san dieito, ca.:j::jfornia--

HISTORICAL RESOURCE TECHNICAL REPORT FOR 1122 4TH A VENUE REDEVELOPMENT PROJECT

SAN DIEITO, CA.:J::JFORNIA--

Prepared for:

1122 4th Ave., LLC 301 N. Carson Drive, Suite 205 Beverly Hills, California 90210

Prepared by:

AECOM 401 W. A StreeL Suite 1200 San Diego, California 92101

(619) 610-7600

A uthors:

M. K . Meiser, M.A. Jeremy Hollins, M.A.

Revised November 2015

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TABLE OF CONTENTS

Section

EXECUTNE SUMMARY ................. ........................................................................................... v

INTRODUCTION ....................................................................... ................................................... 1 Repon Organization ............................•....... ........................................................................ 1 Project Area ...........•......... ................... .............................................................................. .. l Personnel .......................... ........................................................ ........................................... 5

PROJECT SETTING .................................................................. .. .................................................. 7 Physical Project Setting ........................................................... ........................................... 7 Project Area and Vicinity .................................................................................................... 7 Historical Overview .................................... ................... ..................................................... 7

Sao Diego ............. ................................................................................................... 7 California Theatre Building ......................................... .......................... ................. 9 Agua Caliente ............................................................... ............. ............................ l I

METHODS AND RESULTS ............................................................................... ........................ 15 Archival Research ..................................................... ..... ................................................... I 5

Previous Investigations ................... ........................................ .............................. I 5 Previously Recorded Culrural Resources ........... ................................................... 15

Field Survey ....................... ........................................................................ ....................... 17 Resource Description ........................................................................................................ 18

California Theatre .................................. ....... ..... ................................................... 18 Painted \Vall Signs ................................................................................................ 26

Sign #I ....... ................. .............................................................. .............. .. 26 Sign !12 ...................................................................................................... 27 Sign #3 ...................................................................................................... 28

SIGNIFICANCE EVALUATIONS .............................................................................................. 3 I Regulations ....................................................................................................................... 31

California Environmental Quality Act.. ................................................................ 31 City of Sao Diego Historical Resources Regulations (Land Development Code [Chapter 14. Article 3. Division 2]) ........... ................ 32

Resource Evaluation ......................................................................................................... 33 California Theatre ................................................................................................. 33

NRHP Criterion A/CRHR Criterion I ...................................... ...... .......... 33 NRHP Criterion B/CRHR Criterion 2 ...................................................... 34 NRHP Criterion C/Criterion Criteria 3 ..................................................... 34 NRHP Criterion D/CRHR Criterion 4 ...................................................... 35

Painted \Vall Signs ................................................................................................ 37 NRHP Criterion A/CR.HR Criterion I/HRB Criterion A ......................... 37 NRHP Criterion B/CRHR Criterion 2/HRB Criterion B .......................... 38

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1''RHP Criterion C Cmerion Criteria 3 'HRB Criteria C and D ................ 38 1'.'RHP Criterion D CRHR Criterion 4'HRB Criteria F ............................ 39

Fl Dl1'GS AND CO 'CLUSIONS .............................................. ............................................... -II Impacts Discussion ........................................................................................................... -11 Mitigation Measures ......................................................................................................... 42

Measure HR- I ................................ .. ..... .................................................... 42 Measure HR-2 .................................. ......................................................... 42 Measure HR-3 .................................. ...... ................................................... 42 Measure HR-1 ........................................................................................... 43

Conclusion ........................................................................................................................ 43

BfBLIOGRAPHY ......................................................................................................................... -IS

APPENDICES A Building Development lnfonnation B Ownership and Occupant lnfonnation C Maps D DPRForms E Preparers· Qualifications

LI T OF FIGURES

Figure Page

Regional Location Map ................................................ .............. ......................................... 2 2 Project Location Map .......................................................................................................... 3 3 Area orPotemial Effects (APE) .Map ................................................................................. -I

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LIST OF PLATES

I California Theatre, June 24, 1927 (Source: San Diego History Center) .......... =····=···=···~"""------------2 Silver Cask Co. tavern (at comer), 1950 (Source: San Diego History Center) ................ 11 3 Advenisement for the Agua Caliente Racetrack in Polk's City Directory, 1958 ............. 13 4 Advenisement for the Caliente Racecrack in Chula Vista Star-News,

August 30, 1962 ................................................................................................................ 14 5 4th Avenue facrade and office tower, view facing southwest ............................................ 18 6 C Street facrade, office tower at righ~ view facing northwest. .......................................... 19 7 C Street facrade, fly loft and two-story retail at left, view facing northeast. ..................... 19 8 3rd Avenue fa~ade, fly loft and ~o-story retail in foreground, office lO\\er in

background, view facing southeast. .................................................................................. 20 9 Office tower entablarure, C Street facrade, ,;ew facing northwest. ......... ....... ........ .......... 22 I 0 C Street facrade, auditorium wall, view facing northwest. .............................. .................. 22 11 Detail, auditorium wall, view facing northwest. ............................................................... 23 12 4th A venue facrade, view facing west. .............................................................................. 23 13 4th Avenue facrade. fenestration ornamentation, view facing west. ................................. 24 14 4th Avenue facrade, location of fonner marquee. view facing southwest. ........................ 24 15 C Street facrade, boarded retail storefronts, view facing north .......................................... 25 I 6 Fly loft entablature, 3rd Avenue fa~ade, view facing east.. ..... ......................................... 25 17 North side, view facing south ........................................................................................... 26 18 Sign# 1, north part of office tower, view facing south ..................................................... 27 19 Sign #2, south elevation of fly loft, view facing north ....................... .............................. 28 20 Sign 113, west elevation of lly loft. view facing east. ........................................................ 29

LIST OF TABLES

I Summary of Previous Surveys within Records Search Limits ......................................... 16 2 Previously Recorded Cultural Resources within Records Search Limits ......................... 17

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EXECUTIVE S~1ARY

The proposed 1122 4th A\·enue Reevelopment Project (project) is located at the nonhwest comer ____ _,.o,_f ...._!!"'th....,AYenue and C-5.treet in do\\11tru'l.ll _San.Dieg,o~California. The developer. 1122 4th Ave.~

LLC, is proposing to demolish the vacant California Theatre building and construct a new 40-story mixed-use building on the site. This historic resource study was conducted in suppon of the environmental assessment process in compliance with the California Environmental Quality Act (CEQA). This repon includes an evaluation of potential historical resources under the criteria of the National Register of Historic Places (NRHP). the California Register of Historical Resources (CRHR), and the Ciry of San Diego's Historical Resources Board. and a preliminary assessment of potential effects of project outcomes on historical resources.

The area of potential effects (APE) is defined as the project area. which encompasses three assessor·s parcels. Archival research and field survey were conducted to identify previously recorded resources located \vithin the APE. A records search ar the South Coastal Information Center at San Diego State Universit) identified one previously recorded resource within the APE. the California Theatre. Property data were also collected at the County of San Diego Assessor's Office and the Ciry of San Diego Building DepartmenL

Resources identified and evaluated in the current APE include the California Theatre building and the painted advertisements on its exterior walls. An intensive survey of the building was conducted. and the building and the signs were documented on California Department of Parks and Recreation 523 Forms. The California Theatre is listed in the City's local register as Historic Resource Number !!291. The California Theatre building appears eligible for listing in the NRHP under Criterion A and the CRHR under Criterion I for its local significance associated with the booming development of downtown San Diego in the 1920s; and under NRHP Criterion C and CRHR Criterion 3 for its local significance as a good example of a Spanish Colonial Revivalstyle building. Its period of significance is 1927 to I 940. lt is considered a historical resource under CEQA. The painted s igns. Signs ifl - 3. do not meet any NRHP. CR.HR or HRB criteria, and do nor appear eligible for listing in the NRHP, CRHR, or local register.

The proposed project would demolish the California Theatre building, which is a significant hisiorical resource. Demolition is not consistent with the Secretary of Interior's Standards for the Treatment of Historic Properties (36 Code of Federal Regulations pan 68) and their applicable guidelines. because the historic character of the historical resource would not be retained or preserved. Demolition would be considered a significant direct impact under CEQA. The projeci is not expected LO ha\'e a significant indirect or cumulative impact to historical resources due to the built-up nature of the area. new or recent development surrounding the propeny. lack of sensitive resources (including historic districts) and limited viewsheds. Mitigation measures may reduce impacts to the historical resource, but would not lowcr the impact to a le\ el less than significant, since adherence to the Secretary of lnterior·s Standards for the Treatment of Historic Propenies is not feasible. ln conclusion, the project will substantially impact a significant historical resource. as defined in CEQA Guidelines Section 15064.5.

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INTRODUCTION

The proposed 1122 4th Avenue Reevelopmem Project (project) is located at the northwest comer ____ _.o"'f._4.,th~Avenu~Jll!d_c_street in downtfilITI San Diegg, California (Fi_gure I - Re~onal Location

Map and Figure 2 - Project Location Map). The de,·e!oper. 1122 4th Ave., LLC, is proposing to demolish the vacant California Theatre building and to build a new 40-story mixed-use building on the site. This historic resource study was conducted in support of the environmental assessment process in compliance with the California Environmental Quality Act (CEQA). This report includes an evaluation of potential historical resources under the criteria of the National Register of Historic Places (NRHP). the California Register of Historical Resources (CRHR), and the City of San Diego's Historical Resources Board. and a preliminary assessment of potential impacts of project outcomes on historical resources.

Preliminary plans for the project propose to demolish and replace the existing California Theatre building with a new, high-density, mixed-use building developmenc. The project proposes to construct a 40-story. 282-unit residential tower core (414 feet tall) in !he central portion of the site and a nine-story building to the east facing 4th Avenue 10 mimic the scale of the existing office building. The project also proposes two and one half levels of underground parking, street level retail , lobby, and residential amenities, and four levels of above-grade parking. The 7th floor 'viii include a podium deck with activity areas. It is anticipated that the structures will consist of modern, cast-in-place concrete construction. Grading will be limited to excavation for the proposed subterranean parking garage.

The area of potential elTects (APE) (Figure 3 - APE Map) for the purposes of this study is limited to the project area, with the primary purpose of this study being the identification and evaluation of historical resources that will be directly impacted by the project.

REPORT ORGANIZATION

Per the City's Historical Resource Technical Report Guidelines and Requirements (City of San Diego 2009). this report includes a description of the project sening, a summary of Lhe methods and results. a significance evaluation of resources in the APE, and the findings and conclusions of the study. Also included are Building Development Information (Appendix A). Ownership and Occupant lnformation (Appendix B), Maps (Appendix C). Department of Parks and Recreation (DPR) 523 forms (Appendix D), and Preparers· Qualifications (Appendix E).

PROJECT AREA

The project area is located in Honoa's Addition. Block 16, in Lots E, F. G, H. and L in San Diego. The project area is a 25, 103-square-foot site contained on assessor's parcels 533-52-104, -105. and -108. and is bounded by 4th Avenue to Lhe easL C Street to the south. 3rd

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Figure 1 Project \liciJJity

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Figure 2 Project Location

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Figure 3 Area of Potent ial Effects (APE)

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A' enue to the ''est. and lolS D and J to the nonh. The project site is located in the Civic Core Neighborhood of the Do\\11town CommUJJ.JI) Plan area (DowntO\\ll Planning Area}. The Do\\ ntown Planning Area includes approximately 1,500 acres of the metropolitan core of San Diego, bounded by Interstate 5 on the nonh and east and San Diego Bay on the south and southwest. The project area currently contains the California Theatre building that is composed of a vaude\.ille and c111ema theater ''"ith an anached nine·SlOry office building occup)ing Assessor·s Parcel Numbers 533-52-J().J and -105.

PERSO'.\-XEL

This investigation was conducted by M.K. Meiser, 'VI.A., and Jeremy Hollins, M.A. Ms. Meiser and Mr. Hollins are both qualified under the Secretary of Interior's Standards (36 Code of Federal Regulations [CFR] Pan 61) for architectural history and history. Monica Mello. M.A .. and Colin Rccksieck. B.A., provided historical research suppon for this project Resumes for key personnel are included in Appendbt E.

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PROJECT SEITli~G

PHYSICAL PROJECT SETTING

The project area is located in an urban corridor of downtown San Diego. The site is located at the nonhwest comer of C Street and 4th Avenue in the Civic/Core Neighborhood of the Downtown Planning Area. The project's immediate selling is densely developed with urban commercial buildings that are generally situated with no setback from the sidewalk. The surrounding buildings vary in architectural style, dates of construction, and size, being generally between three and nine stories high. The San Diego Trolley operates along C Street to the south of the project area, which is also a commercial corridor.

PROJECT AREA A.'fil VICINITY

The historic development of the project area and immediate \icinity is representative of the general development pattern of downtown San Diego. The project area is located in Lots E, F, G, H, and I of Block 16 in Alonzo E. Horton's 800-acre 1867 Addition in San Diego. The project area was undeveloped in 1876. although single-story residences were built on nearby blocks to the nonh, east, and west, and two-story civic and commercial buildings were built on nearby blocks along Broadway to the south, according to a birds-eye map of the area (see Appendix C). The lots remained undeveloped in 1887; however, by the following year, furniture warehouses and retail storefronts were located in the project area (Sanborn Fire Insurance Maps; see Appendix C). From 1906 through the construction of the California Theatre in 1927, the project area and the surrounding blocks fully developed ,,;th storefronts, lodgings, and other commercial spaces that occupied the entire blocks (Sanborn Fire Insurance Maps; see Appendix C). Since 1927, the area around the California Theatre has further de,·eloped with the removal of historic buildings and the introduction of modem high rises.

HISTORICAL OVERVIE\V

San Diego's built environment spans over 200 years of architectural history. To provide for a better understanding of the origin and development of the resources located within the APE, this historic context includes information and themes pertaining to the history of San Diego (taken from the City context provided in San Diego Modernism Historic Context Statement [City of San Diego 2007]) and the more specific de,·elopment of downtown San Diego and its theaters.

Sao Diego

The initial Spanish settlement of the greater San Diego area began in 1769. Spain first laid claim to the California coast in the 16th century, but it was during the mid-18th century that the Spanish exploration and colonization was at a peak. The first area settled by the Spanish in Alta California was San Diego. Initially, both a mission and a military presidio were located on

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Presidio Hill O\ erlooking the San Diego Ri,er. A small community of seulers developed at the foot of Presidio Hill.

The early 1850s was the beginning of American involvement in San Diego. It began with the development of 1he San Diego harbor by two land specula1ors, Andre\\ B. Gray. chief surveyor of the United S1a1es Boundary Commission, and William Heath Da\ is. a San Francisco merchanL Dubb..>d ·• 1C\\ Town.~ it consis1cd of lands bounded on the north by present-day Broadwa). on the eas1 b) from Street, and on the \\CS! and south b) the \\aterfronL la 1867, an c.\perienced land de, eloper by the name of Alonzo E. Honon purchased appro.\imatcly 800 acres adjacent to and easl of the ew To\\n area (Cil) of San Diego 2007).

Urbanization of the city began in 1869 ''hen the center of go,·emmem moved from Old Town 10 New Town (present-day downtO\\TI) with Honon·s influence. Development spread ou1 from do\\ntown based on a \ariety of factors, including the availabili1y of potable water and transponation corridors. Factors such as ,·icws and access to public facilities affected land \alues, ''hich in rum aITec1ed the character of neighborhoods that developed.

Encouraged by Hon on' s successful ,·entures. se' eral speculators and businessmen arrived in San Diego 10 purchase land in 1867. resulting in the creation of more than 15 new subdiYisions around Honon 's Addi1ion. O\er the ne.\I 20 years, 1hese neighborhoods continued to de\ elop. When the first strec1car line appeared in San Diego. many families began 10 mo,·e out 10 suburbs, '' bich were rapidly building up on the ou1skins of town (Ci1y of San Diego 2007). These included the a.reas now known as Uptown and Golden Hill. Between 1900 and 19 I 0, the population of San Diego more than doubled (Pryde 1992:73).

With the gro''ing popula1ion. the cil) became a center for commerce and emenainmenL By the tum of the 20lh century. the commercial business district was concentrated in a fe,, square blocks. The area de\ eloped between the 1880~ and 1930s with the construction of several highrise commercial buildings in a variery of archi1ec1ural Sl)1es, including Chicago School,

eoclassical, and Renaissance Revival styles. San Diego ·s rapid economic growth in the early 20th cemury was spurred by new commercial businesses, residential development, and ne\\ attractions, like 1he Panama-California ln1emational Exposition in 1915. drawing 1outists. Se,eral facilities \\ere built in do\\ntown San Diego for streams of ne\\ re>idents and \isitors. San Diego's population near!) doubled from 75. 000 10 148.000 in the 1910s (.t.1a) 1996). The city transformed. and emcnainment facilities and other commercial attractions were de\ eloped.

\!lo' ie palaces began appearing around the country in the 1910s and reflected popular architectural Sl)'les, first "ith Classical styles and grandeu.r. la the 1920s, eclectic and exmic re\ival s1yles became more prevalent in the design of cinemas. Al the time of the 1915 PanamaCalifornia ln1ema1ional Exposition. a ne'' archi1ectural sryle. Spanish Colonial Revfral, was de' eloped by Bertram Goodhue for the exposition buildings 10 reflecl the Spanish colonial heritage of southern California. The elabora1e and \\himsical sl)·le sho"cased at the exposition became 'Cf) popular and pro,·ided an on-trend palette for the fanciful expenence of the mO\ ie palace. Six mo,·ie palace. with over I .000 seats ''ere built in San Diego in the 1920s. and at least

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two were designed in the Spanish Colonial Revival sryle, the 1924 Balboa Tbeaire and the 1927 California Theatre (Plate l} (May 1996).

Plate I. California Theatre, J une 24, 1927 (Source: San Diego History Center)

I II I II I II I • • I II

Despite a growth spurt into the 1920s, San Diego followed national trends in the 1930s as the Depression slowed growth and industry. The post-World War II era brought recovery in the form of an increased industrial base, a growing tourist business, and the commercial exploitation of rich agricultural lands. These resources, along with the presence and influence of military bases, have continued IO be important to San Diego's economic well-being.

California Theatre Building

The California Theatre building. originally known as the New California Building, was built in 1927. The building housed the California Theatre (originally known as the New California Tbeaire), which was the largest vaudeville and movie palace in San Diego at the time with 2,200 seats (see Plate 1) (Marshall and Lia 2014). It was five of six large theaters built in San Diego in

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lhe 1920s. West Coast Theatres. Inc., backed b} local capitalist. C.S. Judson. de,eloped lhe !heater and the commercial building. "hicb included office and retail space. including a \\Omen·s clothing store, Bernard's. Inc .. on the second floor ~larshall and Lia 2014). By the time the California Theatre was built. We~t Coast Tbeat:reS was an established mo,;e theater cham affiliated with around cwo hundred theaters in southern California. mcludmg the local Cabrillo Theatre and Balboa Theatre. According 10 the San Diego Union. the owners of West Coast Theatres invested in the new theater with the confidence that San Diego was •·on the threshold of the greatest era of development in the city" (quoted in Marshall and Lia 2014). Designed by John Paxton Perrine. a theater architect for West Coast Theatres. the theater reflected the popular Spanish Colonial Revival style. The general contractor firm of Edwards, Wildey and Dixon constructed the building. and interior decorating firm Armstrong. Power and Co. finished the interior (Vreeland 1990).

John Paxton Perrine was contracted as a theater architect for West Coast Theatres in l 925. Perrine designed minor theaters in Hawthorne. Monrovia. El Centro, Los Angeles. Redondo Beach. and San Bernardino. His designs included the Lincoln Theater in Los Angeles. the California Theatre in San Bernardino, and the fox Theatre in Redondo Beach. Perrine's theaters \\ere generally modest construction projects. except for the California Theatre in San Diego that included the eight·story office building that reportedly cost S340.000 (So111hh'es1 Builder and Contractor 1926). Perrine's prolific career in theater design extended through 1930. which nationally marked the end of the mo' ie palace era as the Depression set in. Perrine's later design work included apanment buildings, a library. and school buildings. In 1940-1941, Perrine was listed as a civil engineer in the Los Angeles Business Directory for the last time (Vreeland 1990).

Publicity for the grand opening on April 22. 1927. was showcased in the San Diego Union. including information on all aspects of lhe construction. decoration, and equipment in the theater. At the grand opening. the theater presented the films -Tue Venus of Venice," and "Book Idea. .. accompanied by Al Lyons and his band The theater boasted cutting edge acoustics. modem lighting technology. and an elaborate Wurlitter pipe organ that could emulate a 150.piece symphony orchestra (Vreeland 1990: Marshall and Lia 2014). The theater operated continuously \\ith vaude\iUc and mo,·ies until \3ude\ ille became obsolete and was discontinued in 1937.

In 1963. the interior was fully remodeled with a new lobby. glass front doors. a snack bar. seats. carpeting. drapes. heat, ventilation, and air conditioning. with air-cooled refrigeration. as weU as larger restrooms with new fixtures. The thea1er"s technology was also updated with new lighting and equipment for single-projector film equipment. The interior was painted. hiding the original murals and Spanish Colonial Re,'ival ornamentation. By 1976, the theater was owned by Mann Theaters. and movies were discontinued. h briefly functioned as the Old Globe Theatre while their main stage was being reconstructed after the 1978 fire. The theater was also used for (i,·e music concertS. fearuring rock and roll bands and other popular actS.

Apart from the thearer. the ~e\\ California Building contained several other businesses in the office tO\\Cr and in the retail spaces along C Street. At the corner of 4th Avenue and C Street. the bmldmg housed a ta\·em. the Sih·er Casi.. Co.. from approximately 1934 until 1966 (City Directories 193~1966). A cask was affi"<ed 10 the corner of the building at the entrance 10 the

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iavem (Plate 2). The Silver Casi.. ''as replaced by the Barbary Coast 13\em that operated from appro:>.1ma1cly 1968 to 1976 (City Directories 1968. 1970. 1971. 1974, and 1976). A variety other retail stores. sen;ces. and other businesses occupied lhe other space~ over the decades.

