Appendix J Historic Context Statement
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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. -
Elevator Interior Design
C AMB RIDGE A select portfolio of architectural mesh projects for new or refurbished elevator cabs, lobbies and high-traffic spaces featuring Cambridge’s metal mesh. ARCHITECTURAL MESH Beautiful, light-weight and durable, architectural mesh has been prized by architects and designers since we first wove metal fabric for the elevator cabs in Mies van der Rohe’s Seagram Building in 1958. And it’s still there today. Learn more about our elite line of elegant panels in stainless steel, brass, copper and aluminum. Carnegie Hall, New York City Elegant burnished aluminum panels lift Carnegie Hall’s elevator interiors to another level. Installed by EDI/ECI in concert with Iu + Biblowicz Architects, Comcast Center, Philadelphia, PA Cambridge’s Sawgrass pattern adds When designing the a refined and resilient interior to world’s tallest green this refurbished masterpiece. building, Robert A.M. © Gbphoto27 | Dreamstime.com Stern Architects added style and sustainability with Empire State Building, Cambridge mesh. New York City Classically outfitted Beyer, Blinder & with the chic Ritz pattern, the flexible Belle Architects stainless steel fabric integrates the modernized the lobby and elevators with a smooth landmark and seamless design. skyscraper’s elevator cabs with Cambridge’s Stipple mesh. Installed by the National Elevator Cab & Door Co., the dappled brushed aluminum surface stands up to the traffic and traditions of this legendary building. Victory Plaza, Dallas, TX TFO Architecture’s YAHOO!, Sunnyvale, CA expansive mixed-use project in the center Gensler architects of downtown selected Cambridge’s incorporates one of Silk mesh to clad Cambridge’s most elevators at Yahoo’s popular rigid mesh Silicon Valley fabrics. -
Seagram Building, First Floor Interior
I.andmarks Preservation Commission october 3, 1989; Designation List 221 IP-1665 SEAGRAM BUIIDING, FIRST FLOOR INTERIOR consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; 375 Park Avenue, Manhattan. Designed by Ludwig Mies van der Rohe with Philip Johnson; Kahn & Jacobs, associate architects. Built 1956-58. Landmark Site: Borough of Manhattan Tax Map Block 1307, Lot 1. On May 17, 1988, the landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Seagram Building, first floor interior, consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; and the proposed designation of the related I.and.mark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Twenty witnesses, including a representative of the building's owner, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters in favor of designation. DFSCRIPI'ION AND ANALYSIS Summary The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Iudwig Mies van der Rohe. Constructed on Park Avenue at a time when it was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage. -
To December 31, 2021 the Los Angeles Acting Conservatory
*Catalog effective: March 1, 2020 (TBD by approval) to December 31, 2021 The Los Angeles Acting Conservatory (LAAC) is a private institution and is seeking approval for operation by the Bureau of Private Postsecondary Education (BPPE). Approval to operate means the institution is compliant with the minimum standards contained in the California Private Postsecondary Education Act of 2009 (as amended) and Division 7.5 of Title 5 of the California Code of Regulations. www.bppe.ca.gov This catalog is reviewed and updated each school year. As a prospective student, you are encouraged to review this catalog prior to signing an enrollment agreement. You are also encouraged to review the School Performance Fact Sheet, which must be provided to you prior to signing an enrollment agreement. You may request a copy of the catalog and SPFS by emailing [email protected] 1 Location & Contact Info 3 History 4 Purpose 4 Mission 4 Objectives 4 Educational Programs 5 Associate Degree in Acting 5 Associate Degree in Filmmaking 16 Admission Requirements 22 Financial Aid Policy 25 Return & Cancellation Policies 