. Eye on ball at instant of reception Time: 15 minutes Small Sided Game Organization Coaching Pts. Tech of passing and receiving 3v3 5 Goal Game: Players in good supporting In a 20x30 yard grid, five 2 yard goals are positions spread out throughout the grid. The teams Pace and accuracy of the pass score by passing and receiving through Finding the open gate or goal any of the goals to a teammate. First Touch – Directional Coach: Emphasize the importance of Clear communication being in good supporting positions and (demand the ball) good attacking shape. 3 Players need to be Good team shape in a triangle. Time: 15 minutes Exp. Small Sided Game Organization Coaching Pts.
  • July 21, 2012

    July 21, 2012

    The official publication of The Webfooters Post Card Club in Portland, Oregon T T www.thewebfooters.com Volume 46 Issue Number 7 July 2012 Exploring San Francisco’s Sutro Heights Next Meeting ––– JuJuJulyJu lylyly 212121,21 , 2012 At Russellville Grange ––– 12105 NE Prescott Street 999 am to 3:30 pm Located at: Farmhouse Antiques 8028 SE 13th Avenue in Historic Sellwood 503-232-6757 Tuesday thru Sunday: 11 to 5 (paid advertisement) Thanks to our advertisers for their support which helps offset our expenses Member news Word comes that Dave Elston, Webfooter #1592, was taken to the hospital on July 4 for a gallstone attack while enjoying the holiday at Seaside. At press time Dave was headed for a doctor visit. He’s painting his house in Portland. 2 Exploring Sutro Heights San Francisco’s famous Cliff House in the 1880s. The area at the western edge of San Francisco which was to become Ocean Beach was one of the earliest amusement resorts on the West Coast. This area, which included once famous landmarks including the Cliff House, Sutro Baths and Museum and Playland-at-the-Beach, began as a 19th Century squatter’s settlement known as “Mooneysville-by-the-Sea.” The Cliff House has been through five major incarnations since its beginnings in 1858. That year, Samuel Brannan, a prosperous ex-Mormon elder from Maine, bought lumber salvaged from a ship that foundered on the basalt cliffs below for $1,500. With this material he built the first Cliff House. The second Cliff House was built for Captain Junius G.
  • Goga Wrfr.Pdf

    Goga Wrfr.Pdf

    The National Park Service Water Resources Division is responsible for providing water resources management policy and guidelines, planning, technical assistance, training, and operational support to units of the National Park System. Program areas include water rights, water resources planning, regulatory guidance and review, hydrology, water quality, watershed management, watershed studies, and aquatic ecology. Technical Reports The National Park Service disseminates the results of biological, physical, and social research through the Natural Resources Technical Report Series. Natural resources inventories and monitoring activities, scientific literature reviews, bibliographies, and proceedings of technical workshops and conferences are also disseminated through this series. Mention of trade names or commercial products does not constitute endorsement or recommendation for use by the National Park Service. Copies of this report are available from the following: National Park Service (970) 225-3500 Water Resources Division 1201 Oak Ridge Drive, Suite 250 Fort Collins, CO 80525 National Park Service (303) 969-2130 Technical Information Center Denver Service Center P.O. Box 25287 Denver, CO 80225-0287 Cover photos: Top: Golden Gate Bridge, Don Weeks Middle: Rodeo Lagoon, Joel Wagner Bottom: Crissy Field, Joel Wagner ii CONTENTS Contents, iii List of Figures, iv Executive Summary, 1 Introduction, 7 Water Resources Planning, 9 Location and Demography, 11 Description of Natural Resources, 12 Climate, 12 Physiography, 12 Geology, 13 Soils, 13
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic

    Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic

    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
  • Complete 2020 Annual Report (PDF)

    Complete 2020 Annual Report (PDF)

    2020 REPORT TO THE COMMUNITY Youth wade into Crissy Field Marsh during Project WISE in fall 2019 (See story, page 5). Crissy Field Center moves into new space at DEAR FRIEND the Tunnel Tops in 2021. We’ll improve those trails we missed so much. We’ll welcome back OF THE PARKS, our volunteers and visitors with open arms—or maybe a friendly wave. With our partners, our hat a year to start as only the second focus on making parks accessible for all—so W CEO in the history of the Golden Gate that everyone feels welcome in parks and can National Parks Conservancy. Throughout this enjoy the many health benefits of nature—is Report to the Community, we shine a light on more important now than ever. our major accomplishments of 2019. We had That’s why I’m so grateful for my first year no idea what was just around the corner. at the helm of the Parks Conservancy. I’ve I came into this job believing strongly in gotten to see the park spirit shine bright under the power of national parks to inspire and the toughest conditions. The snapshot of heal. The Bay Area shelter-in-place orders 2019 you’ll get in this report shows us what’s somehow strengthened that conviction. When possible for our long-term future, and I can’t we lose something, we miss it more than ever. wait to get there. It may take some time to And, we learn a powerful lesson in not taking recover, but with your help, our parks will it for granted.
  • Venture Capital Ecosystems: Digital Health in the United States