Pla te 2. Silver Cask Co. tavern (at corner). 1950 (Source : San Diego Histo~ Center)

The building's fate has been uncertain since 1990, when it was deemed vulnerable to seismic ac1iv11y. The building has been ,·acan1 for SC\ era I years, and controversies over iis demolition have persisted to the present time.

Agua Caliente

Dunng Prohibition from 1919 to 1933. alcohol consumption was illegal in lhe United States. and many San Diego residents would Ir.I\ el to Tijuana to panake of the growing number of bars across the border. To profit from the American demand for drinking and gambling establi>hmenb in Mexico. investors from San Diego. including Baron Long. the owner of the grand U.S. Grant Hotel on Broadway m San Diego; James Croffroth: and \\'in G. Bowman. de, eloped an upscale reson at Agua Cal1en1e in Tijuana. Baja California. MeJ<1co. appro'(imately 20 miles south of San Diego (Oxnard Daily Courier 1928). The Agua Caliente casino and reson opened in July 1928. '";th a dog racetracl.. and golf course in operation shortly afterward (Oxnard

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Dai~1· Courier 1918). In December 1929. the $2 million Agua Caliente Jocke} Club horse racetracL opened with a crowd of 10.000 spectators (Sama Cnc .\'ews 1929: San Bernardino Counry Sun 1929). Through the 1930s. the luxurious faciliiy dre'' amuent customers from southern California. including Hollywood stars. High-stakes horse racing. featuring the Agua Caliente Handicap. and golf toumamentS attracted national anenrion.

Aller Prohibition. the property suffered from a decline in American patrons (Sa11 Bernardi110 Co1111ry Sim 1940). In September 1937, the reson was closed and sei.t.ed by the Mexican government to socialize the property as an aviation and industrial school and hospital, although the racetrack continued to operate (Bakersfield Californian 1937; Sa11 Bernardi110 Co1111ty Sun 1938 and 1940). The racetrack regained some of its populariiy when Sunday horse racing was banned in California in 1939. but the caliber of the races was comparati,ely low (San Bernardino County Sun 1940). The action by the Mexican government to seize the reson and casino propeny was ovenumed in 1942. but due to the shonage of materials and labor during World War ll. the propeny remained closed (Sama Cnc Sentinel 1942). E,·entuaUy. the hotel and casino buildings were demolished.

In 1947. John S. Alessio. who would become a political force and business mogul. became the assistant general manager of the racetrack and worked on ruming the operations around (New York Times 1998). In 1949. the trad. was modified to include an interchangeable dog track, allowing horse racing on Sundays and dog racing on Wednesday and Sunday nights (Bakersfield Califomia11 1949). ln the 1950s. the racetrack was renovated and expanded, and became known as the Caliente Racetrack. During this period, Alessio rumed Caliente into the largest legal gambling book in North America. created the first Pick 6-style bening system in Nonh America. called the 5-10 and 4-9er betting pools. and commissioned the first safety helmetS for jockeys (/\'!!'\• York Times 1998).

To mfluence tourism in the San Diego market. the Caliente Racetrack operated a public relations office to downtown San Diego on Broadway Street in the 1950s and 1960s (City Directories 1954-1967). Caliente Racetrack also launched an advertising campaign in San Diego (Plates 3 and 4) (Ciiy Directory 1958). As pan of the campaign. two advenisementS \\ere paIDted on the exterior walls of the California Theatre. purponcdly by the Pacific Outdoor Ad,enisement company (Limon 2011 ).

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AMUSIEMEN'TS

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Plate 3. Advertisement for the Caliente Racetrack in Polk's City Directory, 1958.

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WHflE FUN IHNOS THI WEEKEND

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Plate 4. Advertisement for the Caliente Racetrack in Chula Vista Star- 'ews, August 30, 1962.

In 1970. Allessio along ";th other members of his family ''as com·icted of tax C\asion and spem 2 years in federal prison (.Yew York Times 1998). In 1971. a fire destrO}ed the Calieme Racetrack. It "as rebuilt in the 1990s and continues to operate 10 the present da} .

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METHODS AND RESULTS

AR CHIV AL RESEARCH

A records search was recently conducted at the South Coastal Information Center (SCIC) at San Diego State University on February 26, 2015, for an archaeological initial assessment and testing plan for the project (ASM Affiliates 2015). The records search limits included the project area and a one-block radius. The records search included a review of previous cultural resources investigations, previously recorded cultural resources, survey maps, and historic maps on file at the SCIC. The records search also included a review of the following listings and sources:

• National Register of Historic Places {National Park Service 2007) • California Inventory of Historic Resources (State of California 1976) • California Historical Landmarks (State of California 1996) • California Register of Historical Resources (State of California 1976 and updates) • California Points of Historical Interest (State of California 1992 and updates} • Office of Historic Preservation (OHP) Property Directory (2007) • City of San Diego Historical Site Board Register • Historic maps on file

Additionally, in order to develop an evaluative historic context for the California Theatre, supplemental research was conducted at/with the follo\ving repositories and sources: San Diego History Center, Civic San Diego, San Diego County Assessor. City of San Diego Planning Department, and the California Historical Resources Inventory Database.

Pre\·ious ln\'estigations

fi\e of 14 cultural resource reports previously conducted \\ithin the records search limits addressed the APE (Table I ).

Previously Recorded Cultural Resources

The records search identified 18 built environment resources within the records search limits (Table 2). One of these resources, the California Theatre (P-37-027853, listed at 1122 4th Avenue and 330-336 C Street), is located within !he APE. The California Theatre building was recorded by !he Lia/Brandes Team in 1989 as offices, shops, and the theatre auditorium. The building faced both C Street and 4th Avenue. It was recommended significant for its Spanish Colonial Reviva.I design and for its use as a major San Diego playhouse.

Two cultural resources have been previously recorded \\ithin the one-block search radius, P-37-028456 and P-37-028495. P-37-028456 consists of the Horton Plaza and Fountain and is listed in the City of San Diego Historical Site Board Register. P-37-028495 consists of the Gaslamp Historic District and is listed in the City of San Diego Historical Site Board Register.

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Table I. ummary of Pre,;ous un e)S \\ ithin Records Sear~b Limits

'iAOB#: Ytar Author Title \\ithia APE

SD-03863 woo Jones and Cultural ReJourca lmntigoJionfor th#! \'e:rr/rnlc Fiber ~o Swk<S Op11c Projl:r:t Son Diego County. WI

SD-03925 nd Various Caltfonria Theatre Yes

SD-07697 2000 Pierson A11 Arclia"°logu:al RepoTI for the Mirigation, Monuoring l\o a11d Repor1111g Program oJ Sei.-erand Wo1er Group 616. Cityo/Sa11 Diego

SD-07998 :?002 :\fay Historical \'om111a11on of the South Park Commerc1a/ l'o Traruit Hutoric Dutnct

SD-08363 :001 CityofS:m Public Solie<! of a Proposed .\fitigated Sega1in• l'o Diego Declarot1<>n for ffo1er and Sewer Group Job 536

SD-OS-150 1981 Brandes His1onc R""11m:es lm=toryfor L'pt0'4n Yes Area. San D1~. Caltfomia

SD-O~SI 1981 Brandes Hisloric R"'ourr:.:s /mw11oryfar Jfiddleto'4n .4Tt'O San Yes Du!go. Califomw

SD-OSSS2 2003 Moomjian Historic Raaurr:eJ /m'(!JltOT)' Upda1e of the C~ .4T<"1 for Yes Center C1ty De>clopmen1 Corporation

SD-08921 2003 Couon/Bridgcs Fino/ Em1ronmental Secondary Story/or the Propo5ed Yes Associates Califonria Theatre Hotel

SD-10991 nd Various The Marsto11 Deporlmelll Store. 1050-1058 Fifih Al'lm11e. No Son Diego. California

SD-11017 od Various .\/ed1eo O.:ntol 811ildrng Cenm Cily BuildiJ1g. 111 .. A No Strttt. San Diego. Ca/tfom10

SD-I Ll:?S od Various Sa11onal Regist.:r of Historic Plores /m·mtOI) - No \ ·omrnallon Form for US Grant Hotel 3:!6 BroiJJ>itJ) Son Diego. Cl 9!101

SD-lr99 od City of San .4ddmdimt to .lflllgoJtai Xegam·e Dedara1ion So '\o Diego !55100. S....uund lloterGroup 9r

SD-1~;30 1013 Da'isonand laU ,\lorww ·s ().Jt Shored \fwua/ Water COmPiJff) '\o Robbins-Wade llater Syst.:m lmpro•ements Project Phase:! -

Archat'Q/og1<·oJ/ .llomtonng

No archaeological sites have been previously recorded within the Projec1 area or 1he one-block record search radius.

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Table 2. Previously Recorded Cultural Resources within Records Search LimHs

Address NamelDfS<'ril!tion Within APE 1122 41b Avenue: 330-336 C Suee1 California Thealre (P-37-027853) Yes Horton Pl= Horton Pl= and Fountain (P-37-028456) No

hdtip!e Gatl..~mµ Hisrntll:..DistriaQ.-37-IPJY9S) ~a_ --

1127 41b Avenue No 202 C Sueet No 233 A Streel Medico-Dental Building (P-37-028548) No 343 A Slreel Jeweu Hotel No 326 Broadway No 500 Broadway No 1014 51b Avenue Holzwasserl\Valker Scon Building (P-37-023906) No 1027 41b Avenue Fisher Opera House / Imperial Bank No I 037 41b A venue WaldorfHorel I Pl= Hotel No 1041 51b Awnue No 1050-1058 Sib Avenue The Marston Depanment S1ore (P-37-023894) No 1222 51b A\·enue No 1301 Sib A\'CDUC Hotel Sandford No 815 3rd Awnue Roben E. Lee Ho1el I Lyceum Theater. No

Commodore Hotel

FIELD SURVEY

Field invesLigaLions were conducted by Jeremy Hollins on July 2, 2015. During fieldwork, tbe APE (see Figure 3), including the exLerior of the California Theatre, was observed and photographed. The inLerior of the California Theatre was not accessible during the site survey. In addition, in order to identify alterations and to facilitate the integrity analysis. the building's appearance and form were compared to pasr srudies of property, completed in 2014 by Marie Burke Lia, 1990 by Thomas R. Vreeland, and 1989 by Marie Burke Lia and Ray Brandes. Because the APE for the purposes of this srudy is limited to the project area to evaluate historic resources that are NRHP- and/or CRHR-eligible and will be directly impacted by the project of the California Theatre. the field survey was limited to the project area. lf determined necessary as the project design is refined. subsequent and supplemental studies may be required to consider the project's indirect impacts to resources located outside of the current project area.

FoUowing fieldwork, the California Theatre property was recorded on DPR 523 forms according to the lnstn1c1ions for Recording Hi.sroric Resources. Department of Parks and Recreation, Office of Historic Preservation, State of California (OHP 1995). The resources were photographed with a digital camera, and representative photographs are included on the DPR 523 forms. The information on the forms includes a description of the building, a brief history of construction, date of construction. and a discussion of integrity. The forms also provide a discussion of significance thaL draws from the historic context developed through research and presented in this report. The completed forms can be found in Appendi" D.

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RESOURCE DESCRIPTION

California Theatre

Built in 1927, the California Theatre (historically known as the ew California Theatre) building, measuring approximately 95 feet by 200 feet, is composed of four blocks or pans, consisting of the theater, stage/fly loft ponion, a two-story retail block, and a nine-story office tower (with a penthouse) (Plates 5-8). The building features a rectangular fonn and masonry composition over steel-framing, and is designed in the Spanish Colonial Revival style.

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Plate 5. 4th A ,-enue faitade and office tower, \iew facing south\\ est.

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Plate 6. C Street fa~de, office tower at rig.ht, view facing nortbwest

Plate 7. C Street fa~de, fly loft and two-story retail at left, view facing nortbeast

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Plate 8. 3rd Avenue fa~ade, fly loft and two-story retail in foreground, office tower in background, view facing southeast.

The building's appearance is characterized by the various rooflines that define the four blocks or parts. The office tower is the tallest element, located along the east portion of the building. The theater's auditorium is located in the center portion of the building and is almost four stories in height. The west portion bas the stage and a fly loft that is nearly seven stories tall, and the two-story retail block. The building has a basement along the west and east sides of the property, previously used as dressing rooms, storage, and office areas, and an elevator shaft and associated equipment are located along the east portion (with the penthouse containing the elevator' s mechanical systems).

The building has a flat roof set behind a parapet along the visible street elevations (the parapet is not located along the west part of the office tower and the east part of the stage/fly loft). The parapet sits above an elaborate boxed cornice consisting of decorative dentils, arched corbelling, and a banded entablature (Plate 9). The roof is clad \vith regularly laid straight barrel mission tiles and composition sheet roll roof, though several of the mission tiles have been removed. Other ornamentation includes cast-stone elements, such as finials, Baroque or Churrigueresque arched surrounds, wrought iron cresting, niches with oriel-like bases, and bas-relief patterned bands and belt courses. The exterior of the auditorium portion also features a series of evenly spaced unadorned pilasters, topped with an inverted sea-scroll or Ionic order at the pilasters ' capitals with sculptural forms depicting the upper torso of the Greek mythology figure Atlas located above the capitals (Plates 10 and 11). The pilasters are intended to resemble buttresses. An exposed arched steel truss system is located along the roof of the auditorium but is not visible

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from a ground-level public vantage point behind the parapet walls (see portion of the steel truss above the central roofline in Plate l 0).

The office tower block features symmetrical arrangements of recessed steel- and metal-framed windows, with a variety of sash patterns (e.g., single-sash. double-sash, double-sash with transom light) and wmdow types (e.g .. fixed. hopper, awning) (Plate 12). More elaborate fenestration pauems are located at the fourth story consisting of a tripartite set of multi-pane double-sash and fixed windows separated by Cburrigueresque-detailed mullions and surrounds. with several arranged in a Palladian form (Plate I 3). Above the fourth story, the window bays lack decorative detailing except for concrete slipsills. The entire tower is accenruated by stone quoins at the wall-junctions. The west elevation of the tower has a fire escape leading from the seventh to the third story. The main entrance to the theater was previously located at the ground story of the east elevation of the tower. Originally, a smaller marquee was located above the center of this elevation main entrance; however. in the 1940s. it was replaced with a three-part larger neon-lit marquee, and then removed and replaced again in the I 960s with a Oat-back lit display sign. The 1960s marquee was modified by the 1990s with a simpler three-part marquee (which bas also been removed). The entryway is currently bordered with plywood: however. it was originally open. with a deeply recessed set of doors located behind the marquee's opening and a freestanding box office (which has been removed) (Plate 14). The addition of the 1940s marquee led to the removal of several original second-story windows. The entryway to the office areas on the ground Ooor of the tower was previously located adjacent to the theater entrance and is also boarded.

The west portion. which contained the commercial or retail block. has been boarded along the lower portion (Plate 15). The first story is CO\'ered by an overhanging canopy above the commercial portion and above it are pairs of steel-framed windows separated by thick mullions, a tall parapet, and evenly spaced scrolled piers. Ornamental detailing similar to the office tower is also present along the exterior. The fly loft has corbelled and Moorish detailing beneath the cornice that resembles detailing on the auditorium {Plate 16). The fly loft has no fenestration. except along the lower portion of the building, \\ hich has been bordered. A rear exit that was most likely used by orchestra members and performers is located at the northwest comer of the fly loft. The rear (north side) of the building does not exhibit any ornamentation or fenestration (Plate 17). An asphalt-paved surface parking lot is located north of the building.

Several painted signs are located along the exterior elevations. which advertise "BARBARY COAST, SAN DIEGO·s JN SPOT, CORNER 4th & C" (along the north portion of the office tower). "YEAR ROUND NlGHT DOG RACING" (along the south elevation of the fly loft) and ··RACING EVERY SATURDAY & SUNDAY, CALIENTE IN OLD MEXICO 5-10, BEITING ON MAJOR US HORSE TRACKS" (along the west elevation of the fly loft) (further information pertaining to the signs is provided below).

The interior spaces of the building are extensively deteriorated from lack of use, water penetration, and lack of maintenance. The interior was not accessible during the site SUT\'ey; however, it is assumed it has not been substantially altered since it was recorded in 2014 by consultant Marie Burke Lia

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Plate 9. Office tower eotablature, C Street fa~ade, view facing northwest.

Plate 10. C Street fa~de, auditorium wall, view facing northwest.

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Plate 11. Detail, auditorium wall, view facing northwest.

Plate 12. 4th Avenue fa~de, view facing west.

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Plate 13. 4th Avenue fa~de, fenestration ornamentation, view facing west.

Plate 14. 4th Avenue fa~de, location of former marquee. view facing southwest.

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Plate 15. C Street fa~de, boarded retail storefronts, view facing north.

re. SATUR

Plate 16. Fly loft entablature, 3rd Avenue fa~de, view fac.ing east.

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Plate 17. North side, view facing south.

Painled Wall Signs

Three painted wall signs, created in the 1950s or 1960s, are applied to the exterior walls of the California Theatre building.

Sign #I Sign IJ I, located in the uppennost ponion of the nonh side of the office tower, is roughly 30 feet by 30 feet; the advenisement reads ''BARBARY COAST, SAN DIEGO's in spot, CORNER 4m & C" (Plate 18). The upper pan of the sign, reading '"BARBARY COAST," has a pale background and faded dark leners. Below it, the sign has a red background with white letters reading, "SAN DIEGO'S in spot," with an arrow pointing east. To the left of the arrow, there is a pale oval over a darker red background with no content in the oval Below this section, a black band with white leners reads, ''CORNER 4di & 'C'." Under this painted sign, a ghost sign depicting a rising sun pattern is also visible. The images are painted directly on the masonry and extend the full \\idth of the wall. At ground level. there is a mounted billboard advertisement; the billboard is 001 attached to the exterior of the building. Sign #I has 'isible deterioration caused by outdoor exposure; however, the overall text is legible.

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Plate 18. Sign #1, north part of office tower, view facing south.

Sign #2 Signs #2 advertises the Caliente Racettack. The sign is located on the south wall of the fly loft, measures 30 feet by 80 feet, and reads "YEAR ROUND NIGHT DOG RACING," "CALIENTE!" (Plate 19). The sign bas a rectangular shape with rounded corners and occupies the majority of the wall The painted blue and white background and brown text is very faded and barely legible. It is deteriorated due to outdoor exposure.

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Plate 19. Sign #2, south ele,•ation or Cly loft, view facing north.

Sign #3 Sign #3 also advenises the Caliente Racetrack. lt is located on the west wall of the fly loft, measures 40 feet by 80 feet., and reads, "RACING EVERY SATURDAY & SUNDAY, CALlE TE! IN OLD MEXJCO, HOME OF THE FABULOUS 5-10, BETTING DAILY ON MAJOR US HORSE TRACKS" {Plate 20). The painted sign is rectangular in shape and occupies the majority of the wall below the cornice. Jt features a yellow background with a black border with concave comers, and red and black text painted directly on the wall surface. The sign depicts two racehorses, one located within the "C~ of the "Caliente" logo, and the other occupies the southern section of the west-facing wall. The "C" of the Caliente logo is decorated with a rose pattern. The sign has visible weatherization effects and is faded; however, text is legible.

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Plate 20. Sign #3, west elevation of fly loft, view facing east.

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SIGNIFICANCE EVALUATIONS

REGULATIONS

California E nvironmental Quality Act

Under CEQA, the lead agency is responsible for determining whether a project may have a significant effect on historical resources. Historical resources are defined as resources eligible for che CRHR, as described below.

The CRHR is a listing of State of California resources that are significant within the context of California's history, and includes all resources listed in or formally determined eligible for che NRHP. The CRHR is a state-wide program of similar scope to the NRHP. In addition, properties designated under municipal or county ordinances are also eligible for listing in the CRHR. A historic resource must be significant at the local, state, or nation a.I level under one or more of the following criteria defined in the California Code of Regulations Title 14, Chapter I LS, Section 4850:

I. It is associated with events or patterns of events that have made a significant contribution to the broad patterns of local or regional history, or the cultural heritage of California or the United States;

2. It is associated with the lives of persons important to local, California, or national history;

3. It embodies the distinctive characteristics of a type, period, region, or method of construction, or represents the work of a master, or possesses high artistic values;

4. It has yielded, or has the potential to yield, information important to che prehistory or history of the local area, California, or the nation.

Federal laws, regulations plans, and policies are not applicable to the proposed Project since it does not meet the definition of a federal undertaking for purposes of the National Environmental Policy Act (NEPA) and Section 106 of the National Historic Preservation Act (NHPA). Regulations for implementing NEPA and Section I 06 of the NHP A are found in 40 CFR Parts 1500-1508 and 36 CFR Part 800, respectively. However, the current assessment includes an evaluation under the criteria of the NRHP, which is "an authoritative guide to be used by federal, state, and local governments; private groups; and citizens to identify che nation's cultural resources and to indicate what properties should be considered for protection from destruction or impairment" (36 CFR 60.2). To be eligible for listing in the NRHP, a property must be at least 50 years old (or have reached 50 years old by the project completion date) and possess significance in American history and culture, architecture, or archaeology to meet one or more of four established criteria (36 CFR 60.4 ):

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A. Association ,,;th e\l~nlS I.hat ha\ e made a significant contribution to lhe broad panems of our histol)~

B. Association \\ith the lhes of persons significant in our past;

C. Embody the distincti\'e characteristics of a type. period. or method of construction. or I.hat represent the work of a master, or that possess high anistic values. or that represent a significant and distinguishable entity whose components may lack indi' idual distinction; and/or

0. J lave yielded. or may be like I) to yield. information important in prehistory or history.

Historic resources eligible for listing in the RHP are considered ·'historic properties:· and may include buildings. sites. structures. objects. and historic districts. A potential historic propert) less than 50 years of age ma) be eligible under NRHP Criteria Consideration G if it can be demonstrated that sufficient time has passed to understand its historic importance (National Register Bulletin I 5. page 43). To be eligible for listing in the NRHP. a properL) must also ha\"e integrit). '~hich is defined as ·1he ability of a propeny to con,·ey its significance:· Within the concept of integrity. the NRHP recognizes se,en aspects or qualities that, in various combinations, define integrity: feeling. association. workmanship, location, design, sening and materials ( ational Register Bulletin I 5. pages 44-45).