26 Notice Concerning Transferability of Units Earned at Our School 28 Attendance & Scheduling Policy 29 Student Services 31 Academic & Grading Policy 33 Licensing & Approvals 37 Facility & Equipment 39 Library Resources 40 Disciplinary Policy 43 Code of Conduct 47 International Student Information 53 Faculty 57 Academic Calendar 65 2 Location & Contact Info Nestled between a café, salon, retail shops, and a popular restaurant, Edgemar Center for the Arts is the anchor of the Edgemar complex on Main Street in Santa Monica. A couple blocks away from the beach, near the 10 freeway, the Los Angeles Acting Conservatory (LAAC) is housed in its own state-of-the-art building design by renowned architect Frank Gehry, which includes two theater spaces and an art gallery. -
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579 YALE CLUB OF NEW YORK CITY 50 Vanderbilt Avenue (aka 49-55 East 44th Street), Manhattan Built 1913-15; architect, James Gamble Rogers Landmark site: Borough of Manhattan Tax Map Block 1279, Lot 28 On September 13, 2016, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Yale Club of New York City and the proposed designation of the related Landmark Site. The hearing had been duly advertised in accordance with provisions of law. Six people spoke in support of designation, including representatives of the Yale Club of New York City, Manhattan Borough President Gale A. Brewer, Historic Districts Council, New York Landmarks Conservancy, and the Municipal Art Society of New York. The Real Estate Board of New York submitted written testimony in opposition to designation. State Senator Brad Hoylman submitted written testimony in support of designation. Summary The Yale Club of New York City is a Renaissance Revival-style skyscraper at the northwest corner of Vanderbilt Avenue and East 44th Street. For more than a century it has played an important role in East Midtown, serving the Yale community and providing a handsome and complementary backdrop to Grand Central Terminal. Constructed on property that was once owned by the New York Central Railroad, it stands directly above two levels of train tracks and platforms. This was the ideal location to build the Yale Club, opposite the new terminal, which serves New Haven, where Yale University is located, and at the east end of “clubhouse row.” The architect was James Gamble Rogers, who graduated from Yale College in 1889 and attended the Ecole des Beaux Arts in Paris during the 1890s. -
March 1, 2020 (TBD by Approval) to December 31, 2021
*Catalog effective: March 1, 2020 (TBD by approval) to December 31, 2021 The Los Angeles Acting Conservatory (LAAC) is a private institution approved for operation by the Bureau of Private Postsecondary Education (BPPE). Approval to operate means the institution is compliant with the minimum standards contained in the California Private Postsecondary Education Act of 2009 (as amended) and Division 7.5 of Title 5 of the California Code of Regulations. www.bppe.ca.gov This catalog is reviewed and updated each school year. As a prospective student, you are encouraged to review this catalog prior to signing an enrollment agreement. You are also encouraged to review the School Performance Fact Sheet, which must be provided to you prior to signing an enrollment agreement. You may request a copy of the catalog and SPFS by emailing [email protected] 1 Location & Contact Info 3 History 4 Purpose 4 Mission 4 Objectives 4 Educational Programs 5 Associate Degree in Acting 5 Associate Degree in Filmmaking 16 Admission Requirements 22 Financial Aid Policy 25 Return & Cancellation Policies 26 Notice Concerning Transferability of Units Earned at Our School 28 Attendance & Scheduling Policy 29 Student Services 31 Academic & Grading Policy 33 Licensing & Approvals 37 Facility & Equipment 39 Library Resources 40 Disciplinary Policy 43 Code of Conduct 47 International Student Information 53 Faculty 57 Academic Calendar 65 2 Location & Contact Info Nestled between a café, salon, retail shops, and a popular restaurant, Edgemar Center for the Arts is the anchor of the Edgemar complex on Main Street in Santa Monica. A couple blocks away from the beach, near the 10 freeway, the Los Angeles Acting Conservatory (LAAC) is housed in its own state-of-the-art building design by renowned architect Frank Gehry, which includes two theater spaces and an art gallery. -