    Venture Capital Ecosystems: Digital Health in the United States

    Venture Capital Ecosystems A Report on Digital Health in the United States CONTENTS SECTION ONE Introduction 03 SECTION TWO Industry Trends: US Digital Health Venture Ecosystem 05 SECTION THREE The Investment and Market Landscape 07 SECTION FOUR Methodology 24 MOSS ADAMS Venture Capital Ecosystems 02 SECTION ONE Introduction A watershed moment for the digital health industry, 2021 and 2021 revealed new paths forward for many companies and set the scene for a more favorable regulatory environment. As the COVID-19 pandemic’s ripple effects spread throughout the world, digital health technology became a necessary tool for meeting people’s health care needs. This proved to be a massive accelerant to both funding and innovation across the sector. In response, many digital health companies expanded, and deal values soared for early- and growth-stage investments. These developments introduced opportunities for digital health, but they also revealed new challenges, including increased competition, new operational demands, and a need for more judicious spend on capital. Below is a look at what the early- and growth-stage venture ecosystem looks like and steps your company can take to stay competitive in the changing environment. We hope you find this report useful. RICH CROGHAN National Practice Leader Life Sciences Practice MOSS ADAMS Venture Capital Ecosystems / Introduction 03 EARLY-STAGE VENTURE ECOSYSTEM AT A GLANCE Throughout the 2010s, venture In 2020, deal value spiked as A flood of capital into the digital investment rose steadily with invested venture capital (VC) hit health start-up environment scarcely a slowdown, in both $14.7 billion—a staggering surge enabled companies to stay count and aggregate value.
  • Qnas with Angel Rubio QNAS Paul Gabrielsen, Science Writer

    Qnas with Angel Rubio QNAS Paul Gabrielsen, Science Writer

    QNAS QnAs with Angel Rubio QNAS Paul Gabrielsen, Science Writer Just as physics requires a different set of tools to explore phenomena at the quantum scale, chemistry requires a quantum paradigm. At the macroscale, the interaction of light with chemical entities can be observed in processes such as photosynthesis. But the actual interaction between photons and other matter occurs in the realm of quantum chemistry. National Academy of Sciences member and physicist Angel Rubio, managing director of the Max Planck Institute for Structure and Dynamics in Hamburg, Germany, studies the theoretical interactions of photons and molecules in isolated cavities. Such cavities may be simple vacuums, or may contain mirrors that reflect particles within them at a frequency dependent on the cavities’ dimensions. In his Inaugural Article (1), Rubio presents model systems of quantum chemistry that ex- plore degrees of coupling between light and matter. Rubio recently spoke to PNAS about his findings. PNAS: How does chemistry change at the quantum scale? Rubio: When you put two atoms together, they form a chemical bond. Our players are molecules and pho- tons. As there are two quantum entities, they will create a bond between the molecule and the photon field. This sort of quasi-particle is called a polariton. It’s not an ’ electron; not a photon. It samix. Angel Rubio. Image courtesy of Angel Rubio. PNAS: How do photons participate in chemical reactions? mediated by the photon and enhanced. Or, if you want, you could quench it. Rubio: Our idea was to keep the normal chemical landscape, but add a new player that controls how PNAS: What is the question that your Inaugural Article these bonds are being formed or broken in the (1) is trying to address? presence of this new glue between the atoms.
  • File No. 160205 Resolution No. 103-16 1