Ciry of an Diego FUstorical Resources Regulations (Land Development Code !Chapter 14, Article 3, Division 2))

The City's Historical Resources Regulations arc intended to ensure that de,elopment occurs in a manner that protects the overall quality of historical resources. The City Manager determines "hether a historical resource exiSts, and "hether a potential historical resource is eligible for designauon as a designated historical resource by the Historical Resources Board (HRB).

The Historical Resources Guidelines of the Cit) 's Land Oe\"elopmem \1anual identify the criteria under "hich a resource may be historically designated (City of San Diego 2009). The manual states that any imprO\ emcnt. buildmg. structure. sign, interior element and fL'{ture. site. place. disuict. area. or object may be designated a historical resource by lhe HRB if it meelS one or more of the following designation criteria:

A. exemplifies or reflects special elemenis of the City's. a community's. or a neighborhood's. historical, archaeological. cultural, social, economic. political, aesthetic. engineering. landscaping or architectural de\"elopment:

B. identified "ith persons or e\enlS significant in local. state or national hi IOI):

C. embodies distinctiYe characteristics of a sl)le. type. period. or method of construction or is a \aluable example of the use of indigenous materials or craftsmanship:

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D. is representative of the notable work or a master builder, designer, architect, engineer, landscape architect, interior designer, artist, or craftsman;

E. is listed or has been determined eligible by the National Parle Service for listing on the National Register of Historic Places or is listed or has been determined eligible by the State Histoncal Preservatmn Office for hstmg on the State Register of Historical Resources; or

F. is a finite group of resources related to one another in a clearly distinguishable way or is a geographically definable area or neighborhood containing improvements which have a special character, historical interest or aesthetic value or which represent one or more architectural periods or styles in the history and development of the City.

RESOURCE EVALUATION

California Theatre

The California Theatre is currently listed to the City of San Diego Register of Historical Resources as HRB #291 (Resolution Number R-901024). The building was designated in 1990, as San Diego's fifth major playhouse (the largest at the time of its construction), its Spanish Colonial Revival design, association \vith John Paxton Perrine (who was a principal architect for West Coast Theatres between 1925 and 1930), and its association with the film industry in the 1920s. While specific eligibility criteria were not identified as part of its listing, it can be inferred that the building is listed under Criteria A, C, and D. The follO\ving expands on the propeny's local designation to consider the California Theatre's eligibility for listing in the NRHP and CRHR.

NRBP Criterion AICRHR Criterion 1 The California Theatre is associated 'vith an important period of commercial and economic development in San Diego, and is representative of the rise of the recrea.tion, entertainment, and perfonning arts activities during the early 20th century. During the 1920s, downtown San Diego was experiencing both a population and construction boom that spurred the development of attractions for residents and visitors. The property was constructed as the popular vaudeville movement started to wane, and "talking" motion picrures were on the rise. The California Theatre initially catered to both performance types, but was more strongly associated with the motion picrure industry, as vaudeville was discontinued in 1937 at the theater. The theater was only the fifth theater constructed in San Diego and, at the time, was the largesL Within lhe city's context, it is considered one of the last two old movie palaces (the nearby Balboa Theater is considered the other), and its sheer size and mixed-use components (retail/commercial space and office tower) reflect the larger trend and imponance of these property types to the growlh and development of San Diego, in providing recreational outlets to residents and visitors. When the lheater opened, it was heralded as "the cathedral of the motion picture" and "an enduring contribution to the artistic beauty of the entire Soulhland." At its grand opening on April 22, 1927, the theater presented Constance Talmadge and Antonio Moreno in "The Venus of Venice," Fanchon and Marco' s "Book Ideas," and Al Lyons and his band. Overall, it appears

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eligible for !isling in the NRHP under CriLerion A and for CRHR under Cri1erion I at the local le\el of significance.

'RJIP Criterio11 B/ CRHR Criterio11 1 The California Theatre was developed and O\\ ned by West Coast TheatreS \\ hich ultima1ely consLructed nearly I 00 thea1ers on the wes1 coas1 from the 191 Os through the 1930s. While West Coas1 Theatres was insLrumental in the thea1er·s consttUction and development, no specific indi\ iduals imponant to the company are directly associated with the propeny and the propeny does no1 illustrate any contributions imponam lo San Diego or to California's past. Al the time. West Coast Theatres partnered with local capitalist C.S. Judson 10 purchase the lots and secure local approval Judson was a long-time county resident. well known for his large land holdings outside of the city. in areas such as El Cajon. His length or span association \\ith the California TheaLrc \\11.S for only a shon period, during its de,·clopmem and 001 its operation. As a result, Judson·s conlribuLions to San Diego are best illustraLed at other properties. like the former Red Cross Park in £1 Cajon. on land his fam1I) prc,iously O\vned and then donated Lo the city. Q,eraJI. research has 001 re\ealed any associations \\ith specific or significant mdi,iduals that illustrate a persoo·s intponant achie,ements to the city or state or reflect the productfre life of any significant people: therefore. it does not appear eligible for listing under 'RHP Criterion B or CRHR Criterion 2.

N RllP Criterion C/Criterio11 Criteria J The California Theatre is distinc1ive for its Spanish Colonial Revi\al characteristics. The massing. form. and materials of the building are consisLem with revival architecture in the early 20th century. Its decorati,·e details are Spanish-influenced features that exemplify the SI) le.

The Spanish Colonial Re\ival St) le descended from an eclectic period in architecture \\ ben European and Colonial American architectural traditions were re,isi1ed. and a shift from loose imerprcta1ion to more precise replication of these styles· characteristics \\as emphasized. The 1915 Panama-California Exposition in an Diego showcased the elabora1e grandeur of the Spanish Colonial Re\i\al Sl)le. as designed by Benram Goodhue. Goodhue \\as a major proponent of reviving Spanish Colonial architecture. and the publicity of the exposition bad a far-reaching effect on the popularit) of the st) le. It became the predominan1 St)IC in southern California. \\ith entire communiries employing the style in every building. The popularity of the s1yle was\\ idely represented in nonhcrn California as \\ell.

The California Theatre possesses dis1incthe characteristics of the Spanish Colonial Revi,·al style. These include its massing, asymme1rical form. surface coatings, and roofing profile. la addiuon. Moorish. Baroque. or Churrigueresque influences are seen in its finials. Baroque or Churrigueresque arched surrounds. \\TOUght iron cresting. niches with oriel-like bases. and basrelief patterned bands and bell course:.. The propeny also possesses distinguishing features associated ,,;th moderate-sized !heater from 1he period. including retail and office space. ''hicb ''as in1eoded 10 maximize propert) \ alues. enhance the experience of attending mo' ies. and helps embellish the form and function of the !healer as an important catal)SI for de\elopment and economic engine.

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While the theater was designed by theater architect John Paxton Perrine, linle biographical infonnation is available regarding him and his \\Ork. In 1920, he was a draftsman for the Los Angeles Harbor Department, and by 1922, ad,enisements for his architectural and engineering serYiccs were placed in the Los Angeles Business Directory. In 1925, he was working as the architect for West Coast Theatres and designed SC\'eral theaiers for the finn in Los An,,.g.,,e"'les,,.__ ____ _... -----= County (Hawthorne, Monrovia, downtown Los Angeles) and Imperial County (El Centro). In 1927, he designed the California Theatre and a theater in San Bernardino County the following year; however, by 1930, he was no longer designing theaters and focused on residential and commercial projects. By the 1940s, he was advertising himself as a civil engineer and seemingly was no longer working as a designer. When considering his contributions at a state and national level , not enough information exists that would warrant his inclusion as a master architect or designer that has made technical and aesthetic achievements. Though Perrine may not be considered a master architect, the building is still a distinctive example of an architectural style and the propeny appears eligible for listing under NRHP Criterion C or CRHR Criterion 3.

NRHP Crituion DICRHR Criterion 4 The California Theatre is not likely to yield information regarding history or prehistory. It does not appear eligible under NRHP Criterion D or CRHR Criterion 4.

Integrity Analysis In addition to meeting one of the NRHP and CRHR criteria, a property must also retain a significant amount of its historic integrity to be considered eligible for NRHP and CRHR listing. Historic integrity is made up of seven aspects: location, design, selling, materials, workmanship, feeling, and association. The following is an integrity analysis for the California Theatre.

Location is the place where the historic property was constructed or the place where the historic event occurred. The California Theatre was constructed in 1927, in the growing downtown area of San Diego. The building was designed and constructed specifically for use as a theater at the northwest comer of the intersection of C Street and 4th A \CDUe, with an office tower and retail/commercial space integrated into its west and east sides. The building has not been moved since its construction in 1927 and has retained its integrity oflocation.

Design is the combination of elements tha t create the form, plan, space, structure, and style of a property. There have no major alterations or changes to the property that have impacted or diminished the building's fonn, plan, space, and style. While there have been smaller changes to the property outside of its period of significance, primarily within the past 40 to 50 years, these changes would be considered small or negligible when considering the property as a whole and the extant character-defining features, which reOect its fonn, plan. space, strucrure, and style. Changes like the boarding of several \\indows, removal of roof cladding materials, and the removal and alterations of the marquees were changes to the building that occurred within the past 30 years; however, the building is still representati\·e of a multi-use Spanish Colonial Re,ival-style theater and has retained a combination of its elements to con,ey its design.

Setting is the physical environment of a historic property. Since 1927, the California Theatre has retained its location in a developed and urban ponion of San Diego. When it was

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constructed, it \\as surrounded by buildings and strucrures from the 1910s and 1920s, used primarily as garages, hotels. restaurants, and commercial storefronts. While there has been considerable redevelopment in the area which has led to the construction of parkiag garages and lots. multi-story residential aad commercial buildings, aad office high-rises. the theater does retain its physical em ironmem. Q,·erall. the building's setting is enhanced by the area's retention of its rectilinear street layout and 11e1work, continuation of propeny uses, and O\erall panerns of de,elopmenL Accordingly, the setting has nOI changed substantially and the theater retains its mtegrity of setting.

laterials a re che ph)sical elt>mencs that ''ere combined or deposited during a particular period of time and in a particular pattern of configuration to form a historic prope~·. The California Theatre building has had some ahcra1ion since its cons1ruction in 1927. including the removal. replacement, and modification of its marquee on 4th Avenue in the 1940s. 1960s, and 1990s. The original blade lighting fixture on its southeast comer was remo,ed at an unkno\\n date. Se,·eral storefronts along C Street have been modified o\·er time \\ith typical alierations 10 update the commercial spaces. including ne\\ awnings and glazed s1orefrom configurations. Ho"e'er. the California Theatre recains the grand majority of its original and historic-period materials along the e:1.1erior. particular!) abo' c the first story. Its original ornamentation. "indows. and roonines are present in the upper stories. Decorath·e materials and fearures. like the cast-iron finials, Baroque or Churrigueresque arched surrounds, wrought iron cresting. niches with oriel-like bases. pilasters. and bas-relief pauerned bands and belt courses are imponam materials that rencc1 the period of time and panern of configuration imponant 10 retain ing the propeny"s appearance and integrity of materials.

\\ orkmaoship is the ph~· ical e,·idence of the crafts of a particular culture or people during an~ ghen period in hi to~ or prehistory. The workmanship e\ident in the California Theatre 1s represented in its standard construction deuuls and in its high!} stylized Spanish Colonial Re,;,-a1 details. The \\Orkmansb.ip. particular!} in the ornamentation of the 1927 building, exemplifies the popular style from the period.

Feeling is a property's expression of the aes thetic or historic sense of a particular period of time. Because the theater is reasonably intact in its design. setting, "orkmanship. and materials. it retains the feeling of a period of time. as a Spanish Colonial Re,;, al.<Jc,igned theater "ith an office tower. fly loft., and commercial spaces.

Association is the direct link between an important historic e'ent or person and a historic property. The California Theatre is significant because of its associations as the largest theater in San Diego at the time of its construction, and its role as the fifth major playhouse in San Diego. The propeny has a direct link and association "ilh West Coast Theatres and "as an imponam recreation. leisure. and perfonning ans acti\'ity for San Diegans during major phases in the city and state"s past. including the transition from vaude,;Ue perfonnances to box-office mo\ ies and the Great Depression. Though no longer in use. the California Theatre retains its associations in sen ing the communi!} and represenung the community's de\ elopment.

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The California Theatre appears eligible for listing in the NRHP under Criterion A and the CRHR under Criterion 1 for its local significance associated with the booming development of downtown San Diego in the L920s; and under NRHP Criterion C and CRHR Criterion 3 for its local significance as a good example of a Spanish Colonial Revival-style building. Its period of significance spans from 1927, the date of its construction, to L940, the date of the removal of its ongmal marquee, and tt conveys San Diego's development and the sense of poss1bihty and progress that accompanied it in the early 20th century.

Painted Wall Signs

Signs# 1- 3, located on the exterior walls of the California Theatre building, are associated with San Diego's tourism and entertainment trends and development in the 20th century. The historical significance of the signs was determined by applying the criteria for the NRHP, CRHR, and HRB eligibility. Based on site investigations and historic research, the signs do not appear to possess the requisite significance to be eligible for listing in the NRHP, CRHR, or local register.

NRHP Criterion AICRHR Criterion JIHR.B Criterion A Sign #I is associated with commercial advertising in San Diego, specifically for a business located within the California Thea.Ire building. lt advertises "BARBARY COAST, SAN DIEGO'S in spot, CORNER 4th & C." In 1968, the Barbary Coast tavern was in operation at the corner of 4th Avenue and C Street (City Directories 1968, 1970, 1971, 1974, and 1976). The comer had previously been occupied by the Silver Cask Co. restaurant/tavern from approximately 1934 until 1966 (City Directories 1934-1966). A different Barbary Coast cocktail lounge was located at 2431 Pacific Highway in 1966 through 1980 (City Directories 1966-1980). City directories from the 1970s list separate operators associated with the Barbary Coast tavern located at 4th and C Streer and The Barbary Coast cocktail lounge at 2431 Pacific Highway, and it is unclear if the !WO establishments were associated (City Directories 1974 and 1976). By the 1960s, San Diego had a plethora of taverns and cocktail lounges. Research has not revealed any significant historical events or themes related to the Barbary Coast tavern at 4th Avenue and C Street that was in operation from circa 1968 until circa 1976. The sign, painted approximately between 1968 and 1976 in relation to the business it advertised, has no important associations with historical events or themes. The sign, as a representation of a trend of painting advertisements on the exterior walls of commercial buildings, is not significant.

Signs #2 and #3 are also associated \vith commercial advertising in San Diego. The signs advertise the Caliente Raceirack. In the 1950s, the Agua Caliente Racelrack was renovated, and featured dog and horse racing. A new advertising campaign for Caliente Raceirack targeted the San Diego and southern California market, with a public relations office in downtown San Diego and print materials and signage featuring a logo that ornamented the "C" in Caliente with roses, and images of racehorses. Both Signs #2 and #3 feature the logo. Sign #2 advertises horse racing, and Sign #3 advertises dog racing. The signs were painted in the 1950s or 1960s, coinciding with the presence of the public relations office in downtown San Diego and the advertising campaign that employed the logo and images. In relation to the Caliente Raceirack, the signs do not represent important associations with historical events or themes. Also, the signs are not

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imponant represe111ations of a broad trend of painting ad,·ertisemems on the e:1.terior walls of commercial buildings.

Signs /2 I 3 do not distinctively em bod) or represent a pauem of eYents or a major C\ enL The signs are commercial advertisements and do not relate to acti,ities that occurred at the businesses they represenL and do not demonstrate the importance or conmoutions of any e'ents. Therefore. Signs 111-3 do not meet NRHP Criterion A, CRHR Criterion 1, or HRB Criterion A.

RJIP Criterion B/ CRHR Criferio111/HRB Criterion B Signs ii 1-3 do not appear 10 be directly associated with the life and career o f an indi' idual who made important contnoutions 10 the history of the United States, California, or the City of Sao Diego. There is no indication that indi\ iduals associated "ith the Caliente Racetrack or Barbary Coast ta\ em. or other indi,iduals associated with the design and construction of the painted wall signs obtained prominence because of their association "ith the ad,·ertisements. Therefore. Signs ;; 1- 3 do not meet l\llHP Criterion B. CRHR Criterion 2. or HRB Criterion B, as they are not associated "ith lhe Ii' es of any important historical persons.

NRHP Criterion O Criterion Criteria 3/HRB Criteria C and D Signs ;;1-3 are located on the exterior \\alls of the California Theatre building, but \\ere painted in the 1950s or 1960s, and arc unrelated 10 the Spanish Colonial Re'i"al design of the 1927 building.

Research has not indicated any credit for the design of Sign # 1, and its painters are unknown. Research has re\ealed a claim !hat Sign 113 was painted by ·'Pacific Outdoor Ad' ertiscmenL·· and 1ha1 Jose Jesus Moreno was one of the painters that \\ Orked on the Caliente logo (Limon 2011). Because the signs appear contemporaneous. it may be assumed that the same company painted both signs. In the 1950s and 1960 . Pacific Outdoor Advertising Co. was a predominant Los Angeles-based billboard company that erected signs throughout southern California. The compan) \\as known for hand-painted billboards for Hollywood films and for a \ariety of free-standing billboards along the highways. By 1968. the company had more than Sl2 million in sales and scned over 2,-tOO food stores in California (Daily lndependem Journal 1968). Signs ii2 and 3 are representative of Pacific Outdoor Advertising Co. ·s prolific signs. but are not panicularly distinctive as notable e~amples of the company's best or most innO\ ati' e signs during the period or in the region. There are no known associations of Signs Ii 1- 3 with any master artists or craftsmen.

The signs \\ere hand painted and most likel} created using "pounce pauerns." a l)'Pical sign painung practice employed after 1940. "hi ch in' oh ed the use of perforated paper stencils and chalk to create temporary outlines that could be appljed directly to the watrs exterior (Cit) of Fort Collins 2007:9). The paint application of signs on !he exterior \\alls of the butldmg does not embody a distinctive method of construction. special materials. or craftsmanship.

The composition of Sign =I includes basic colors and shapes for the background and lenering in both a standard sans serif font for .. BARBARY COAST.- and ··COR,'IER 4th & ·c:· and a more ornamented font for ··in spot."' It has little ornamentation and is apparently missing an

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element that was once in the pale oval in the sign. Sign =I does not possess high anistic values. The composition of Signs ii2 and 113 includes rectilinear backgrounds in pale, solid colors. \\ith the Caliente Racetrack logo prominently featured and lenering that is mostly in a standard sans serif font. It is difficult to ascenain whether there are any other featured images in Sign #2 due to its progressed deterioration. Sign #3 bas contraSting colors between its yellow background and

;.....,.....;~~~~~~---

lh e rea usea for the roses ID the Caliente Racetrack logo and for ihe 5-10 logo. Also depicted in Sign #3 is a horse and jockey. The logos and images in Sign #3 were frequently used in the Caliente Racetrack's advertising campaign dating to the 1950s and 1960s, and are not a special design. It is unknown whether Sign #3 represents the first example of the use of the logo, or whether the logo was specifically designed for the sign, but research has not revealed any indications that this sign was important as the first use of the logo. The frequently used images in the sign do not possess high artistic values.

Therefore, Signs iil- 3 do not appear eligil>le for listing in the NRHP, CRHR, or local register under NRHP Criterion C, CRHR Criterion 3, or HRB Criteria C and D, as the signs do not embody the distinctive characteristics of a type, period, region, or method of construction, represent the work of an important creative individual, or possess high artistic values.

NRHP Criurion DICRHR Criterion 4/HRB Criteria F The resource is not likely to yield further information regarding history or prehistory. It does not appear eligible under NRHP Criterion D, CRHR Criterion 4, or HRB Criterion F.

Integrity Analysis Although Signs #1-3 do not appear to meet NRHP, CRHR, or HRB criteria, an integrity analysis was prepared for Signs# 1-3.

Location is the place where the historic property was constructed or the place where the historic e,·ent occurred. The California Theatre was built in 1927; Signs 1t 1- 3 have not been moved since their placement on the building in the 1950s or 1960s, and their locations have not been obscured by subsequent construction. The signs have retained their integrity of location.

Design is the combination or elements that create the form, plan, space, structure, and style of a property. The designs of Signs #1- 3 are somewhat intact, although all of the signs exhibit varying degrees of weatherization. Sign # 1 is missing a portion of its design in the pale oval that now appears blank, and its integrity of design has been diminished by the missing element. Sign #2 has faded to the point that the original design is difficult to discern from ground-level vantage points, although it may be evident at close-range scrutiny. This loss of clarity has diminished its integrity of design. The design of Sign 113 is clearly visible, and the sign retains its integrity of design.

Setting is the physical environment of a historic: property. Signs It 1- 3 are located on the exterior walls oftbe California Theatre, \\hich is located in an urbanized area of d0\\1110\\11 San Diego. When these signs were painted on the building in the 1950s and 1960s, ne'' high-rise buildings were cropping up in the area. and urban renewal was underway. Infill development, removal of historic-period buildings, and streetscape improvements in the immediate

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neighborhood ha\·e changed some of the spatial and \isual relationships be1ween the signs and other buildings and Strucrures in 1he area. HO\\ ever. the signs are s1ill se1 \\ 1thm an urban Streetscape and ba\·e retained their integrity of selling.