LWHC Once Upon Laguna Woods
Once Upon Laguna Woods by Dean O. Dixon Once upon a time in a magical land there were fiery volcanos, roiling seas, and fearsome animals. Then came warriors, conquerors, banishment, empires, slaves, wars, pirates, corruption, bandits, posses, lynching, ghosts, invasion, exploitation, riches, scandal and, yes, even happily ever after. Fiction? No. These are true stories about the land right under your feet in and around Laguna Woods. So what did happen once upon Laguna Woods? Well, are you up for some time travel? The beloved natural vistas from Laguna Woods reflect decades of conservation efforts that preserved tens of thousands of pristine acres from any future human development. You get to enjoy this in perpetuity without it ever being disturbed. Woods End Wilderness Preserve, Laguna Coast Wilderness Park, Aliso & Wood Canyons Wilderness Park, Crystal Cove State Park, Laguna Niguel Regional Park, and City of Irvine Open Space Preserve are contiguous in a synergistic display of your natural history. But what exactly do you see? Once Upon Laguna Woods February 27, 2016 page !2 of !60 Natural erosion has exposed up to 65 million years of rock strata laid down and compressed one layer atop another by eons of changes in the earth’s crust as influenced by climate, flora and fauna. Sand from deserts and beaches, mud from swamps and rivers, skeletons of sea and land creatures, recurrences of these, and still more are solidified and revealed like layers in a slice of cake for the delight of geologists and further study by anyone so inclined. Related tectonics further changed and are changing your area even today as the Atlantic Plate pushes the North American Plate westward into the Pacific Plate along that constant worry of yours, the San Andreas Fault. -
National Register of Historic Places Continuation Sheet
NPS Form 10-900-a OMB Approval No. 1024-0018 (8-86) United States Department of the Interior National Park Service National Register of Historic Places Continuation Sheet Section number ——— Page ——— SUPPLEMENTARY LISTING RECORD NRIS Reference Number: 99000550 Date Listed: 5/14/99 Hollywood Cemetery Los Angeles CA Property Name County State N/A Multiple Name This property is listed in the National Register of Historic Places in accordance with the attached nomination documentation subject to the following exceptions, exclusions, or amendments, notwithstanding the National Park Service certification included in the nomination documentation. —,——.—————-j /Lx7—————————————— 7 ^ / Signature/^ofvche Keeper Date of Action Amended Items in Nomination: Name of Property: The Historic Name of the property should be: Hollywood Cemetery. [This reflects the name of the resource during its primary period of significance; the name Hollywood Memorial Park Cemetery is moved to the Common Name.] This information was confirmed with M. Lortie of the CA SHPO. DISTRIBUTION: National Register property file Nominating Authority (without nomination attachment) NFS Form 10-900 (Rev. 10-90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. -
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. -
Santa Monica
SINGLE - STORY WITH 3 AUTO BAYS :: PRIME PICO BOULEVARD :: SANTA MONICA Term 85% SBA Financing for an Owner/User WSJ Prime + 1.5%-2.5 depending on Buyer SBA Financing Description experience, financial strength & Resume. Down Payment 15% Down Payment to a Qualified Borrower $18,725-$20,515 per month depending on Monthly Payment Buyer Qualification Property Address 3317 W. Pico Boulevard City State Zip Los Angeles, CA 90405 APN 4274-036-027 Zoning SMC2 Year Built 1974 Building Size Approx. 2,040sf Parcel Size Approx. 