    File No. 160205 Resolution No. 103-16 1

    FILE NO. 160205 RESOLUTION NO. 103-16 1 [Opposing Golden Gate National Recreation Area's Proposed Rule Regulating Dog Walking] 2 3 Resolution opposing Golden Gate National Recreation Area's proposed rule regulating 4 on- and off-leash dog walking in urban parklands throughout San Francisco, Marin, and 5 San Mateo Counties. 6 7 WHEREAS, San Francisco is a densely populated urban environment where an 8 estimated 120,000 dogs reside with their families; and 9 WHEREAS, Dogs require daily exercise to live healthy lives; and 1O WHEREAS, Many residents, including dog owners, live in homes with little to no 11 outdoor space and often rely on public open space for recreation; and 12 WHEREAS, San Francisco has more than 220 parks administered by the San 13 Francisco Recreation and Park Department, of which only 28 are designated dog play areas 14 where dogs may play off-leash; and 15 WHEREAS, In addition to these dog play areas, many dog owners have also exercised 16 their dogs for decades at popular locations under the jurisdiction of the Golden Gate National 17 Recreation Area (GGNRA) and the National Park Service (NPS), such as Ocean Beach, 18 1 Baker Beach, Crissy Field, Ft. Funston, Ft. Mason, Lands End, and Sutro Heights Park; and 19 WHEREAS, The GGNRA was established in 1972 as an urban park with a goal of 20 making open space more available to a broader segment of the public and so that urban- 21 dwelling families would not have to drive far to access open space; and 22 WHEREAS, In 1973, San Francisco voters turned over 500 additional acres of city 23 · parkland - including Ocean Beach, Ft.
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
  • Board of Supervisors |

    Board of Supervisors |

    FILE NO. 131002 RESOLUTION NO. ~ ~ b- \ ~ 1 [Opposing Golden Gate National Recreation Area's Draft Dog Walking Access Policy] 2 3 Resolution opposing the Golden Gate National Recreation Area's (GGNRA) currently 4 proposed preferred alternative for dog management; and urging the GGNRA to adopt a 5 different approach. 6 7 WHEREAS, Approximately 110,000 households in San Francisco own dogs that 8 require regular exercise; and 9 WHEREAS, San Franciscans and their dogs have traditionally enjoyed access for 1O generations to various properties under the present oversight of the Golden Gate National 11 Recreation Area (GGNRA), such as Crissy Field, Ocean Beach, Ft. Funston, Lands End, Ft. 12 Baker, Ft. Mason, Baker Beach and Sutro Heights Park; and 13 WHEREAS, The GGNRA was established, among other things, "to create an area that 14 concentrates on serving the outdoor recreation needs of the people of the metropolitan area;" 15 and 16 WHEREAS, In 1975, the City and County of San Francisco transferred Fort Funston, 17 Ocean Beach, and other city-owned lands to the federal government to be included in the 18 GGNRA and administered by the National Park Service after being given assurances that 19 recreational access and usage would be continued and protected; and 20 WHEREAS, The voters required that the deed transferring any City-owned park lands 21 to the National Park Service include the restriction that said lands were to be reserved by the 22 Park Service in perpetuity for recreation or park purposes with a right of reversion upon 23 breach
  • SUTRO HISTORIC DISTRICT Cultural Landscape Report

    SUTRO HISTORIC DISTRICT Cultural Landscape Report

    v 0 L u M E 2 SUTRO HISTORIC DISTRICT Cultural Landscape Report NATIONAL PARK SERVICE GOLDEN GATE NATIONAL RECREATION AREA II II II II II SUTRO HISTORIC DISTRICT II Cultural Landscape Report II II II II •II II II September 1993 II Prepared for United States Department of the Interior National Park Service II Golden Gate National Recreation Area II San Francisco, California Prepared by Land and Community Associates II Eugene, Oregon and Charlottesville, Virginia II In association with EDAW, Inc. II San Francisco, California II II II CREDITS II United States Department of the Interior II National Park Service Golden Gate National Recreation Area II Brian O'Neill, Superintendent Doug Nadeau, Chief, Resource Management & Planning II Nicholas Weeks, Project Manger, Landscape Architect Ric Borjes, Historical Architect Terri Thomas, Natural Resources Specialist/Ecologist II Jim Milestone, Ocean District Ranger Marty Mayer, Archeologist II Steve Haller, Historic Document Curator II Land and Community Associates Cultural Landscape Specialists II and Historical Landscape Architects J. Timothy Keller, FASLA, Principal-in-Charge II Robert Z. Melnick, ASLA, Principal-in-Charge Robert M. McGinnis, ASLA, Project Manager II Genevieve P. Keller, Senior Landscape Historian Katharine Lacy, ASLA, Historical Landscape Architect Liz Sargent, Landscape Architect II Julie Gronlund, Historian Frederick Schneider, Desktop Publishing II in association with II EDAW,lnc. II Landscape Architects and Planners Cheryl L. Barton, FASLA, Principal-in-Charge II Allen K. Folks, ASLA, Project Manager John G. Pelka, Environmental Planner II Misty March, Landscape Architect II II II II II II CONTENTS II 1 I MANAGEMENT SUMMARY II 1.1 Introduction and Project Background ..