1aterials are the physical elemenrs that "ere combined or deposited during 11 particular period of time and in a particular panern of configuration to form a hi toric property. Signs #1-3 may have been touched up over the years as a pan of general maintenance: however. the signs appear in their original fom1 \\ iLh no additional or incompatible materials applied to them. The signs retain integrity of materials.

Workmanship is the physical C\ idence of the crafts of a particular culture or people during an) ghen period in history or prehi tory. Although Signs Fl-3 e:>.hibit noticeable deterioration. they conrinue to demonstrate !he workmanship of hand-painted wall ad\ enisements. The workmanship reflects common techniques used from the mid-20th cenrury on. including "pounce patterns .. or perforated stencils that were used to delineate sections of large-scale designs that painters would fill in by band. Because the signs are relati' ely intact as hand-painted signs. they have imegrity Of\\Orkmanship.

Feeling is a property's expression of the aesthetic or historic sense of a particular period of time. The condition of the signs has diminished their integrity of feeling because ponions of the signs, parricularly Sign #I and Sign #2. appear incomplete since they ha\ e faded. The signs exhibit noticeable deterioration and do not exhibit the brightness and contrast that would express their original aesthetic and convey their historical feeling. Sign #3 is still fully legible and conve)"S its aesthetic and representation of a mid-20th cenrury advenisement. Sign #3 retains integrit} of feeling, although Signs;; I and 2 have lost their integrity of feeling.

Association is the direct link between an important historic eYent or person and a historic property. Sign ti I was associated ,,;th the Barbary Coast ta\em, located \\ithin the building circa 1968. that is no longer in business. Sign ;; I has lost its inte.grit) of association. Signs "'2 and 3 are ad,ertisements for the Caliente Racetrack, \\hich conrinues to operate to the presem day. Signs i;i and 3 retain their imegrity of association.

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FU\'DINGS A:\'D CONCLUSIO~S

Under CEQA. lhe City of San Diego has established significance detennmauon thresholds for significant lmpact_in aceprdance \\ilh CFQA Guideline« .. ."ecrion.?. IOR2 ?. "ign1fia1n1 imJ>'la .... ~s _ ---include direct, indirecL and cumulath e impacts to historical resources. as described in lhe City's ClQA Significance Detennination Thresholds (DeYelopment Services Depanment, January 2007).

IMPACTS DISCUSSIO~

The proposed project would demolish lhe California Theatre. which is a sigmficant historical resource. Its character-defining features include lhe configuration of lhc office tO\\er. retail spaces. and lhe:uer spaces, including lhe auditorium and me fl} loft: Spanish Re,h-al-style ornaments around lhe cornice. parapet:.. and windows; and olher period ( 1927- 1940) materials and finishes. If a project follows lhe Secretary of lhe Interior's Standard:> for lhe Treatmem of Historic Propenies (36 CFR Pan 68) or Standards for Rehabilitation (Weeks and Grimmer 1995), impacts can be considered as mitigated to a le,·el less chan significant (CEQA Section 15064.5 (b)). Ho\\ ever. demolition of this resource and.for its character-defining features is not consistent with the Secretary of lhe lntenor's Standards, because the historic character of the historical resource would not be retained or preser,ed. Full demolition would be considered a significant and unaYoidable impact under CEQA.

In accordance \\ ith the City's Significance Determination Thresholds, indirect effects were considered to determine if the project \\Ould cause the introduction of visual. audible. or atmospheric efrects chat are out of character "ith a historical resource or alter its sening. The project is not expected to ha,·e a significant indirect or cumulatiYe impact to htstoncal resources due to the bwlt-up nature of the area. ne\' or recent development surrounding the propeny. lack of sensiti\e resources (including histonc districts). and limited \iC\\sheds.

Implementation of Mitigation Mea:>urc~ HR-I, HR-2, and HR-3 may reduce impacts to lhe historical resource. 1n most cases, the use of drawings, photographs. and/or displays (such as outlined in HR-2) does not mitigate 1he physical impact on the en' ironment caused by demolition or destruction of a his1orical resource to a le\'el less than significant (CEQA Guidelines Section 15126.4[b]). Howc,er. CEQA requires chat all feasible mitigation be undenakcn e,·en if it does not mitigate below a level of significance. In this context, partial preservation of character-defining features and/or other elements of the re-.ource and archival recordation are legitimate measures. While recordation would eliminate one ad\erse impact of demolition (the loss of historical information). it \\Ould not prevent lhe physical lo~ of a historically significant resource or its character-defining fi:arures. With the implementation of Mmgation Measures HR-I lhrough HR-3. lhe impacts to historical resources would be reduced., but not to a le' el less than significant.

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~llTIGATION MEASURES

To reduce !he impactS caused b}' the demolition of the California Theatre. mitigation measures ma} be employed. Howe\·er, mitigation measures may 001 lower the impact 10 a le\ el less than significant under CEQA. if adherence to the Secretary of the lnterior"s Standards for the Treatment of Historic Properties is not feasible.

Measure HR- I Project Redesign: The project includes the full demolition of the Cali fornia Theatre building, bu1 10 reduce the significant impacts on the resource, redesign of the project 10 incorporate the full facility or partial elements of the facility mto the project design. specifically character-defining feature~ of the California Theatre buildmg. would reduce significant impacts. The degree 10 \\hich historic materials are remO\ ed and character-defining elements are presen ed ,,;11 de1ennine \\hether significant impacts will be reduced to a level le~ than s1gmficant under CEQA.

,\'/ea.sure HR-1 Recording the Resource: The City of San Diego's Land De\elopment Manual - llistorical Resources Guidelines identifies preferred mitigation measures IO a' oid impacts. including avoidance of a significant resource through project redesign or relocation of the significant resource. Since the Project includes the full or panial demolition of the California Theatre building. a full recording of the building should be done so that a record of the significant resource is maintained.

Prior to demolition. Secretary of Interior-qualified professionals (in history or architectural history) (36 CFR Part 61) shall perforrn photo-recordation and documentation consistent 10 the standards of the 'ational Parks Sen ice (NPS) Historic American Building Suney (HABS) documentation. HABS documentation is d~ribed by the NPS as ""the last means of preservation of a propeny. \\hen a property is 10 be demolished. its documentation pro\ ides future researcher access to 'aluable information that othen\iSC " ould be losr (Russell 1990). The HABS record for the California Theatre shall consist of measured drawings (prc\·iously completed). largeforrnat a.rchi'al photographs. and written data (e.g .. historic conte~1, building descriptions) that provide a detailed record that reflects the California Theatre building's historical significance. At a minimum. lhe California Theatre should recei\e HABS Level a documentation (Russell 1990:4). Following completion of the HABS documentation and approval by the HRB. the materials shall be placed on file with the City. San Diego History Center. San Diego Central Library. and the Library of Congress.

,\feas11re HR-3 Archnectural Sal\·age: Prior 10 demoliuon. the City shall make a\ailable for donation archuectural materials from the site 10 mu<>eums. archives. and curation facilities; !he public: and nonprofit organizations co presene. interpret. and display the history of the California Theatre. The materials to become architectural sah age shall include historic-period elements that '' ould be remo\ed as pan of the Project. and shall be identified and made a\ailable prior 10 the commencement of demolition acti\ities. to ensure that materials remo\ed do not experience

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further damage from removaVdemolition. No materials shall be salvaged or removed until HABS documentation is completed and an inventory of key exterior and interior features and materials is completed by Secretary of Interior-qualified professionals. The inventory of key exterior and interior elemems may be developed as part of HR-2. The mamials shall be removed prior to or during demolition. Materials that are contaminated, unsound, or decayed would not be included in the salvage program and would not be available for future use or dis la . The c· as lead,,._ ______ _ agency wo ennme w 1 matena s are suitable for salvage (the City can utilize the assistance of qualified professionals to make such determinations).

Measure HR-4 Interpretative Display: ln concert wilh HABS documentation, the developer will create a display and interpretive material to the satisfaction of the HRB staff or public exhibit concerning the history of the California Theatre. The display and interpretive material, such as a printed brochure, could be based on the photographs produced in the HABS documentation, and the historic archival research previously prepared as part of the Project. This display and interprcti''e material shall be available to schools, musewns, archives and curation facilities, libraries, nonprofit organizations, !he public, and other interested agencies. A display could also be used at the site after construction.

CONCLUSIOS

In conclusion, the projecc would have a significant and unavoidable impact on a historical resource, the California Theatre building. Mitigation measures would reduce the level of impact to the historical resource, but will not lower the impact to a level less than significant. If through mitigation, the project is modified to adhere to the Secretary of the Interior's Standards for the Treatment of Historic Properties, the projecc would result in a less-than-significant impact

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BIBLIOGRAPHY

ASM Affiliates 2Q. I 5 Archaeological Initial A~l_~smenr and Tes ting Plan for the Fourtb and c ........ e ..... r_..q...,;e..,c._t _____ _.

at 1122 Fourth Avenue, City of San Diego, California. Letter repon prepared for 1122 4th Ave., LLC.

Bakersfield Californian 1937 "Caliente to Offer Horse Races Again." March 6, 1937.

1938 •·400 Mexican Peons Seize Agua Caliente Hotel, Defy Ouster." January 4, 1938.

1949 "Horse and Dog Racing Setup Installed at Agua Caliente ... May 16, 1949.

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Chula Vista Star-News J 962 Untitled - Advenisement for Caliente Racetrack. August 30, 1962.

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Provo, UT, USA: Ancestry.com Operations, Inc., 2011.

City of Fon Collins 2007 Apparitions of the Past: The Ghost Signs of Fort Collins An Historical Context.

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2009 Historical Resource Technical Report Guidelines and Requirements. Land Development Manual, Historic Resources Guidelines, Appendix E, Pan 1.2, revised May2009

City of San Diego Planning Records Various. On file at 1222 First Avenue, MS 413, San Diego. CA 92101.

Daily Independent Journal 1968 .. Ad,enising Finn Boasts a Good Year ... No, ember 13. 1968.

1122 41h A \cnue Redevelopment Project Historical Resource Tcchnieal Repon ~:Mlf CA ,,,,_.,,..,.. IJ 1!1'

Page45

Limon. Enrique 2011 ... The Agua Caliente Racetrack Mural's Future is Still in Jeopardy:· San Diego

City Beat. December 21. 2011. Accessed at: hnp:J, sdcitybeat.com/anicle-9969-aguacaliente-racetrack-mural-san-diego-cit)'beat-enrique-limon.html

Marshall. Da\ id. and Marie Burke Lia 2014 Historic American Building Sul'\ ey. California Theatre Building. Prepared on

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Ma), Vonn Marie 1996 National Register omination for the Balboa Theatre. San Diego. Prepared for the

Balboa Theatre Foundation.

'ational Park SCl'\ice 1996 Guidelines for 1he Treatment of Cultural Landscapes. U.S. Depanmen1 of the

Interior_ National Park Senice, Cultural Resource Stewardship and Pannerships. Heritage Presel'\·ation Sel'\ices, I lis1oric Landscape lnitiath·e. Washington. D.C.

Neu York Times 1998 .. John Alessio. 87, Businessman and California Political Force." April 5. 1998.

httpJ/www.nyti:mes.com/ 1998/04/0 5/busi ness/john-alessio-8 7-busi nessman-and-cal ifomia-pol i 1ical-forcc.h tm I

Oxnard Dai~1· Courier 1928 ··Gambling Opens with 'Smash· al Agua Caliente:· July 26, 1928.

Pl)dc. Phillip 1992 San Diego: An Introduction to the Regioll Dubuque. LA: Kendafl/Hunt Publishing

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San Bernardino County Sllfl 1929 "Racing Season Opens Today on E!\\ Tracie a1 Agua Caliente." December 28.

1929.

1938 "Fonner Employees of Agua Caliente Take Possession of Spa." January 4. 1938.

I 940 "'In this Comer:· January 31. 1940.

Sama Cro= Sews 1929 "Richest Stake in Racing 10 be Prize at 'ew $2.000.000 Agua Caliente PlanL"

December 2, I 929.

Sama Cru:: Sentinel

Page 46

1942 "Hotel and Casino a1 Agua Caliente Closed for War ... August 6, I 942.

1122 4th \\enoe Rcc,elopmem Project Histoncal Resource Technical Repon 6'. >1 • .W< •n ..,Hl 1Jt · 1:H

Southwest Builder and Contractor 1926 Untitled. April 14, 1926. pg. 64.

Stage, William I ~~9 §host Signs in America. Cincinnati_, OH: ~ of the Times Publishing Co.

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San Diego.

1122 4tb Avenue Rede,·eJopmen1 Project Historical Resource Technical Report fl>CJJo IO - <f ~ J«n // /1 lJ

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Page -IS 1122 4th A\·enue Rce,clopmcn1 Projce1 Historical Resoun:e Technical Rcpon IN~ "< .f ~H•TJ II I! 1J

APPE1''1>1X A

BUILDING DEVELOPMENT INF0~1ATION

• COillli'TY ASSESSOR'S BUILDING RECORD • NOTICE OF COMPLETION • \VATER/SE\VER CONNECTION RECORDS • CONSTRUCTION PERMITS

• LOT ANDBLOCKBOOKPAGE • PREVIOUS msTORICAL RESOURCE SURVEY FOR:i\18

(including copy of Vreeland 1990) • msTORIC PHOTOGRAPHS

• MEASURED DRAWINGS

COUNTY ASSESSOR'S BUILDING RECORD

~.'.:t.uil\ N•. ---.:•:) M~~E~CIAl··iNOIJSTRIAl BUILDING

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Property Detail Report For Property Located At : C Cor~l '!'J)

1< ..... a 304 CST, SAN DIEGO, CA 92101-4807 .... " -

OYIJ1er Information Owner Narrte:

~--· Ves&lg~:

oca on n rma on legal Desaipficx1: C<>o.nry· Cemu•Tra<l / Blodl: T~ legal Bool</Page. legal Lot legal Blade Market.Area. Ne,ghbar Code· Owner Tr-ans·fer Information R~O..ie· Sale Price:

l>ocul'*1I "' Last Market Sale Information

Reaxding/Sal<> Date: Sale?ra. Sale Type.

Oocume<1I " Oeed Type: Transfer Oocunmt 9:N!!W Con.sWdion: r""Company. L..-: Seiler Name.

Prior Sale lnlormadon Prio< Rac/S<ll<> Dale: Prto< Sale Price. Prior Doc NunD!r. Prio< Deed Type.

Property Characteristics YearSuilt EJ'J: 11926 Gr ... Alea 19,504 Buiding Alea: 19,504 Tot Adj Area. ,._Grade: ,al SDie:s-other lmprovemenls.

Site Information Z<ring. Lot Alea: land Use: Sole lnllu"'1Ce:

Tax Information

6 9,997 THEATER

Total Value: $1 ,000,000 Land Value. S1,000,000 &mpfovomert Valte T-T..-Vall>e· S1,000,000

SLOAN CAPITAL PARTNERS LLC PO BOX 49272, LOS ANGELES CA 90049-0272 8001 C/O FARAMARZ YOUSEFZADEH CO//

LOTS E & F BU< 1S TR OB0013PG SAN DIEGO. CA AFN: 53.00 / 3 Allemale APN:

533-62 E 16

03/1912008 I 03/1312008 S6,000,000 144789

10J03/2005 / 05/25.l2005 $6,250,000 FULL 851737 GRANT DEED

LANOAMERICA COM'L SVCS PRIVATE lNDMOUAL CHRIS-TURN OEVlNC

1110911998 111/0611998

n9337 DEED(REGI

-· ~R-.nce: Tract lo School Oi>Uid: School IAslJi;t Name: Munic/T~.

OeedType: ISIMig Ooament_.

I st Mig Amouru/Type; lslMlg lr< Rate/Type. , .. Mlg 0oam .... • : 2nd Miii Arnollll/Type: 2nd Miii .... RaiefType· Price Per Sq.Ft Mulb/Spit Sale.

Priof Lender: Prto< 1 sl Mtg AmrlT ype Prior Isl Mijj R..-rype:

533-521-04.00

HORTONS AOOLOCKUNG I OB0013PG SAN DIEGO

TRUSTEE"$ D£ED

$7,000.000 I PRIVATE PARTY I AXED 851738 I I u20.•s MULTIPLE

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T dal Rooms."CHfic.es Total ReolJOOIM· Rl>olType:

Garage Ala. ~ Ca!>a<ity: ~Spaces:

Roof Malenal ~Foundaliorr E-owal. ~lAte ..

Assessed YeaJ. lml>roved %: Ta .. vear.

0.23 200. 1

2014

201 ..

H ... Type: "6~; Pool: Oualiy: Condition:

Ccur<y Use SweUse: Waler Type. B~Clo$$:

p,_r1y T..: Tax/Vea Tax f)L'emp!ion:

THEATE.R (533)

S1•,351.0S 082'2

Property Detail Report For Property Localed Al c C"<>rCO J l

j 1110 4TH ST, SAN DIEGO, CA M4UI

OWner Information

~Lb~--VesirogC-

Locatlon Information

Up ONalo<"'" C-iy ~-.... ,- Tow sao A.ai ~ 5ed ,___!Pogo l-Ld: legolMai$.etAre• ~Ced<

owner Transfer lnformadon """""9 SM Dole Salol'noo OoCI • 4 ...

Last Mark•I Sole Information -9Sai.Oole_ 5.>lePnce Safe Tvoe OoaBnMI., Deel-T-°""'"*'1#"--~ Tote~ L..--SeWrNMY

Prior Sale lnlorma~on

Pncr Rec/SM °* """ Salo ,,_

"""' °"' .. --"""' Dee<' T,.... Property Char.JCterisbcs

Yn< &.I Elf 1526 G<cos Atea 53,2"-' e.-.gAiM 53.2"-' TOlHl_ArM ,.,,,,.,,,....__ #dSt:rm Olw .............. .._.-..........

Site Information Zanong lo<Aru La"'l:f Usr-

Sle "".-oe Tax lnlotmlllJon

TCQ \la.-.e

~v-itn~ .. "*'C v-..e T-T..-Vllue

' 10,1110 THEATER

51,1100.000 S1,000.000

s.1,.000.000

SLOAH CAPO" Al PAlmlERS UG PO BOX '9272. LOS A'IGELES CA 9000-0272 6001 CIO FARAMARZ YOUSEf?.AOEH COii

LOTS G g H Bll< 16 TR 0Ba013PG SAH DIEGO, CA Af"'o

110.00 2 -·""" $33.52 G 1'

03 "19/20081 03111 '200I $1.000.00C • ... "'09

10/03/20CS I 051"2512005 H .2$0,000 FULL &S1737 GRA'ITOEED

LAHDAIE!OCA COM'\. SVCS PRIVA T£ IHOIYIOUAL CHRIS-TURN DEV INC

Ol/31/1988106.'1181 ms.coo ·~ GRAHTDEED

T~ Roorw.oeces Total Rntroor. RoqfT)'PO Rool Lf PWfw eor-vcF.,...,...,.. ED<ra-S;n W14Ma.

s__, t.tacJ Rafca•ctTrXl It SO-Dstncl: Sd'IOOI Dollroet NoneMlinicll' owr•"'i>

1 ot MIQ Amounl!Type. 111 MIQ Int Raio/Type 1st Mt; ~e.m I" 2no 1"'1;l ••r•ou>t'Type 2ndMt; I...._ R:llilti"'°fl)P" Plioe-SoFt ~~

""°' L..--Pra 1$1UIQ ,.,....,Tv;ie Pro ' .. !.1\1 -'; tpe

HORTONS AOD LOCl<UNG ~I D6!1G1:1PG SAN DIEGO

TRUST£FS DEED

Sl,000.000 PRIVATE PARTY I FIXEO 651736 I I $117.38 llULTl

I I

Ga'ogoAtu G.._Caooo:y PartWICIS_.. HeolTYI"' IWCaVi

0.23 200. 1

201•

"""' ~, c-

THEATER 16331

S15.n•t2 08242

Property Detail Report For Property Located At : 4TH ST, SAN DIEGO, CA 92101

C CoreL09ic· RealQuest Pt ofess1onal

Owner lnfOrmation Ownes Nome: SLOAHCAPITAL PARTNERS LLC MaiingAdchss: Ves1*lg~.

Legal DescripbOn. Cowlty; Census Tract/ Block: T~ango.Sed. Legal6-!Page· Lsgal lot Legal Block. Markel Area· tmghbo<C-·

Owner Transfer Information R~O.te: SalePrice: Document t: Last Market Sale Information

Recordng/Sale Dale SalePriee. Sale Type: Documen!#: Deed Type· Transfer Oocument #' New Conslru-.: TIGe~y: L..-.

Seller Name

Prior Sale lnlormallon Prior Ree/Sole O.:e· Pnot Sal.. Price. Prior Doe Nwnber Piie< Deed Type·

Property Characteristics Year Suit I Elf- I Gross.Alea: ~Alea: T al Adj Area:

-~ • ol 510ries: Other 1•-n-11>1-ow-e1-m-iet-nts·

Site Information Zcrlng- 6

PO BOX '9272. LOS ANGELES CA 90049-4272 8001 CJO FARAMARZ YOUSEF2ADEH QJ//

LOT I BLK 16 TR DB0013PG SAH CIEGO, CA 58.00/

m.s2 I 16

Ol/19/200& 1 Oll1 ll2008 $6,QM.000 144789

1212412003 11211 212003 $900,000 FULL 1507535 GRANT DEED

LAWYERS TITLE PRIVATE lr«>MOUAL FOURTH AVENUE HOLCINC CO N01

TacalR~ TolalR,..;roams. Roof Type: RoolMmfiat C<inslruction: Foundal>on: Extericr wall: Basemen! /Vea.

Aaes.