6,777 sf Topography Flat (Minimal Slope) Single Story with 3 Auto Bays & abundant on-site parking with terrific visibility. The property has access from both Pico Blvd and the Alley in the rear. The subject property is also visible from the 10 Freeway. Located in Santa Monica just West of Centinela on Pico Boulevard. SINGLE - STORY WITH 3 AUTO BAYS PRIME PICO BOULEVARD IN SANTA MONICA SINGLE - STORY WITH 3 AUTO BAYS PRIME PICO BOULEVARD IN SANTA MONICA ❖ Single Story with 3 Auto Bays & abundant on-site parking with terrific visibility ❖ Prime Pico Blvd in the City of Santa Monica. ❖ 2,040sq.ft. Auto with 3 bays and a huge lot of 6,777sq.ft. ❖ Access to both Pico Blvd and the alley behind. ❖ The Property is being sold AS IS, WHERE IS. ❖ Bring your investors, developers and perfect for an Owner/User. SINGLE - STORY WITH 3 AUTO BAYS PRIME PICO BOULEVARD IN SANTA MONICA SINGLE - STORY WITH 3 AUTO BAYS PRIME PICO BOULEVARD IN SANTA MONICA SINGLE - STORY WITH 3 AUTO BAYS PRIME PICO BOULEVARD IN SANTA MONICA 1 9080 W Pico Blvd Los -
Biography [PDF]
NICELLE BEAUCHENE GALLERY RICHARD BOSMAN (b. 1944, Madras, India) Lives and works in Esopus, New York EDUCATION 1971 The New York Studio School, New York, NY 1970 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1969 The Byam Shaw School of Painting and Drawing, London, UK SELECTED SOLO EXHIBITIONS 2019 High Anxiety, Nicelle Beauchene Gallery, New York, NY 2018 Doors, Freddy Gallery, Harris, NY Crazy Cats, Elizabeth Harris Gallery, New York, NY 2015 The Antipodes, William Mora Galleries, Melbourne, Australia Raw Cuts, Cross Contemporary Art, Saugerties, NY 2014 Death and The Sea, Owen James Gallery, Brooklyn, NY Paintings of Modern Life, Carroll and Sons, Boston, MA Some Stories, Elizabeth Harris Gallery, New York, NY 2012 Art History: Fact and Fiction, Carroll and Sons, Boston, MA 2011 Art History: Fact and Fiction, Byrdcliffe Guild, Woodstock, NY 2007 Rough Terrain, Elizabeth Harris Gallery, New York, NY 2005 New Paintings, Bernard Toale Gallery, Boston, MA 2004 Richard Bosman, Elizabeth Harris Gallery, New York, NY Richard Bosman, Mark Moore Gallery, Santa Monica, CA 2003 Richard Bosman, Elizabeth Harris Gallery, New York, NY Just Below the Surface: Current and Early Relief Prints, Solo Impression Inc, New York, NY 1996 Prints by Richard Bosman From the Collection of Wilson Nolen, The Century Association, New York, NY Close to the Surface - The Expressionist Prints of Eduard Munch and Richard Bosman, The Columbus Museum, Columbus, GA 1995 Prints by Richard Bosman, Quartet Editions, Chicago, IL 1994 Richard Bosman: Fragments, -
Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and Thevivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts
85TH ACSA ANNUAL MEETING ANDTECHNOLOGY CONFERENCE 457 Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and theVivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts WESLEY R. JANZ, AIA Ball State University In 1964, the inaugural production of the Lincoln Center the temporary facility. The second considers the architec- repertory company opened to critical acclaim. The debut of tural intentions of these non-architects as they gave physical Arthur Miller's play After The Fall was "an impressive start" form to the preeminent culture they envisioned. (chapman); one that would "arouse an audience and enrich a season" (Nadel). The cast, which included Faye Dunaway, THE CAMPUS OF THE LINCOLN CENTER FOR Hal Holbrook, and leading man Jason Robards, Jr. was THE PERFORMING ARTS lauded: "no performance was less than compelling," stated Lincoln Center was the focus of the eighteen-block Lincoln Howard Taubman, the theater critic of the New York Times. Square Urban Redevelopment Project on the Upper West The theater, a temporary facility that was designed and Side of New York City. Spearheading the Lincoln Center built under the guidance of co-producing directors Robert component were Coinmissioner Robert Moses, Dwight Whitehead and Elia Kazan, was also praised. The critic John Eisenhower, the President of the United States; Nelson A. McClain termed the playhouse "a quite fabulous structure," Rockefeller, the Governor of the State of New York; and the and Howard Clunnan agreed; "the moment you enter it your third John D. Rockefeller. The Center's unofficial title, the attention is riveted on the stage" (Hyams).