APN· MemateAPN. SubcMslon: MapTracf I: Schoollli$11icl School Oislria Name:

-~= Deed Type 1st Mtg Oocunenl W-

1st Mlg AmcuntlType: 1st Mtg lnl Ra!Olfypo. 1st Miu Document I: 2nd Mlg Amoull!Type: 2nd Mtg lnl Rale/Type. Price p., Sqft Mufti/Spit Sale:

Prior lender Pn:>r 1sl ~ Al$"Type: Poot lit M1g Ra/Type

HORTONSADOLOCKUNG 65-C1 I DB0013PG SAHOIEGO

TRUSTEE'S DEED

'500,000 / PRIVATE PARTY I F1XED 1507536 I I

Garage Aleia:. G;nge Capacty P"'1dng Spaces: Heat Type. AirCond Poot OuafJty eooo;i;on

County Use: lot Area: Land Use. ~ Influence.

4,996 PARKING LOT

Lor -0.ptt>. Cornerda! Unils· Sewer Type:

0.11 SOx Sra:e Use·

Walef Type: 8'Jlcing Class.

PARKING/GARAGE (631)

Tax Information T~Valce· LaMValuG. lmpl'Oll'tmort Vall.MY. Tolal Taxable Va:"ue:

$850,000 $850.000

u.so.ooo

2014

2014

ProJ>erty T °"" Tax NU: TaxE-.on.

510,684.24 082-42

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WATER/SEWER CONNECTION RECORDS

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'~ -...ier conhection at abOve Jocatio~-'f<ige --~ ~-·1,1,1.,...,u .~ 7;~7_:_

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Localion / /7,.,S:- 1/. ~ N,! _:// f_ (.! ,, /.; . .....-- ,., . /;

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Lot ~ Jilo:Jr f; AmL Pd. ._ - -

AJdillon ~f u:.s:;> • -:"'?'"~/ • ( ''-' /-!., Owner __ .. ~ ;,,..,.,.,-. :J ,...,, __ _

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SEWER INSPECTOR. You r.cill ~e.S.. . ~

Sttdce Tapa. • IS}, -MaloLQ~. tt.11/.. trom4/.uu oL·-----·-····· ___ st.

MATERIAL LABOR

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PUBLIC WORK.I: DCPAltTMl!H'r- D IYl&'ION orr SEWl:Fl& ~

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OPERATING DEPARTMENT CITY OF SAN DIEGO

APPLICATION T ORDER FOR WATER SERVICE

II ,...,..... If r- S\,,botween -'a~'------- St. ation e:: St. J , .. '.~lk./~ ff-~ cl

.er at above locatiO"IL--.

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MATElllAL

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LABOR

NO.OP DAD OJI. 'l'DU I llAD )(J:N 11118. llAOJl TOTAL

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Total Mataial

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OPERATING DEPARTMENT CITY OF SAN DIEGO . APPLICATION ~ ORDER POR to SERVICE

~{! / '/-- ,41 ('~ -St. between

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/ ·- Add.

TM nndonignod benb:r aJ>PI•• t.o U.. City of Su Diqo, for water oel'Titt a.ad meta he abo'fe location. And in cona!dtration af the inat.allatJ.011 of Reh ..,.,.See and meter, 1a to par all cba.:riea incurred upon such location for •uch water .enice and to abide an ru!et, rquI.a_tions and pro•laiou pre._-cribed by ea.Id citJ, by ordinance or otherwbie.

tlnr to water $e:t'<'ke, rerulatlqn or~ ~ lA j.. k ~

_· '/ ]__/ _.~~~· NY.K.At<.FOREMAN · Pl- in.sb.U_ -- __ luTICI =¥f ~r 1.t above looalion_

MARKS: ........ 'c__: ___ _

Service~;;~~-iation.. L f __ Pt. ,,V---_ of /r Line of -k _ _ SL

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MARKS: o.,. I /-;t/- ')-? Completa<I .

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MATERIAL LABOR

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~ ... ,ir: .... tlc6~!'!:.':: ... :.PJ. ····-···-· ······-······ -··-······ --···-·· ............. . !!J::._(;;Y±_/_,//ut..~ ..... !(!!.II_·· _ _,__ _ _.:..... _ _,_____,_..,..._ .:.?.~.t...'.c/_!.. ................ _):_~~ Total Labor -------1!/.f-J..O . .. ?. .. ~-~-~----W·--·- .. ~.:d~ Total 111arerw ' .'/r. ?.J· !{/U:f..~.~: . .Y::~L~£ ........ _{_.f.'.:. Total Labor and Mat.eria\ _ ___,_/1-4.J~ :bf

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PIPE Pl'l'TER---~~--L;f-~,~A_U_..;_.1_,'l_-l_l_~_·'..A--__

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City of San Diego, Californi• WATER DEPARTMENT

/'WORK ASSIGNMENT ORDER NO. • · - -·· ··-- . ··-~ U NEW SLRVICE D INS'fAll SERVJc;:ll ANO

TRl\NS>U MEn:R

D G.AlE VALVf' MAIN• TfNANCF D FIRE I IYDRANl MAINTeN·

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ISSUIO ASSIGNCD

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THE CITY OF

SAN D IEGO Bl'ILDl/\'G IVSPECTION D£PA.RTMU.:T ,uz FIRST II E..\'L'E . .\I ~ Jn/ • SAN DIEGO C&L:UJRW.4 0;1101. 4/H

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Atteni.on. ?ropeny Owner OWNER BUILOEil VERIFICATION

An ownet .. builder J)eflJ)•l appltcatic,n beanng your name and I ) your SlQNlh,ue C I VoU' -aanfs s 1gn11ura Ms been filed for I VI BuHd1ng ( ,,,., Electrical ( v ) Plumbing/ Gas I • ) Heo11ng Aor Cond1uoning ( ,, ) $IQn consuuct1on """"'at'"" above add<-

l'teaA,_.,..lheaccompanyingOWSER· BUJLOER ~fORM.>.TIONLETTERpeou,ruogtovowres<>onS'°"rtlUasan --bu.Jderbeforoptovdng tho information requested - R.num th,. completed form as._. H PQS$ible. The 1>9fmtl wwU not be tssued unnl thl: 11enfica1ton tS completed 1f"ld r&cerved 1n thrs off.ce

PR<'l'ERTV OV!NER: PLEASE PROVIDE INFORMATION REQUESTED BELOW

I Cic !tt__. rOf!!notv1ftC.d#l_..llRt ~'"'-• :-t&, Wf 'I .41ecs: ICM ~~G. Vt~Ml"9/AU eo..:f, tlOolOQ ......, $_""' per:o ~

2. I lnl*'Mf to pe:nMally perform AU.. of the labor for th s ~ ( I YES f t NO flf !.!!&. proceed 10 ham 6; 1f ~~hem 3_0!_ 4 bel(Wrf I

3. 1 ... 1 ponorully _......,pan of ll'<-1<.b.n"-hil<d m.1-.ig i/1-~ 1v1'f.,.1s1 tu-•'1d/o< ....... 111e __ ,,,,_5_ 4 .. I htwe tured il"e ronow1nig I ) Plf10t'ilsJ 01 C I f1rmbl 'tO perfotm All. of tht pr~ WOJil lndc.atr:r ~ I~ 5 below~

5.. Tiw Dlf10rtCs) ..V0t finnfsl hstltd h.ew bffO ht'Cld to periorfft mt work ",cht•ttd

NAYl Oit P'f.MOftr.1'• Cl~ F •Mdl hl"f0 fOR TH.I' PAltT OF #Ol't"

•OO•ESS Oil Jl"f' _.,... ~ .-_.. OiE.iCft M ,...,-£ 6 l:Xtla.T OF

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A SEPARATE VERIFl~ATIOt STATEMENT IS REQUIRED FOR EACtl OWWER-llUILOER PERltllT IJ'ILESS AU PEN>'llTS

ARE 1$St/EO AT THE'-'""' TIME.

FOR Ill Oti ,, DEP'1' USE OHL Y

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r ~.....,__,.-~~-~ €00 91/-3 -:38 /Jc o .;;cf 1-B ~ PERMI APPLICATION ~1

CITY OF SAN DIEGO BUILOING INSPECTION DEPARTMENT r":J _,gt) 1222 First A- Ms-301 S... ().ego. Ca 92101

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1. PROJECT INFORMATION

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2. APPLICANT

3.

1-M/l. ~ MTT """" 10* ! J.¥,°JAl)Of2 er. PROPERTY OWNER

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5. WO"KER'S COMPENSAT! !

Plan File No.

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SAN DIEGO Pl /Lll/\'(, J.\.~Pf.CT/C1' ll/-1 .-fH7.\fl.\ T c·,-:-~ .. o· .. ~-----1.2l2tlll\l dl"f ' (.A 'I\ 111 - ~IH-~ ~l:H--6/f.\/.; 4.JJOI· •J•1 tl/9-2 70

PROJEC7 j1QQAESS

OWNER · BU!LOER VE~IF•CATION Anent1on ProPerty 0..nur

An owner-builder pernnt ~pphcl't Qn be:>rmg ~ur "011 and ( X I 10.:· sig.,,ture /I I your agent 5 sigr.atu"' "•S bean filed for I :>.: I Bu1Jdu-.g I Y, ) E'ectr.ca1 IY I Pluml.r n9 (, • )( HPaung/ A1: Cond1t1on ng ( I Sign cionaructnn work Cl 1he nbovto ml:l<es<;

Please reVtew the accon>:>an~1ng OWNER· i!UILDEk tNFOAMAl ION Lt.ITJ;;A pertaining to your rtt6POns•b1hties ~s an owner·bu•lda< before 1"=>•»d1ng the mf0<mll11on ;eq1.1e111ed beluw Return th1$ completeo form as soon as poulb e The i;ermn w ill n<>t b.. tssued unt I this vu if.cation is completed and recen.ed •n t:>is f ce

PRCPEfiTY OY.~JER' >LEAS£ PROVIDE INFCJRMATION REGUESTEO BELOYI

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2 I intend to persorwlly perform AL.1. ,:,f the l1bor f~ thn, ptOf..!Cl

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prov•de tno wotk tndc .. red 1n Item ~ below

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5 The -!sl •WJ o• firm(sl lrsted h01<0 i.-I'~ to P!'f10<m t'>e wor~ •ndrcated·

...,..._£ 0" "-RSO ... ta) 0 .. J-l~M.S

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IACH OWNl""8UILOIR PERMIT UNLESS ALI. PERMITS

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CITY O~ SAN Dll!OO IUILDINO INSPECTION DEPARTMENT 1222Fin1A-M~ !'Ml(Mgo Cl~~I 8'9 ~

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2. APPLICANT

~m1rnm AIR ~~ITIONING ~1':f'RONSON RON>. SUITE A

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IDENTIFICATION 1. CO-lMON MAME: Galifornia Theatre Building 2. HISTORIC ~W1£: New California Theatre 3. ADDRESS: 330- 336 C Street ( 1122 4th Ave) CITY: San Diego

ZIP: 92101 4. PARC£L #: 533-521-0IJ ,-05 5. PRESE'.lfl OON£R: Ariel toggesbaII Estate

AOORESS: 35ll 11th Avenue CITY: San Diego ZIP: 92101 OWNERSHIP IS: PUBLIC: PRIVATE: X

6 . PRESEh'T USE: Theatre/ office:s ORIGINAL USE: Theatre/offices

DESCRiffiON 7A. ARCHITECTIJRAL STYLE: Spanish Colonial Revival 7B. BRIEFLY ~SCRIBE TnE PRESENT PHYSICAL DESCRIF'I'ION CF

STRUCTURE AND ££SCRIBE .A.NY MAJOR ALTERATIONS FR<J1 ITS ORIGIN.~L COtlDITION.

Legal Description: Horton's Addition, Bl ock 16, Lots E-G.

The building combines offices, shops, and a fine theatre, and is constructed in three levels . The section facing 4th Ave. is nine stories, the auditorill!l area is almost five stories, and the procen1LID area is six stories. The reinforced concrete structure is Spanish Colonial Revival in design. The par apets of the flat roofs have red tile trim, decorated cornices and dentils or arched corbeling. Barxls of cast ornanentation continue around the building at various levels and are trilllned with urns. Some windo'W3 have arches and baroque surrounds. The side walls of the auditoriLID iDlitate a Spanish church. The "C" Street i.-all of the rear has a sign painted on it. On the office rection, the windows are recessed and pl ain in style fraii the 5th floor upward . A Slllall penthouse is on the north side of the r oof. The marquee of the theatre is on 4th Ave . Cement quoins marking the corners of the first three floors include niches for statuary. Awnings protect the wirxlows of street- level shops.

8. CONST. DATE: FACT: 1926-1927

9 . ARCHITECT: Jol:m Paxton Perrine

10. BUILDER: llildy, Edwards, & Dixon Co., Los Angeles

11 . , APPROX. PROP. SIZE(FT) : 200' x 100'

12. DATE Of PHOTO: 1988

TENTATIVE RANK: 1

SIGNIFICANCE: The California 1beatre building is significant for its Spanish Col onial Revival design, and fOr its use as a major San Diego pla}'house .

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13. CCtlL':::-rcN: EY.cell Good X Fair retcriorc:ec No lo!"€er in ex!stence

15. SJ.'tP.::l.'KD~IGS: ()per. :..Ond Scattered Eld(!s Der:se:y !:uil t- :.ip? X Resin Ir.dust Cccl' 1 X Other

16. TliREA'!'S TO SITE: t:one known X Pvt devel Zor:irg Vandalim ?ublic ""rks Project Other

17. IS STRUCTURE: On its orig site? X l'.{'ved? Unkoown?

18. RE!.X;fi; FEATURES: !lone nnt.ed.

San Diego's r: ~th .:iaja- µay!lo'-'Se ard !.ts !argest, W:.th a ca;iccity of 2,20C se;;:s, tt:e Sel.' Califc-rr:ia Tneatre \..'llS owned by tile West Coast :heatres, Inc., and b:icked by lccal czp:'. tali st, C. S. Judson. It was considered to have the finest a:id rrost Modern equij:J'.lent . A !lloderr.-type l.\Jrlitzer pipe organ, installed at cr.omcus expense, was equipped With an equivaler;cy to a 150-piece S)ni*JOny orchestra . A~ its grand opening on April 22, 1927, the theatre presented Constance Talma:!ge and !\ntonio Moreno in "The Venus of VenicP, 1' anrt Fanchon & Marco's "3ook Idea," accunpanied by Al Lyons a~ his band. Berr.ard 's, I!ic., an apparel stor e for k'O!:e!l, occupied the entire second f1oor in 1$27. The ::alifornia Theatre, operated by 'lann Theate:-s, discon:ir.ued i:s C'peratior. as a :1:0-11e :heau-e in 1976. 1-.: had teen in ct'ntinuo;;s cse as a ••al.Xfeville c.r.:! filr. ~eater si:ice '92"' w!:h ·1cudevil!e cisccnt!nued in ' 93"'.

2CI. 1"..r.:::: Tie:E <:F Th:: H:STU!\!I RESOU:lCC:: (IN CR a: !l CF IJ-:R:::lU~;cE). Archite<::ture 1 Arts & Leis~re ~ Ecoll<'lllic/1 ndustri al C-ovt Milit;;ry ~.eliflion Social/Education

21. SO'JRCES (ECCKS, OOCl.Ht.lITS, ?:'.RSOllf:.. I!ff!:l'VIi::i\S, ANJ T 'IE lP. :;.rr-~) .

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B':': ";..:.at3rar.i:es 7eai" ~r.:l~ESS: ~2- C Street, Suile 3;0 CITY : San Di~o, CA Z:F': 9?i01 FfiQI,£: (519) 235-S-6~

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Final Report

The Calif omia Theater An Architectural Appraisal

I By Thomas A. Vreeland FAIA ,,., ly 1990 I

Final Report .

The California Theater An Architectural Appraisal

By Thomas A. Vreeland FAIA Y.'O Numoer: 89150-12-250 Ju'Y l!!SO

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When the ca11ornia Theater opened on Apri 22, 1927, a press agent v.Titing !or the San Diego Union

co1r98red ~to castles in Spain: "It ls beyond the human dreams of loveliness,· he wrote, "rising In

mountainous splendo<, achieving that overpoweritlg sense of tremendous size and exquisite beauty · a thing

!hat comes mraatous:y seldom. It is more inaginalive and dreamite than anybody's Spanish casl!e, U1d yet ~

ls one o! the most common-sense strudures, one ol lhe most downrigl1I ccmlottable p'aces in an Carr.om a:

Such hyperbole might seriously apply lo the castle which .A.Ilia Morgan designed tor William Randolph Hearst

at San Simeon. But can hardly be taken serioosly when applied 1o the movie house al 4th and C Street. It is

doubtful peop!e look • seriously In Is own day. For dldni two theatetS clearly superior to it exist within blocks

of lhe Catifomia: the Spiecke!$ theaterot 1912 deSIQned by Wiliam Wheeler and Hartson AJ:brighl, and the

Fox Theater of 1929, descrt>ed In 1969as1he largest and prettiest downtown theater showing fll"Sl ·run

rnms"? Photos ot these two theaters are contained at the end ol this report.

The San Diego Union de110ted six pages cl that Friday morning edlion :o pub'icize the operir:g of lhe theater

In these p~es every one is lou1ed: the the81rical chair\ West Coast The818f'S. Inc .• who bull! it; EdNards,

Wildey and Dixon, the general contradors; the leasing agent: even the ilterior deco<ators. ·Armstrong,

Power and Co. are responsible for the wonderful decoration and mural palnlings lhal adom the walls, the

foyer, the balconies and mezzanine ncor ot the big playhouse ... thousand.S and thousands of do!lals tave

bee'l expenc!e<Lin making L'1e new theater t'>e MOst prele~s on the Pacd.c Coast• &rt nowhere Is there

a mertlon ct the arcM ed, John Paxton Perrine. If the New Ca'."dom'.a was seen as SUCh an an:liitedural

tr urTl)h as the newspaper article made I 00110 be, wouldn1 we exped the arcllitec:rs name to be added to the

list of movie stars and thea1er i~sarios that mar1<ed Its launching? No. because the opening of the

Cariromia Theater in 1927 was not an architectural event but s~ly another episode In Ille development a'ld

exploi!ation ct films 111 the 1920s, an evenl which adde:l another tl!ealer to Ille already two tl.lnd!ed w11c'1

formed the West CoaSI Theaters cha"n. It was press agency, ballyhoo, glamorous mo\IMI stars and elaborate

stage reviews which eSlat>'IShed the reputation of move theaters wi:h :he public, not its arcMecture.

!he Thtater

In order to make proper evwa:ion of the caJJornla Theater in San Diego, we ITIJSI look al • w~hin ils cwn peer

group ol thea1ers. First, among olher theaters designed by Its architec::I John Paxton Perrine within 1he same

pericd of years. Second, among !heaters designed by Carlomla architeas who were conlell1JOraty will

Pemne. And lhen to mal<B a corrparison or rarldng wihln this spec:rum of theaters.

John Pax10n Perone, who routinely designed theatetS for the West Coast TheatetS cha;n, des9ned lour

theaters tha1 we have been able to find photographic ma1erial on or visil. This photograp/lic material is

contained in the back of the report.

1. The Llnco!n Theater in Los Angeles (1925).

2. The CaliforrJa Theater in San Bernardino (1927).

3 . The Caliornia Theater in San Diego (192n.

4. The Fox Theater in Redondo Beach (date unknown).

They al run to a s.inilar format. Two we have vis~ed have braced s:eel arches encased in conc:tete, exposed

on the roof The S:des and back remain qurte plain and unadorr.ed although there is some attempt at

orna:nentatlon on the C Street elevation of the San Diego !heater.

On the inside, the lobbies are shaDow in~ to the Spreckels Thea: er in San Diego (see photographs

in back) or most of the large movie houses in Downtown Los Angeles by Charles Lee and others. The room is

rettGr.gular 111 ;>Ian. The ins.des cl the auditorl.ims have a large capacily concave-fronted balcony. In the San

Diego theater an attefl'4l( is made lo descroe a cirde by fJ1king the rurved balcony lrord with the two cual!rant

shaped organ pipe screens on ei:her side of lhe proscenium. The ceil:ngs are subdivided by lrabeation into

rectangu:at panels which are then heavily ~aled v.i:h pailltcd and stenciled decorations and sllJa:o

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ornament. In the Los Angeles theater this is very elaborate, Islamic patterns and 11Ven Moorish stalactle wolk

in plaster and is still largely intact. Unfotlunately, the original elaborately painted ceiling of the San Diego

Theater has been obrnerated.

Six chancleners usually hang from the ceiling, three over the balcony and three over the orchestra These are

of a particular design forming a thick circular cfisk or octagon, opaque at the bottom, shining fight onto the

ceiling, wit.'1 a coroDa of smaller lights around the rim. Three of these are still in position in Los ~les but all

six have been removed in San Diego. Al four theaters have heavily ornamented pmscenilm arches usually

framing a radangular opening, although in the San Bernardino theater a aJrVed valence create.s an arched

opening. In the other theaters an ornamental bracket where the piaster meets the architrave softens the

intersection. In the Lincoln Theater this takes the form of a segment of a rrulti-loil arch. In the San Diego

theater these have been bMally chiseled out as have the heads ol !he two figures at the center cl the arch.

In Perme's !heaters the triangular areas at either side of lhe staqe which cannot be occupied by seats are filled

by elaborate gilded pierced screens presumably hiding the oigan pipes. In San Bernardino these triangular

areas each contain a box overlooking the stage in the tradition of the batoque theater. In addition, gilded

semi-circular balccnies lirl< these side fearures to the edges of the bakx>ny. At the lilcoln Theater it takes the

form of corbeled seml-circ\Jlar oriels surmounted by shallow domes. lol. the Calllomia Thealer in San Diego

this area becomes the cwved continuation of the balcony as described before and is the best preserved

portion of the original theater. However, the three archways at the bottom have lost the stenci led decorations

which were originally there, as is evidenced in the earlier pho1ographs of the interior in the bad< of the cepor1.

The side waits ot Perrine's theaters receive plainer treatment: a shallow nmning arcade above the balcony on

either side in San Bemaldino; murals framed in shallow panels both in Redondo Beach and In Los Angeles.

Those In Los Angeles are currently rurtained off but appear to be Intact beneath the curtains. San Diego's

side walls are ornamented with pilasters surmounted by decorative brackets and connected by scrolled

spandrels.

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This sufficiently descrbes the four theaters known to us. Of these, three remain, the Redondo Thea'.er

having been pu:Jed down. The three remaining !heaters are in various states of preservalion with the San

Bernardino being the best preserved (11 cor.tirues to operate as a legi!imale theater) and the San Diego the

worst, having lost its IObby, its ceiling and much of tts proscenium arch.

The Arc!J ~ect

As a theater 8/Chitect, John Paxton Perme remains some ... 'hal ol a mystery figure compared to his 11'\JCh

belier known COIUe~ries Abert Landsburgh and Charles lee. He first makes his appearance in Los

Ange es in 1920 as a draftsman for the Hartlof Deparunem. By 1922 he iS advenising his an::hilaaural desgn

and engineer'~ services in !he LDs Angeles B\Jsiness DireclOry. By 1S25 he has become archled for West

Coast Theaters Inc. for whom he does a string ol mo'<ie theaters in 0t.'llying COrM"lJnities such as Hawthorne,

t.fonrovia, El Centro, or in Los Angeles at 2300 Central Avenue, weil outside the downtown Broadway area.

These were clearly not principal theaters for the big mm distributors; they cost about a quaner of what the

movie palaces ccst to cons:ruct. For comparison, Unhed Artlsls Tl'.eater and olflce boi:ding in Downtown Los

Ar.gales by Walker and Elsen and Heward Crane built In 1927 cosl $1.4 mi;fion to construd: Abut

Landsburgh's Wamer Theater btilding in HoUywood cost $1 million 11'11925; the Belasco Theater by Morgan,

wars and Clemerts oost !600,000, wh.~e Marcus Pri:ica's theaters in Fresno and San Bernardino each cost

$600,000 By companson, Perrine's theaiers, bu~t dunng the same pericd, ran from $128,000 for the Lincoln

Theater to $250,000 for the theater in San Bernardino, to $340,000 for the Calitomia TheaJer in San Diego.

the higher cost presumably raflecting the eight story office building which was part of it. All these figures come

from the Southwest Builders and Con(!aCIOf and retied actual conslJUClion dollars. Some material on the

arct-itea and on the construction of the thea:er is contained in the appendix at the end of this report.

As fer the archi:ect himseU, after a fllrry o1 lheaier comm:ssions during lhe 1920s (his last recorded theat~r is

tn 1930). he turns to other work, apartman1 buildings, a library, sdlool buildir.cs. rur;ng the 30s while h:s chlef

competlors. Charles lee and At:ert Landsburch. corrinue to design theaters. In 1940 he is advenising

h1111Self only as a civil engineer in the Los Angeles Bus ness DireC:ory and is listed for the 'ast time in 1941 . As

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h"s r.ame camot be found in the CaElomia death reg;stry for the years 1940through 1970, we have lo ass<.me

he had left Sou1hem Caifomia

The Office Buildjng

Even as Class A ollloe space the Cafdomla Theater bulldlng at a oons1ruction cost of $340.000 wasnl

expensive when COl'!ll31l!d to the 13 s!OI)' Class A office being bull in San Diego ar lhe same lime by

Edwaids. Wildey and Oixon, general contractors for both buildings, at a cost of S835,000.

11 the car:tomia ranks bw as a theater it raoo evtt1 lcMer as an otfX:e tJu;kfsig. Office space wlhirl the bu:king

ll'llst always have been margir.aJ. Only lorty IHI wide, t'"ls 8-slory o.'fic:e building can only prov~ very shaLow

office depths

A comparison wfth the 1912 Spreckels theater onty a few blocks <rNay (see photos at end ol report) cµckly

estallUshes the California as the inferior. Both theaters are buil wi!hin office buildings. The Sprecl<els buikfing

is a line example of the coume<cial arohltedure of u period. Large. regularly spaced windows throw '9ht well

back inlo rts ini.eriors. A handsome. o:gaN:aly we'k:ooneded marquee leads irilO a deep, wel appointed

lobby, getting theater-goers wel oil the street before entering the audloriJm. By contrast, the Calilorr.ia is

barely recognizable as an office builO.wig so irregular 8lld eccenric is the fenestration ol its enlrance facade. A

badly designed marquae spreads across the lace ol the builOng further destroying the balance of piers and

spandrels and leads into an inadequate lobby ol lftlle architectural merit: The Third Avenue elevation rs even

more debased with the shallow retal space along the bottom, which I is hard lo believe Is original to the

bu'lding. 90 inotganically does it join whal is above it. Tlis is also true of the rear elevation The truth is Perrine

In truth, Perrine cannol be blamed for the present marquee which was added in 1940 by thealer designer

C. A Balch, as a corrparison o# photos 1 and 2 quickly estabflShes. Nevertheless, the presem rnatq.Jee is

a severe archilectlJral delrimenl to the building

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hadn't the foggiesl notion how to handle the sides and back ol his theaters. In both the Li'K:oln Theater and

:he Car.forria Theater (San OfeCO) he sirrply exposes the ungainly prolile of the stage house IO the street By

contrasi the Spreaefs and the Balboa The81ers in San Diego (see photos in back). the Million Dolar Theater

and the Tower Theaters in Los Angeles carefufty mask this awkwardness.

The Swle

To say something about the arci".rtectural styles of Pemne's lour theaters:

1. The Lincoln Theater in Los Angeles is posslllly the most c!istinclive and the most vigorous on the

exterior. For this he chose the ._ioorish Slyle, his mos< exotic choiee. Stal today, alter nnumerable coats

of paint and several remodeffngs (ft has become a Latino evangelical church renamed Crouch Temple).

the bold relfet of the multi-foiled arc.>ies and the honeycomb work produce a stnl<lr.g effect.

2. The California T.'leater ii San Bernardino Is probably inlended to be Italian Baroque wU/l lls colossal

order composite Ptlo.sters rising from lloor 10 ceiring on either side of the prosc:enium, the cirOJlaJ a>ro'la

In Ille center of d'le cefll'l!;, and the bands cl tripled an:ades abng each side waU. The style is, however,

by no means dear and d:slll'1gUishable lrom the Spanish clurrigueres<;ue of his next lwO theaters. as it

migt"t have been In the hands of a master ol the Baroque or Roccoco theater style such as Charles lee.

3 & 4 The Foit Theater in Redondo Beach and the california Tneater in San Diego are both clearly intended

to be Spanish Colonial Re'lival. No vertically sweeping orders here but plasters broken down into

sm.;l'er stacked elame.rts. In the Foit Theater even the arch~ve is broken Into a slring ol decorative

tab:ets Big SC~ brackets suppo.1 the arc.'ldra11es a: each oomer.

How acproprate for the ar-..hiect lo hove c:t".osen this partJCular style for a t11eater in San Diego. San Diego is

the bir.hplace of the Spanish Colonial revival. Bertram Goodhue's decision 10 make l the style for the Pan

Pacific exposition in Balboa Parl< in 1915 marl<s tho beginning of the popularity of this style From here, over

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the next twenly yean1 b 8'lfead Ike wildfl'e from San o·ego to Santa Barbara and furthe<. II is not SUlpriling ID

find San Diego, where It was bom, strongly nluenced by this style and ful ol still extari exarrples. It is also

not surprising to find both good and bad wor1< in this style: th$t worth preserving because ii represeru the

llnest ~within a eategoty; and that which sll\llly follows a popular fasNon wthout real convidion or

fundamental inYolvemert of I.he building tonn. The California Theater bebngs in the second group.

A good example of a 1920'a theater in the Spanish Colonial Revival style is the Lobtero Theater In Salta

Barbara by George Washington Smith. The archillld has usec:l elemenzs of that style, the pergola, the tile roof.

the gleamng wn!a wals, largely u~rced and rendered pa~a by the use of oversize comices and baA

molcfsigs, to produce a totaJy original work !hat nevertheless could not be miStaken tor anytNng but a Spariish

fantasy. The same can also be said of the Fox-Alli~ a I'll.di bigger theater, also In Saria Balbara. The

Lobrero bem corrparison with the California Theater lor the obviou$ reason Iha! they are CO!ll>Mable in size.

Here an resemblance slDp&. Nothing has been dona In the latter to sustain the fantasy that II is a Spanish

b.J°lding. The arctitect has built a rather banal theater building and simply tidied on soma ctamigueresque

ornament. h CQJld as easily have been gothic or deco. To see how ii should be done, one should loolt at how

Goodhue in Babca ~ adap:ed tradillonaJ Span'5h forms ID the cailomla Stale building. The plastic mass;

the contrast ol wall in brlgh1 sunlight wilh the deep shade of porch or window; richly-carved ornament used

where it is most effective. John Perrine. the architect of the Cal:tomia theater, had no such ambaion.

Conclusion

The Calfomla Thealer is the wOf1< of a mi"lor theatllf archied. and eYen as such, is not his best wort<. Both the

California Theater (now the cardomia Theater of the Pelforming Arts) in San Bernardino and the Lirc:oln

Theater (now Crouch Te"l)le) in Los Angeles are more original and vigorous worics (See photos at erd of

!Ns report.)

There are many movie theaters in Southam Callomia which achieved dis!R:tion an:hilecturaly cn:I deserve ID

be preserved. In downtown Los Angeles alone there are probably ten. These include both Charles Lee's

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theaters, the Tower and the Los Angeles, Ille MDon Oolar the United Attis'.s, 111e ParamJunl by Albert

Landsburgh, Warner's Downtown. The Willem. which has already been reslored in ils ernrery as an office

bu3ding and theater. sland as a beacon of the movie house of the 30s. The Fox-Arlington by Edwards and

P urke:t In Santa oarbara has already been mentlor.ed as a considera!>le accorrplshment in :he Spa'lish

Cobnial relliva. style and for ils elabora1e move palace trtenor.

Al least two tteaters Ir San Diego rise to the stature of these others: the Spredlels by Wiliam Vlhee!e; and

Harrison Al!br.ght, buLt In the first decade of this cenlllry, for its handsome office building exterior on at lea;;t

two streets ard lls splencfid lavLSh llllel'iors masterfuJ:y deslgr.ed w:th tum-of-the-century elegar.ce. Ano the

Fox (see p.holOS in bade) which has already bee:i preserved and res!ored, a'lhough a has lost its :eyer J'I the

process.

The Cal'fornia Theater cannol be consiClered in the ca:cgory of tha foregoing !heaters. It ls architect\Jrally

maladioi:. Tt.e elevations en C Slreet, on Fourth Averue and on Thro Avenue are particularly bad. The bl nd

bulk ot the sla{;ehouse lowering over Third Avel"lle. the side vie'N of the two ur.even masses ot the elf ice

buidfng and the stagehcuse as seen from "C" Street. n no way rnit'gaJed !::y the sha.'low band of st01es run

along their base: and the erratlcally fenestraJed and thinly omamen1ed off'.ce bu'ldlng and theater front fac·ng

Fourth Street.

About the in:erio<s, the lobby IS too shallow and has ios· wtia:ever dscoration 4 had, the main ha1 is. as were an

o• Pemne·s rn1enors, poorly conceived, a stringing logether ol ornamental pastiches wr.tout any ol t.'e lotal ty

whlell a good !neater inter.or requires . n lacks that dom.'nance ol efled whlch emanates lrom a strongly

designed ceiling and proscenium, 10 which all the other archttedure cf the side ar.d back walls should be

SJborc1na1e. O! course, it 1s drercua to judge, except from photos. what the total effect was since so much o1

me decoration t.pon w'lich this eClect would depend has v<nshed. Gene is the ce[ ing pail'Wing and

S!enciling the errata cha'ldeffers, tr.a rroraJs (relem!d lo ea:ier?. tte in'.act proscenum arch. Whal is left IS a

rather bare rec:-..ngular MOvie house wih only lragmenrs or Hs lomwlr gloly

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The Photographs

1 . The California Theater, San Diego, Historical Photographs

2. The CaJlfornia Theater, San Diego, Today

3 . The California Theater, San Bernardino

4. The Lincoln Theater, Los Angeles

s. The Fox Theater, Redondo Beach

6. The Fox Theater, San Diego

7 . The Spreckels Theater, San Diego

8. The Balboa Theater, San Diego

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APPENPIX

1 . Excerpts from Southwest By!!der and Contractor

on construction of the Cali forn ia Theater

2. Information on the Architect, John Paxton Perrine,

from the Los Angeles Public Library

3. Bibliography

4. Resume of Author of this report, Thomas R. Vreeland

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Attention···

Hotel and Apartment House ~ten! Beveriy Hil!~ needs Hotels and Apartment Houses. We are l':?pidly de\·eloping into a City oi First Na~nitude. The de:nand is a lready here. The coming of the Soutl:ern Division of ~e Uni\'er sity of California will insure a permanent demand for accommodations. Our Company specializes in Hotel and Apariment House sites.

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'IAnnounoeil:B:lt is oade ~Paul R. Cowles and Johll P. Perrine or a co-pa:tnership operatl:.g ux:t.•r tbAt l"l8l:le of Cault!s- Perrb• <>:-cantut1an1 with o!!icas at 1~2 S H!ll St Lo• J.ntieles ; telephone TUcker 6932. ! hey will c1vo an engir.<?er!nc and archltect-,:::oal service" SOX!illEST BlllWEil !t CO!ll'RAC::'OR 12/26/l<J2to, p,521col.1 .

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see solJi'lrn 7 iJUIU>-~ .;, co:::n·•:!f".l 7/3l/l92S, p . 5'~ 1 col.) (~ovlas-Penine Ori::ml~'ltio:l1 e..~CJ.:l2er5 9 pYe,:i.:--e plrolS fn~ ~~StOr1 t!\Cator c tool t?'x:o:""r ~: ~~!t~:rrne ~er O. G. Wllli;i.-a ; Ho~l:.~01':'.e :ind 3~:..i~"" :ivo• , l!:Juthor na)

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1 col , ?. (Coul!ls-Po~rL-ie Orac-ii~tlon r:-o

pr. re plens Co: city h:ill/j:iil ~t l!n'<tborna)

PIWU\Im::, .rn:u~ Pl.:<l'Jll I

see S·lOT:\\fl.;;;.'T nurtDr:JI :: ] -:li ·m:.cTO:t 1 I p . ;5, eol . 2 , (f1rio Qf Pan•ine and· R ~8/1930, par e plnns !'or opo.rtaant bnild' -~ otn v o pre-/"r lzcna .. . ) ~ •• " - WI0 1

P3RRDIE, J:lllli Pi.XTOTI

., see SOllTlrd~ST lllHLD~]l (< ::111rrn1\CTOR l:>/511930, p. ~i col, 1. (Perr ine .; 1:cnfi'o propare pl~

·• t or Hotel Gre;:or y 1 P.edloods) •.

see SOTmflfl-;ST '.\ll !Ullill ·"< CQllTTUC'rOn 12/$11930, p.~21 col, ). ( ~&•otne a nen!c8'\I ?repare plaJ'~ for pa.rtiaent ':>uilrl~ at Ywaa , ar1zona)

_,.·

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Psnt:n8, .1om1 p',;:ToH,

I\~ so1rr o: ;-: t~nm 1! :: r: _,--· -.~::·.m i;./l~/1"3\ p.)01col . l (pl:•n:': ~nr ''hnli.~ lll:>Mrl' l>t1il1lin:;)

I

t t

:cc SO!rr · ·::;:;:· J;:JIJJl:;: ·, _,. -,- -~'i 1- 7/1."./l ?JO p . ~1 ,eo~ . 2 (pll:.n~ :c:- t:JC ~•Cl ·1 .. ·.1=)~pcr b·.di~J.nc, ~en ~~~~rd 4 nr.)

PEJ!R m, Jomr P .An011

... Sotmrmr !lOIU>EB 4 COimw:TO!I 10/17/1930 p.SO, col.2. (botel 1 theatre and ottie• bail.din&, lloln1U.)

I Pi:PJUNE:, JOHii PAXTOll

SM ARC!t'ltE::T l: tl!Gl!.::.Et ~:ov=bcr 19)1! , p. 56 I pl.ens ~er addit.lcn t o t.tc ila,;co Gracnar School, ll:ern CoW\t. y I

I PDIJI m, JOl!ll Pll'!Oll

HI SOIJ'Dl""3ST BUILDXi! 4 COll'fBACTOB ll/ll+/1930, p. Sl 1 col.2. ( plans t cr tbeat ar at Holt•111•)

;·

/

PEIUI IllB, JOl!ll PAXTON

see SOU'!lnltST Btll.LDER & CONTRACTOR l/~/1930 p . 59~~1.3 . (dnv• plans for 3 story hotel tii San •s Obhpo at oo:rner or Chon o and Higuera street.)

Pl!Ulllll, JOllll PAX!Oll

1ee BOUTBW!:ST BUILDBR ~ COJllT'RACT'Oll 2/2l/1q30, • p.i.8,col,l. (Perrine and Rantro1 architect•,

vill handle reaodeUng ot Stt"&Dll fbeatre at San Bernard 1llo)

P<llRIHB, JO!lll Pll..-:TOil

see S0111'll\l&ST nUIW;n ~ coninr.cTon 3/21/19301 p.li41col..2 {pL"ln!' for n tno:>tr.r- for Fax '.'cs•

Const thc:itors--ot C:iloxico)

·. - - ;

P!;RRillB, JOHN Ph.1:TOlf

, ,_/

S&" S01Jl'll\il'..S'l' BtllL:>i-:11 < COilT!lhCron 7/l+/1930,p. 1+9 (th.eater at ca1ex1co)

' '-

PERIUllE I JOUN PAX1l)N I

Pl • llll for a t heager ~uilding at El Centro ; to ... t 1"00; l eased to \lest Coaat 'l'!Metere; aen:ion i s eiso ~ade in this cita:1on ! or an a.l.."'dcce (::-oofle&s tbea~e:-) to seat 1200 SOU~'I l!"JI:.D64 & CQ;~c'IOR 7/Z2/192?, p.57 , col. ~

.PEll.RIY£ t JO!lli p il'r()B I

Plana t or tba California '!'!>ea ter, San &ornar-41no SOllNJESJ' OOI:.ilEl! fr C01'Tn4C!rol! ?/15/ 192?, p . 58,eoi . 3

•

PERJIIIB, lOHll PAX'fOI ,

t o1'~ 1 8 building at V n 1ce; Plano t or a f'09 •• c Va and Troil•r ll9J l ocation given LS ;·~~;;RAC~R 6/ l /l.928 , S OCT!l llES! l!U lLDBR ' p.!)),col . 2

PEIUIDIJ 1 JO!lli PUl'ON

ue SOUT!!WESt auru>ER dt 001'-:'llAC!'OR 1/31/1930, p. S2 cot.2. (dran plans t or poverhouu :-eaodeiJ.nc at Ve.a.ice )

..

;

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'!

'

PEIUIDIE 1 .TOl!H Pl.XTOl1 1

•ee SOU'I'lnB:il' lltrIWSR a COll'i'l11\CTO!I l/i51l9:>6, p. ;6,coJ.. 2 (plans for Cal 1!orn1a Thnotre, Can Otego)

.. .

Pli'8B Il!B, .TOlll P .&X'Z'Olf

aM SOUTHWIST &IILDDI & COli!'RACl'OR 2/29/1926,, p.5),col.2. (theetn tor o.o. \ 'illiu!J Hawthol'lle1 to be lcnovn •• the Rooaev•lt zneatre)

PIRllDfB, .70Jlll P.AX?Qf(

"Nev theatre planned " I.OS l!/r.ELRS RX.lMIJIER S/9/1926,pt.IV,p.8. /prepares plan• tor Lincoln !heatre, Los Angeles )

- ·-· ~

;:. : . .:~ ·:

I

Pl!RJIIlll, JOflll PUTOlf

I sH SOUl'!IWBS'f BOII.DEll & COJITRACTOR 3/ll/1927, · p.Sl cctl , J. (preperes plans ror cal1forn1a Tbltatre at San Barnardino)

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f·: ~ ' , . f ;. ..

r ,. <

l . ,.

i ' .. • r ,.

.. i

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p,;unm::, Jj_:;1 p·~:re>r:

ree !lo;mr E::>T ::>·rr..n n .-:. co:r:.- ·.-:: .r.1 10/16/l'P-51 p .61Lcol,) (n!.tc~ct!ans ! c Q.,ttJ1ousc 1 161 Ocean fron., 'Tcm!ca)

PENIIr.!'11 JOU:! PA:'"..l'Oif1

SU S01.1Tl!'-'tS":' :-..:r:D~ .; (:QiCTt~.:T'ln ll/6/1925 p, 51,col.2 (pl.ruu !'or t hcoter a! l.·1onu• 26 1

and Pasa~er.a \ ?anue--!ltis lllt~c: otrect is nov mo~ ~a north ftgu9:-oa ··~)

' .

P!ll111IllE1 JO!!!f ?:.X::'Oli

ue 50UTH11!51' 8Ulir:>~ 6" CO!l'!'iUC'roR 1/111926 , p.'+9{ col.). (plans ror reintOl'C•d concrete thee • r at come!' or ?ased..a l ·1m1M1 aa4 lHnue 26 ! or West Cout Tbeatau)

PB!IRDI! 1 J O!i:i ?AX?O!I

He SOOTh11£ST !WIUIER 4 COJmlAC7.)!I 1/811926, p.5?1e ol . 2. ( reinforcing and bracing o! Redondo Pier >

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t

BIBUOGRAPHY

The following persons wart interviewed:

David Gebhard. Archi1ec:tural Historian. University of Sarta Barllara, 27 February 1990

Bruce Kamer1ing, Curator, San Diego H'lSloricaJ Society, 16 Man:h 1990

Tom Owen, History Department, Los Angeles Public Library, 16 Marctl 1990

Newspaptr Artfcles

"O:pheum May Use Strucl!Jre·. San Pieoo Unjoo, Marcil 7, 1926.

"Buiders an:l Friends Welcome New CalVornia Theate ... San Dieoo llnjgo. April 22, 1927.

"Hey! Hey! San Diego", Sao Dleao Uplgn, April 22, 1927.

"Opening of New C31ifomla Step in Advance of West Coast Theaters, Inc.", San Dieoo Union. April 22, 1927.

"San Diegans Crowd NBW Theater for Opening", San Qieoo Union, April 22, 1927.

"The New Califomia Theater and Office Buikfll\Q". San Dieoo Union. April 22. 1927.

"Another West Coast Achievement•, San Dieao UnlQn, April 23, 1927.

"San Diego Theater Building Sold", San Diew Unjon, November 20, 1935.

"California Theater To Be Renovated". San Diego Unjgn, Marctl 18, 1963.

"Theater to Modernize", San Diego Union Apfil 17, 1963.

"Old Theaters•, San Dieoo Union, November 11. 1969.

"California Theater To Close After -48 Years·. San Qjego !Jnfon August 22, 1975.

"Fade-Out of Movies Stirs Regrets· . San Dieoo Union, Apri 19, 1977.

·concert Selles Scheduled at California Theater", San Ojeqo Union June 26, 1977.

"Bootstrap Morasses· , San Pieoo Reader. July 28 - August 3, 1977.

- 'Midsummer Night's Dream' Slated", San Qlego Unjon, October 9, 1977.

•The Play Was the Thing in Old San Diego Theaters·. San Diego LJojon, 8 October, 1987.

"The Spreckels Wars·, San Diego Union 8 Oaober 1987.

"Standing Renovation", San Qieoo Union. (date unknown) 1987.

"Historic Theater is Reborn", Sao Diegq Un;on, June 19, 1988.

1

•Preserve Past or Prot9a lhe Furure?-, Sao P'eoo Ur!Oo, May 15, 1989.

"Balboa Theater Restoration Takes A Step·, Sar Diego oa·ry Tram:criot Augus! 7, 1989

·senate Agrees to Purchase and Renova.le Aged Theater'', Los Argetes Times, September 21, t 989.

perlgdlcals

Soulhwe§! 8\.!Jc!er and C901rador-

·Reinlorced concrete theater in Los Angeles· (p. 49), Jareaiy 1, 1926.

"Thca!er in Monrovia" (p. 53), Februal'y 12. 1926.

"Alter theater, Monrovia· (p. 56), February 26, 1926 .

.. Theater, S'.ore and lolt building, San Diego" (p. 56), February 26. 1926.

'"Extended bld.S" (p. 53), March 26, 1925 .

.. Changes to plans" {p 55). April 9 , 1926 .

.. Permit concrete and s:eet oltJOe and theater $340,ooO· (p. 64), Apri 26, 1926.

"Pernne a~ering theater 1n Monrovia· (p. 54), April 23, 1926 .

.. Awarding of contract• (p. 57). April 23. 1926.

"Class C thea:er and store· (p. 56), Apri 30. 1926.

"Class A tneater, Fresno and San Semarom· (p 55), .,13y 14, 1525.

·crass A theater dovm:own, $600.000- (p. 55), May 21. 1926.

"Class A !healer, Vine St. and Hollywood" (p. 51), May 21, 1926.

"Class A theater, 2300 S. Central, taking bids" (p. 55). May 28, 1926.

"Plans com;ileted for above" (p 56), June 25, 1526.

•cta.ss A !healer. 2300 Cen:ral Averoe" (p. 50), July 23. 1926.

"Revised bids" (p. 50). October 29 1926.

"Class A theater, store office and loft builcf11'1Q, Hollywood and vr.co~ lak~ bids" (p 52}. AuguS1 6, "926.

·contract awarded a1 s2.ooo.ooo· (p . 51 J, October 15, 1926.

"Class A theater, Hit street between 10th and 11th" (p 49), Augus! 27, 1926.

"Class A 1hea1er, r.ctel and apartment ouildir.g Wash;nglon and Verrr.ont· (p. 51). Seplentier 10, 1!;26.

·s1 .000,000 theater to be butt In Los Angeles" (p. 52) Octo!>er 22. 1926

"Claes A theater, 804 S BroadWay" (p. 49). Oc!ober 29, 1926 Alsop. 53, NoveO"ber 26. 1926.

• Items deail:rig with Calilomla Theater, San Diego

2

"Class A theater and office building between 9th and 10th" (United Artists Building) (p. 50), October 24, 1926: (p . 44). Decermer 24, 1926: (p. 51) November 19, 1926.

"Ventura theater" (pg. 53), December 3, 1926.

"Theater, office, loft buiiflllg, $2,000,000" (p. 44), December 24, 1926.

Artide on Belasco Theater, January 14, 1927.

"Class A theater, Broadway between 9th and 10th, $1,000.000· (p. 53), February 4, 1927.

"San Bema.rdino theater and store, $180,000" (p. SS), February 4, 1927.

"Thea!er, stores, apartments - $500,000, Whittie,. (p. 52), February 11, 1927.

"Class A theater, 802 Broadway, $200,000" (p. 52), February 11 , 1927.

"Class A !heater and office buik:C'l1g between 9th and 1oth, $1,400,000, contract awarded" (p. 58), February 25, 1927.

"Class C theater building, concrete store and oft ice bui ding $135,000" (p. 48), March 4, 1 927.

"Theater, stores and ofrlces in Fresno, $605,000" (p. 50), March 4. 1927.

"Theater. offices and apartments, Las Vegas, $100,000", March 4 . 1927.

"Theater, Oxnan:!, $250,000", March 11 , 1927.

"Class A theater and stores, El Centro, $125,ooo· (p. 48), March 25, 1927.

"Theater , Pasadena· (p. 49) , March 25, 1927.

·150· x 150' steel frame theater, $200,000" (p. 54), M·arch 25, 1927.

"Reinlorced ooncrete theater, office, stores and hotel, Ventura• (p. 50), Apnl 1, 1927.

"Class A 13 story office building, San Diego, $835,ooo· (p. 51). April 8 , 1927.

"Class A orrics building, San Diego, $1 ,0oo,ooo· (p. 49), Apnl 8, 1927.

"Theater, $250.000" (p. 49) , April 15, 1927.

"Class A theater, store and office, San Bemardlno, $250,000" (p. 51), April 15, 1927.

Los Angeles Busjness Direclorv Editions for 1920, 1922, 192.5, 1929, 1934, 1938, 1939, 1940, 1941 earned listings ol John Paxton Perrine

pamchlets

"The Mighty Wurlitzer Hope-Jones Unit Orchestra Theater Pipe Organ", San Diego Chapter, Ameriean Theater Organ Society, 1982.

3

!\!ega!ive Al!nbuJ!Qns

We were not able l o <fJScover any an:hltecfs drawings cf lhe !heater.

The 1hea1er rs not listea ill any guide books of ~ 018QO.

Neither John Paxton Perrine nor any of ttis ttiea!ers rs mentioned in either Los Angeles archltec!ural gulde!x>ok we oonsutted: Att:h':ecture ro Los Ange es by Gebhard and Winter or Los Aoo1fes Observed by Cl'.arfes Moore el aJ

4

filSTORIC PHOTOGRAPHS

California Theatre San Diego, California

----.!H~istoric Phc.+to Ca~tlo··=+ ~n~~---Phot0s are copyrighted by the San Diego Hiscory Ceocer.

Exterior Views

HOl Construction new, looking west. August 30, 1926. (SDHC #Sensor 7-68)

H02 Construction new, looking west. ca.1926. (SDHC #Sensor 15-120)

H03 Construction view, looking northwest from above che comer of 4th Avenue and C Street. February 2, 1927. (SDHC #Sensor 7-67)

H04 Construction view, looking west from the comer of 4di A renue and C Street. ca.1927. (SDHC #1177'2)

HOS Construction new, looking northwest from the comer of 4di Arenue and C Street. March 1927. This view matches 2014 photo 01. (SDHC #2365-A)

H06 The ena:y canopy and marquee prior t0 opening. ca.1927. (SDHC #80:4675)

H07 East and south facades looking northwest from 4di Arenue. ca.1927. (SDHC #7046)

HOS East and soudi facades looking northwest from abo,·e die comer of 4di Arenue and C Street. June 2-1, 1927. (SDHC #Sensor 7-69)

H09 EaSt and south facades looking northwest from above the comer of 4di Arenue and C Street. ca.1928. (SDHC #Sensor 7-185)

HlO EaSt facade looking soudiwesc from above 4th Avenue. ca.1928. (SDHC #6895)

Hl 1 East and south facades looking northwesc from die comer of 4th Avenue and C Street. ca.19-17. This 'iew macches 201-1phot001. (SDHC #Sensor 7-70)

H12 The replacement entry canopy and marquee ac night. ca.1950. (SDHC #Sensor 7-377)

H 13 Ease and sou di facades looking northwcsc from die comer of 4th Avenue and C Street. ca.1955. This view maccbes 2014 phot0 01. (SDHC #Sensor 7-123)

H 14 Lower east facade and third entry canopy looking nonb on 4"' _\,-enuc.1\ugu'I I. 196-t.

SDHC ;ct;T 8S:E361

H 15 Ground le>d foyer and m2in cncry doono. looking nonbm:sr. ca.1929. Tiu~ ,-icw matches

2014 phoro 19. (SDHC l"Sensor "'-rs

I ntcrior Views

H 16 Grand stair ar the cheater lobbr during consrruction. lookiag nonh\Vesi. ca.1927. This '-icw matches 2014 phoro 20. (SDI IC #2365-D)

H 1- South wall of the aucli1onum, from the s12gc. ca.1942. This new is similar to 2014 phoco 24.

1SDHC photocopy #unknouTI

HIS .\uclirorium from the balcony, looking nonhwC!'t. ca.1942. (SDHC phorocop» #unknouTI)

H 19 \uduonum from and stage from the balcony, looking m:sr. ca.1942. (SDHC photocopy #unknowTI)

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APPENDIXB

OWNERSHIP AND OCCUPANT INFORMATION

• CHAIN OF TITLE • CITY DIRECTORY LISTING OF OCCUPANTS • DEED FROM DATE OF CONSTRUCTION

CHAIN OF TITLE

AECOM

California Lot Book, Inc. dba California Title Search Co.

P.O. Box 9004 Rancho Santa Fe, CA 92067

(858) 278-8797 Fax (858) 278-8393 [email protected]

WW\V.LOTBOOK.COM

Chain of Title Report

401 West A Street, Suite 1200 San Diego, CA 9210 I

CTS Reference No.: 0715315 Your Ref. No.: 60429809 task 01

Attn: Trina Meiser

Title Search Through: June 23, 2015

Property Address: 304 C St. & 1110 4•• St. San Diego, CA 92101

Assessor's Parcel No.: 533-521-(04,05,08)-00

Assessed Value: $2,850,000 (Combined Parcels)

Exemption : None

Proper ty Character istics Use: Theater/Parking Lot

Improvements: 72,748 square feet

Short Legal Description LOTS E, F, G, HAND I IN BLOCK 16 OF HORTON'S ADDITION, IN THE CITY OF SAN DIEGO, COUNTY OF SAN DIEGO, STATE OF CALIFORNlA, ACCORDING TO MAP THEREOF FILED IN THE OFFICE OF THE COUNTY RECORDER OF SAN DIEGO COUNTY.

Page I of 16

California Lot Book, Inc .. dba Cali forn ia T itle Search Co. CT Rererence l\o.: 0715315

Chain of Title (December 24. 1906 through June 23, 2015)

The following documents r ela te to Lots E and F:

I . Deed Gran tor: Grantee: Recorded:

2. Deed Gran tor: Grantee: Recorded:

3. Deed Grantor: Grantee: Recorded:

4. Deed Grantor: Grantee: Recorded:

5. Grant Deed Grantor:

Grantee: Recorded:

Union Title and Trust Company Da\ id C. Reed and Juliet C. Reed Februal') 28. 1912. ;:;5559. Book 552. Page 2-1. of Deeds

David C. Reed George R. Ii arrisoa March 12. 1920. #7016. Book 799, Page 288. of Deeds

George R. Harrison Edward C. llall ~I arch 13. 1926. # 14818. Book 1198. Page 50. of Deeds

Edward C. Hall Sidney J. Kass and frank E. Ruben March 13. 1926. #14819. Book 1198. Page 51. of Deeds

Sidney J. Kass. Helen Kass. Frank E. Ruben, and Flora L. Ruben Southwest Income Properties, lac. April I 0. 1926. 1121726. Book 1203. Page 178, of Deeds

6. The Saa Diego Counry Assessor Lot Block Book Page shows the first year'' ith assess improvements as 1927.

~. Noucc of Completion Recorded: March 17. 1927. ;:(6868. Miscellaneous Book 7-1. Page 319

Ple3Se be ad,•ised that this is no t Title Insurance. The infor mation pro' ided her ein r enects matters o r public r ecord which impart constructive norice in accordance

with Califor nia I asuraace Code 12340.10

Page 2 of 16

8. Grant Deed Gran tor: Grantee: Recorded:


10. Trustee ' s Deed Gran tor: Grantee: Recorded:

11. Notice of Completion Recorded:

Southwest Income Properties, Inc. Charles Sterling Judson and Katharine Robinson Judson April 11, 1927, #21792, Book 1344, Page 179, of Deeds

Charles Sterling Judson and Katharine Robinson Judson Union Trust Company of San Diego June 23, 1934, #33388, Book 295, Page 418

Bank of America National Trust and Savings Association California Building Company of San Diego June 12, 1935, #28397, Book 405, Page 375

April 7, 1959, #68244, Book 7590, Page 546

12. Corporation Grant Deed Grantor: Fox West Coast Theatres Corporation Grantee: Irvin J. Kahn Recorded: August 18, 1960, Recorders File No. 60-166162

13. Grant Deed (Individual) Grantor: Irvin J. Kahn and Eleanor Kahn Grantee: Willy Neu, Bessy Neu-Halle, Ernest D. Haas, Charlotte Haas,

Thelka Wolff, and Gerda Schuster, all as to a l /4 interest, Benjamin B. Kolkey, 1/4 interest, Lesser Industrial Properties Ltd. , 1/4 interest

Recorded: January 3, 1961 , Recorders File No. 61 -744

14. Grant Deed Gran tor:

Grantee:

Recorded:


Willy Neu, Bessy Neu-Halle, Ernest D. Haas, Charlotte Haas, Thelka Wolff, and Gerda Schuster Benjamin B. Kolkey, Lesser Industrial Properties ltd., and Irvin J. Kahn August 24, 1961 , Recorders File No. 61 - 148071

Irvin J. Kahn and Eleanor Kahn West Loma Development Company lnc. January 25, 1966, Recorders File No. 66-13412

Please be advised that this is not Title Insurance. The infor mation p rovided herein r eflects matters of public r ecord which impar t constructive notice in accordance

with California Insurance Code 12340.10

Page 3 of 16


Benjamin B. Kolkey and Mona Kolkey West Loma De,elopment Company Inc. January 25, 1966. Recorders File o. 66-13413

17. Corporation Grant Deed Grantor: Louis Lesser Enterprises. Inc. Grantee: West Loma De\'elopment Company Inc. Recorded: January 25. 1966. Recorders File No. 66-13414

18. Corporation Grant Deed Grantor: West Loma Development Company, Inc. Grantee: A. \V. Coggeshall Recorded: September 17, 1976. Recorders File o. 76-304423

19. Quitclaim Deed Grantor: Grantee: Recorded:

Meta B. Coggeshall A. W. Coggeshall September 17. 1976. Recorders File No. 76-304426

20. Order Senling First and Final Repon of Executor. Allowance of Attorneys' Fees. and for Final Distribution In the Maner of lhe Estate of: Meta B. Coggeshall. Deceased Recorded: December 2. 1983. Recorders File o. 83-438593

21. lndjvidual Qui tclaim Deed Grantor: A. W. Coggeshall Grantee: Ariel W. Coggeshall, Trustee. Y, interest Recorded: December 2. 1983. Recorders File o. 83-438625

22. lndh;dual Quitclaim Deed Gran tor: Ariel W. Coggeshall. Trustee Grantee: Ariel W. Coggeshall. Trustee.•., interest Recorded: December 2. 1983, Recorders File o. 83-438626

23. Corporation Grant Deed Grantor: Union Bank. Successor Trustee Grantee: Fourth & C Corporation Recorded: May 15. 1990. Recorders File • o. 90-265768

Please be advised tha t thi is no t Title Insurance. The information provided her ein r efl ects matters of public record which impart constructive no tice in accordance


Page 4 of 16


Gran tor: Grantee:

Recorded:

26. Quitclaim Deed Gran tor:

Grantee:

Recorded:

Fourth & "C" Corporation Saa Diego International Christian Center, Inc. May 28, 1997, Recorders File No. 97-244890

Saa Diego International Christian Center Jerry T. Haaoum, Yvonne K. Haaoum, and Dusty Shawn Hanoum February 18, 1998, Recorders File No. 98-82192

Jerry T. Haaoum, Yvonne K. Haaoum, and Dusty Shawn Haaoum Jerry T. Haaoum, Yvonne K. Haaoum, and Dusty Shawn Hano um June 3, 1998, Recorders File No. 98-333181

27. lnterspousal Transfer Grant Deed Granter: Shelly Shawn Daisy Hanoum Grantee: Dusty Shawn Haaoum Recorded: November 9, 1998, Recorders File No. 98-729338

28. Grant Deed Graator:

Grantee: Recorded:

29. Quitclaim Deed Gran tor: Grantee:

Recorded:

Jerry T. Haaoum, Yvonne K. Haaoum, and Dusty Shawn Hanoum California Theatre Ltd. June 4, 1999, Recorders File No. 99-391620

California Theatre, Ltd. Jerry T. Hanoum, Yvonne K. Hanoum, and Dusty Shawn Hanoum November 24, 1999, Recorders File No. 99-778490

30. Trustee's Deed Upon Sale Graator: Presidio Mortgage, Inc. Grantee: The Newman Family Trust Recorded: March 27, 2002, Recorders File No. 02-258652 Re-Recorded: January 7, 2003, Recorders File No. 03-16514

Please be advised that this is not Title Insurance. The information provided herein reflects matters of public r ecord which impart constructive notice in accordance


Page 5 of 16

31. Quitclaim Deed Gran tor: Grantee:

Recorded:

D. Huntley. Trusree Presidio Mongagc. Loe .. 50% interesr and lo\estor Money Mongage, Inc., 50% inrerest December 20, 2002. Recorders File No. 02-1167006

32. Deed-In-Lieu of Foreclosure Granror:

Grantee: Recorded:

33. Gram Deed Gran tor: Grantee: Recorded:

34. Quitclaim Deed Gran tor: Granree: Recorded:

Presidio Mongage. Inc .. 50°0 inrerest and lo\ estor Money /\longage. Inc .. 50°0 interesr Chris-Tum DevelopmeDI. Inc. July 9. 2004. Recorders File 1 o. 04-638990

Chris-Tum Devclopmenr. Inc. California Theatre ln\'estmenr Group, LLC October 3. 2005, Recorders File , o. 05-851737

Presidio Mortgage lncorporared California Theatre Investment Group, LLC October 3. 2005, Recorders File No. 05-853569

35. Trustee·s Deed Upon Sale Grantor: Beverly Hills Management Company, Inc. Grantee: Sloan Capiral Panners. LLC Recorded: March 19. 2008. Recorders file 1o. 08-144789

The followin g docu ments relate to Lots G and H:


37. Deed Gran tor: Graoree: Recorded:

Union Tide and Trust Company Pacific Building Company December 14, 1912. 1:2686. Book 583. Page 37 I. of Deeds

Pacific Building Company Alben J. Jones December I. 1925. H59650. Book 1123. Page I 09. of Deeds

Please be advised tha t t his is 0 01 Title Insurance. T he informarion pro,·ided herein reflects marrers or public record " hich impart constructive nor ice in accordance

\\ ith Californfa Insurance Code 12340.10

Page6of 16

38. Lease Lessor: Lessee: Recorded:

Albert J. Jones Sidney J. Kas and Frank E. Ruben December 10, 1925, #61917, Book 22, Page 223, of Leases

Agreement Amending Lease First Party: Albert J. Jones Second Party: Southwest Income Properties Inc. Recorded: April 10, 1926, #21728, Book 23, Page 22, of Leases

Lease Amendment First Party: Second Party: Recorded:

Lease Amendment First Party: Second Party: Recorded:

Amendment of Lease First Party: Second Party: Recorded:

Albert J. Jones Southwest lncome Properties Inc. April 13, 1926, #22299, Book 23, Page 34, of Leases

Albert J. Jones Charles Sterling Judson and Katharine Robinson Judson April 26, 1932, #24332, Book 108, Page 313

Albert J. Jones California Building Company of San Diego October 10, 1935, #56956, Book 440, Page 211

Certificate of Ownership of San Diego Theatre Corporation into Fox West Coast Theatres Corporation Recorded: March 14, 1960, Recorders File No. 60-52407

Assignment of Lease and Acceptance of Assignment Assignor: Fox Wesr Coast Theatres Corporation Assignee: Irvin J. Kahn Recorded: August 16, 1960, Recorders File No. 60-166163

Amendment to Lease Recorded:

Amendment to Lease Lessor: Lessee: Recorded:

October 21, 1960, Recorders File No. 60-209968

Albert J. Jones Sidney J. Kass and Frank E. Ruben January 3, 1961, Recorders File No. 61 -746

Please be advised that this is not Title Insurance. The information provided herein reflects matters of public r ecord which impart constructive notice in accordance

with Californi a Insurance Code 12340.10

Page 7 of 16

Assignment of Interest in Lease and Acceptance of Assignment Assignor: Irvin J. Kahn Assignee: West Loma Development Company Inc. Recorded: January 26. I 966, Recorders file o. 66-13415

Assignment of Lessor's Interest in Lease Assignor: Benjamin B. Kolkey. Irvin J. Kahn. and Louis Lesser

Assignee: Recorded:

Enterprises, Inc. WeSI Loma Development Company Inc. January 26, 1966. Recorders File o. 66-13416

Assignment of Interest in Lease and Acceptance of Assignment Assignor: Louis Lesser Enterprises. lnc. Assignee: West Loma Development Company Inc. Recorded: January 25. 1966. Recorders File o. 66-13417

Assignment of Interest m Lease and Acceptance of Assignment Assignor: Benjamin B. Kolkcy Assignee: West Loma Development Company Inc. Recorded: January 25. 1966. Recorders File No. 66-13418

Assignment of Lease Assignor: Assignee: Recorded:

Assignment of Lease Assignor: Assignee: Recorded:

ational General Theatres. lnc. Mann Thearres Corporation of California July 6. 1973. Recorders File No. 73- 185890

A. \V. Coggeshall and Ariel W. Coggeshall. Successor T rustee Ariel W. Coggeshall. Surviving Trustee December 6. 1983. Recorders File No. 83-442399

Assignment and Assumption of Ground Lease Assignor: Union Bank. Successor Trustee Assignee: Fourth & C Corporation Recorded: May 15. 1990, Recorders File 10. 90-265767

Assignment. Assumption and Consent of Ground Lease Assignor: Founh & C Corporation Assignee: San Diego International Christian Center. Inc. Recorded: May 28. 1997, Recorders file No. 97-244891

Please be ad\i ed tha t this is not T itle Insura nce. T he infor marion pro,·ided her ein r efl ec ts matte rs of p ublic recor d which impa rt constructive notice in accor dance

with C alifornia l nsurunce Code 12340.10

Page 8 of 16

Assignmen1 of Lease Assignor: Assignee: Recorded:

Presidio Mongage, lnc. D. Huntley. Trustee May 29, 2002, Recorders File No. 02-452040

_____ Assignment and Consent to Assignment of_L_e_as_e _______ _ Assignor: San Diego International Christian Center. lnc. Assignee: Presidio Mongage Inc. Recorded: September 12, 2002, Recorders File No. 02-780409

Assignment of lease Assignor: Assignee: Recorded:

F. Giorgio, Trustee California Theatre Investment Group, LLC June 2, 2006, Recorders File No. 06-391982

39. The San Diego CoUllty Assessor Lot Block Book Page shows the first year with assessed improvements as 1927.

40. Notice of Completion Recorded: March 17, 1927, # 16868, Miscellaneous Book 74, Page 319



May V. Jones Alben J. Jones September 25, 1930, #45827, Book 1827. Page 40

Alben J. Jones and May V. Jones Nathan Halle July 15, 1936, #43387, Book 542. Page 43

43. Order Authorizing Executor to Borrow Money and 10 Execute Deed of Trust In the Matter of the Estate of: Nathan Halle, Deceased Recorded: January 19, 1956, #8126, Book 5944, Page 544

44. Order Approving Final Account and Decree of Distribution In the Maner of 1be Estate of: Nathan Halle. Deceased Recorded: February 25, 1957, #28697. Book 6470, Page 138

Please be advised that this is not Title Insurance. The information provided herein reflects matters of public record which impart constructive notice in accordance


Page 9 of 16

45. Notice of Completion Recorded: April 7. 1959. r168244. Book 7590. Page 546

46. Joim Tenancy Grant Deed Grantor: Thekla Wolff Grantee: Recorded:

47. Gran t Deed Gran tor:

Grantee: Recorded:

Paul J. Wolff. Frank Wolff. and Richard Wolff September 22. 1965. Recorders File o. 65-172288

Paul J. Wolff. Inge Wolff. Frank Wolff. Joan Wolff, Richard Wolff. and Doris Wolff Title Insurance and Trust Company December 29. 1965. Recorders File No. 65-234332

48. Corporation Grant Deed Grantor: Title Insurance and Trust Company Grantee: Paul J. Wolff. I 3 interesL Frank Wolff. I 3 interest. and

Richard Wolff. I 3 interest Recorded: December 30. 1965. Recorders File o. 65-234928

49. Decree Establishing Death of Joint Tenant In the Matter of the Petidon of Charlone Haas. 10 establish fact of death of: Recorded:

50. Death Ccnilicate Decedent: Recorded:

Earnest David Haas. Joint Tenant August 4. 1969. Recorders File No. 69-140917

Bessy Halle Neu September 19. 1973. Recorders File o. 73-264052

51. Certificate of Release of Inheritance Tax lien Decedent: Bessy Halle eu Recorded: September 19, 1973. Recorders File No. 73-264053

52. Judgment of Final DislTibution on Wai\•er of Accounting In Re the Estate of: \\'illy 1 cu. Deceased Recorded: September 25. 1973. Recorders File o. 73-270226

53. Quitclaim Deed Gran tor: Grantee: Recorded:

Meta B. Coggeshall A. W. Coggeshall September 17. 1976. Recorders File o .-6-304426

Please be ad' ised tba1 this is 001 Title Insurance. The information pro,ided herein renec1s ma tiers of public record " bich impart construcli\ e notice in accordance


Page 10 of 16

54. Judgment of Final Distribution on Wajver of Accounting lo the Maner of the Estate of: Recorded:


56. Qwtclalin Deed GranLor: Grantee: Recorded:

57. Quitclalin Deed Gran tor: Grantee: Recorded:

58. Quitclalin Deed Gran tor: Grantee: Recorded:

59. Qufrclalin Deed GranLor: Grantee: Recorded:

60. Qujtclalin Deed GranLor: Grantee: Recorded:


Viviane Neu Saalman, Deceased September 17, 1976, Recorders File No. 76-305575

Charlone Haas Nathan HaJJe Heirs Partnershlp October 21. 1976, Recorders File No. 76-350161

Gerda Schuster Nathan Halle Heirs Partnershlp October 21, 1976, Recorders File No. 76-350162

Werner Klaus Neu Nathan Halle Heirs Partnershlp October 21, 1976, Recorders File No. 76-350163

Peter Robert Saalman Nathan HaJJe Heirs Pannershlp October 21. 1976, Recorders File No. 76-350164

Frank Wolff Nathan Halle Heirs Partnershlp October 21, 1976, Recorders File No. 76-350165

Paul J. Wolff Nathan HaJJe Heirs Partnershlp October 21, 1976, Recorders File No. 76-350166

Richard Wolff Nathan Halle Heirs Partnershlp October 21, 1976, Recorders File No. 76-350167

Please be advised that th is is not Title I nsurance. The info rmation p rovided her ein reflects matters of public r ecord whjch impar t constructive notice in accordance


Page 11 of 16

62. Order Seuling First and Final Repon of Executor. Allowance of Anomeys' Fees. and for Final Disrribution ln the Matter of the Estate of: Recorded:

63. lndi,·idual Grant Deed Gran tor: Grantee: Recorded:

64. Individual Grant Deed Gran tor. Grantee:

Recorded:

65. Grant Deed Graotor: Grantee:

Recorded:

Meta B. Coggeshall. Deceased December 2. 1983. Recorders File No. 83-438593

athan Halle Heirs Pannership Professional Data Corp. August 31. 1988. Recorders File No. 88-435905

Professional Data Corp. Nancy Diane Nichols. I 6 interest. Shirley Lauren Nichols. 116 interest. Warren M. Nichols. 1/3 interest. and Warren M.

ichols. T rustce. I /3 in1eres1 August 31. 1988. Recorders File No. 88-435906

Sao Diego International Christian Center Jerry T. Hanoum, Yvonne K. Hanoum. and Dusty Shawn Hanoum

O\ember 9. 1998, Recorders File o. 98-729337

66. loterspousal Transfer Grant Deed Grantor: Shelly Shawn Daisy Haooum Grantee: Recorded:

67. Grant Deed Gran tor.

Grantee: Recorded:

68. Quitclatm Deed Gran tor: Grantee: Recorded:

Dusty Shawn Hanoum November 9. 1998, Recorders File No. 98-729338

Jel'T) T. Hanoum. Yvonne K. Hanoum. and Dusty Sha\\ n Hanoum California Theatre Ltd. June 4. 1999. Recorders File No. 99-391620

Warren :\f. Nichols. Trustee. I 3 interest Warren M., ichols August 27. I 999, Recorders File No. 99-593977

Please be ad\ ised that this is not Title Insurance. The information pro,·ided herein reflec ts matters of public record which impart coostructi\ e notice i:n accordance


Page 12 of 16

69. Gram Deed Grantor: Grantee: Recorded:

Gran tor: Grantee: Recorded: Re-Recorded:

71. Grant Deed Gran tor:

Grantee:

Recorded:

Warren M. Nichols Warren M. Nichols, Trustee August 20, 200 I, Recorders File No. 01-592178

Presidio Mortgage, Inc. The Newman Family Trust March 27, 2002, Recorders File No. 02-258652 January 7, 2003, Recorders File No. 03-16514

Nancy Diane Nichols, Shirley Laureen Nichols, and Warren M. Nichols, Trustee Presidio Mortgage, Inc., 50% interest and Investor Money Mortgage, Inc., 50% interest September 12, 2002, Recorders File No. 02-780408

72. Deed-In-Lieu of Foreclosure Gran tor:

Grantee: Recorded:



Presidio Mortgage, Inc., 50% interest and Investor Money Mortgage, Inc., 50% interest Chris-Tum Development, Inc. July 9, 2004, Recorders File No. 04-638990

Chris-Turn Development, Inc. California Theatre Investment Group, LLC October 3, 2005, Recorders File No. 05-851737

Presidio Mortgage Incorporated California Theatre Investment Group, LLC October 3, 2005, Recorders File No. 05-853569

75. Trustee's Deed Upon Sale Grantor: Beverly Hills Management Company, Inc. Grantee: Sloan Capital Partners, LLC Recorded: March 19, 2008, Recorders File No. 08-144789

Plea se be ad vised that this is not T itle Insurance. The information provided herein r eflects matters of public r ecord which impart constructive notice in accordance


Page 13 of 16

The followin g documents relate to Lot I:




79. orice of Completion Recorded:

80. Deed Grantor: Grantee:

Recorded:

U.S. Grant. Jr. and Fannie C. Grant M. Hall December 24. 1906. Book 400, Page 305. of Deeds

M . Hall and Ena Hall Sidney Grauman March 6, 1926. Ii 12575. Book 1183, Page 126. of Deeds

Sidney Grauman Baron Long January 3. 1929, ii364. Book 1575, Page 132. of Deeds

June I 0. 1932. 1130252, Book 128. Page 298

Baron Long and Martha Long Marco J. Tomas and Marie Tomas, •, interest and George A. Bullock and Gladys E. Bullock. h interest August 8. 1944. ;:57750. Book 1721. Page 261

81. Grant Deed - lndi' idual Grantor: Grantee: Recorded:

82. Gram Deed Gran tor: Grantee: Recorded:

Marco J. Tomas and Marie F. Tomas, •1, interest Marco J. Tomas August 19. 1946. '189802. Book 2216. Page 92

George A. Bullock and Gladys E. Bullod. George A. Bullock and Gladys E. Bullock March 18, 1952. ;:34059. Book 4407, Page 301

83. Order Senling First and Final Account and Decree of Distribution and Decree Terminating Joint Tenancy In the Maner of the Estate of: George A. Bullod .. Deceased Recorded: ovembcr 27, 1963. Recorders File :\o. 63-211559

Plea e be ad,·ised that this is 001 Title Insurance. The informarion provided herein reflects mnllers of public record \\ hich impart constructi\ c notice in accordance

n ith California l nsurance Code 12340.JO

Page 14 of 16


Barbara Arut Thornhill United States National Bank of San Diego, 1/8 interest October 31, 1962, Recorders File No. 62-195816

HS Qrant Deed (Tedividaa1) Grantor: Gladys E. Bullock Grantee: Recorded:

United States National Bank of San Diego, 3/8 interest October 31, 1962, Recorders File No. 62-1 95819

86. Judgment of Final Distribution Under Will on Waiver of Accounting; Approving Report of Executrix and Allowing Extraordinary Fees The Estate of: Marco J. Tomas, Deceased Recorded: July 3, 1964, Recorders File No. 64-120341



89. Individual Grant Deed Gran tor: Grantee: Recorded:

90. Individual Grant Deed Gran tor: Grantee: Recorded:

9 l. Individual Grant Deed Gran tor: Grantee: Recorded:

Katherine N. Dean Robert Dean December 28, 1983, Recorders File No. 83-472505

Crocker National Bank, Yi interest Fourth Ave. Holding Company #1 December 28, 1983, Recorders File No. 83-472506

Michael Arguello Fourth Avenue Holding Company No. 1 January 17. 1986, Recorders File No. 86-20570

Mirjana Tomas Fourth Avenue Holding Company No. 1 January 17, 1986, Recorders File No. 86-20571

Mark Joseph Tomas Fourth Avenue Holding Company No. 1 January 17, 1986, Recorders File No. 86-20572

Please be advised that this is not Title Insurance. The information provided her ein reflects matters of public record which impart constructive notice in accordance


Page IS of 16

92. lndi' idual Grant Deed Gran tor: Grantee: Recorded:

93. Deed 10 Real Propeny Gran tor: Grantee: Recorded:

Mary Alice Kinney Founb Avenue Holding Company No. I January 17. 1986. Recorders File 'o. 86-20573

Mary Alice Kinney. Conservator Fourth A venue Holding Company No. 1 January 17. 1986. Recorders File No. 86-20574

9~ . Order Confirming Sale of Real Propcny The Consel"\ a1orsb.ip of: Marie F. Tomas. Consen·atee Recorded: JanuaJ) 29. 1986. Recorders File No. 86-37068

95. Gram Deed Gran1or: Gran1ee: Recorded:

Founh A\Cnue Holding Company No. I California Theatre LO\esrmem Group. LLC December 24. 2003. Recorders File No. 03- 1507535

96. Trustee·s Deed Upon Sale Gran1or: Beverly Hills Management Company. Inc. Grantee: Sloan Capital Panners. LLC Recorded: March 19. 2008. Recorders File No. 08-144789

- End of Rcpon -

•••••••••••••••••••• Ptrait bf' ad\ istd Lltat t.bis is not Titlt lnsura act. Tht iaformatioo pro,ided btr-tln rtOtC'l.S m1rttr1 of public rrcord "b1cb tmpan constracti'"t noliC'f' in accordanct • irlti California lnsuranct Codt 1lJ.&O.I0. ' o•t Lbar ,., art not a Till• lo.suranct Compaay. aad 11t11 •O t.iprrn or lmplitd w-arnnty a.s 10 lht accurac~ or compltlt•tsJ oftht' iafor-ms 1loa pro\ldtd hrrtia IJ gr'aorrd. Our 1'0rk bss bttn ptrformrd undtr 1bor1 rimr con,lrafatJ "·hit a q•ick turn aroend. •ad Is bi.std i• p1r1 oa tbt a.R or d•1·2b•st-s o••.sldt- or our co ntrol Tht rrclpltnt btrtb) acknowled.g"t's tba1 Califoral1 Lot BooL. Inc. 1.ssa.m6 no U.abilil) "ilh respect to 1n1 erron o r oml.siioas rrla1rd ro 1br information pro' ldtd htrtfa. Al.Jo no1r lh11 Lhis starch baJ bt"tn ptr'formrd "itbout lbt btatfil or a Srsttmtat or ldra 1IOc1tlon from tht proptr1) o~ nrrs~ and If a starch ""1s prrformrd for llrns rrcordrd against o"-otr namrs. "'"cannot br sure tbat tbt information pro,idrd rrlatrs 10 Lbt actuaJ proptr;I) o" ntr·1-. or is complrtr w-itb rt·sprct 10 lht propert) o• nrrs .. ln any ,,-ent. our Habllit) l.s llmhrd 10 tht amount orrres collrc.trd for thr Information pro,ldtd btrtln . ••••••••••••••••••••

Page 16of 16

CITY DIRECTORY LISTING OF OCCUPANTS

A::-c'OfA City Directory Fonn

Date: June 29, 2015 Recorder: C. Recksieck

RESOURCE APN 533-521-05-00, 533-521-04-00

CURRENT A DDRESS 1122 Fourth Avenue, 304 C Street

Date of construction ~ - ESi11ee1927

City Year l Resident

San Diego 1928-1929 Silver Gate Theatres, Inc.

West Coast Theatre, Inc.

San Diego 1930-1946 Fox West Coast Theatres

San Diego 1947-1948 Moving Pictures Operations Union

San Diego 1.950-1984

Notes:

Business

California Theatre, California Building




DEED FROM DATE OF CONSTRUCTION

179 1 0 1, aA.t!e:. ~ mturJ'lcC ~'*'

Fo..r .nt in oe:tS!•e,..t.J•n or th• '* or !'El' ~lll.

'"' tu\•:-••• !'C !.tote ~Tell fYl ..... ~lT-•••R lttf ct

ct t\1 Plirt1tlc• o~ t~• laD>llO ~J..ttlcn of 1S&D ~lt.!$. 1.tJ.

•e~r4f.n« ti the ometal kp t•er.cf #68• fllet l" vrrt~•

or

4\J:. f6¥ •f Slla..r.;ib, lH7. ~n•ns q ~• ~·

Sl.pa.t ·~1 b.co.:1J 1fl fl"HP;t.e r. ~tt•r I S-at)

3tAti. CT C&l.INPU.

c.;,um.7 or :Min lilllge. ...

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APPENDIXC

MAPS

• CITY OF SAN DIEGO 800 SCALE ENGINEERING MAP • USGSMAP

• ORIGINAL SUBDIVISION MAP • SANBORN FIRE INSURANCE MAPS

Project location on lhe 1876 BiTCl's-Eye-View Map.

CITY OF SAN DIEGO 800 SCALE ENGINEERING MAP

8 19 4

Projecl location map shown on lhc City of San Diego I "=800' map.

City of San Diego, California I N Maps: 202-1713 & 194-1713 Scale 1 ·= 800' 0 800

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APPE1'1DIX D

DPRFORMS

Slate of c.Rfofnla - The Resourc:n Agency DEPARTMENT OF PARKS AHO RECREATION

PRIMARY RECORD

Page 1 of3

Primary I P-37-027853 UPDATE HRll~~~~~~~~~~~~~~

Trinomial

•Resource Name or I : Gaflfomia Theatre

P'1. Other Identifier: New GafJfomia Building, New Calffomia Theatre, Galffomia Theatre Building -P2. Location: 0 Not for Publication 0 Unrestricted •a. County: San Diego

and (?"26 ana Mor P2([ Attad1 a tDCatiOn MaP as necessary.) "b. USGS 7.5' Quad: Point Loma Date: 1984 T NIA; R NIA '!. ort. of Sec ; B.M. S.B.B.M. c. Address: 1122 4th Ave City: San Diego Zlp: 92101 d. UTM: Zone: 11 ; 484850 mE/ 3619935 mN (NA083) e. Other Locational Data: (e.g., parcel#, diladio11s io 18SO<.W'C9, elevation, etc.. as -oPiate) Elevation:

The resource is located at 1122 4th Avenue and 330-336 C Street at the northwest comer of 4th Avenue and C Street in downtown San Diego (APN 533-52-104 and -105). The facade of the building laces east to 4th Avenue.

-P3a. Description: (Describe rescuce and its major elemenls. lndude design, malerials, condition, aherations, size, selling, and _ ,

See Continuation Sheet

•P3b. Resource Attributes: (Lisi atlribules and codes) HP1 O - Theater

-P4. Resources Present 0Building OStructure OObjecl OSite OOistrict OElement of District OOther Qsolales, etc.)

P5b. Description of Photo: Calffomia Theatre, facade, view facing east 07/08/2015

"P6. Date Constructed/Age and Sources: 0Historic

DPrehistoric OBoth Constructed1927; San Diego Union.

-P7. Owner and Address: 1122 4th Ave., LLC 301 N. Carson Drive, Suite 205 Beverly Hills, CA 90210

-P8. Recorded by: AECOM 401 W A Street San Diego, CA 92101

•pg_ Date Recorded: 07/08/2015

•p10. Survey Type: Intensive survey

-P11 . Report Citation: AECOM, 2015. Historical Resource Technical Repot1forthe1122 4th Avenue Development Projed, San Diego, CaRfomia. •Attachments: ONONE Olocalion Map OSketch Map li!!Continualion Sheet 0Building, Structure, and Object Record

OArcllaeok>gical Record OOistrict Record OUnear Feature Record OMilting Station Rea>rd ORod< Art Record OArtffact Record OPhotograph Record 0 Other (Lisi~

DPR 523A (1195) •RMjulred Information

State of California-The Resources Agency Primary II P-37--027853 UPDATE DEPARTMENT OF PARKS AND RECREATION HRlll

BUILDING, STRUCTURE, AND OBJECT RECORD Page2 of3 •NRHP Status Code 3S

'Resource Name or II California Theatre

81. Historic Name: New California Theatre, New California Building, California Theatre Building 82. Common Name: California Theatre 83. Original Use: Theater. retail and office building 84. Present Use: Vacant

•5s. Architectural Style: Spanish Colonial Revival •86. Construction History: (Conslruc:lion date, al!e<alions, and date of alteralions)

Constructed in 1927. OriginaHy, a smaller marquee was located above the center of this elevation main entrance; however. in the 1940s, it was replaced with a three-part larger neon-fit three-part marquee, and then removed again in the 1960s with a flat-back lit display sign. The 1960s marquee was modified by the 1990s with a simpler three-part marquee (which has also been removed). The entryway Is presently botdered with plywood; however, it was originaBy open, with a deeply recessed set of doors located behind the marquee's opening and a freestanding box office (which has been removed). The addilion of the 1940s marquee led to the removal of several original second stOl)I windows. The entryway to the office areas on the ground floor of the tower was previously located adjacent to the theater entrance and is also boarded. The west portion, which contained the commercial or retail block, has been boarded along the lower portion.

In 1963, the interior was fuHy remodeled with a new lobby, glass front doors, a snack bar, seals, carpeting, drapes, heat. venblation, and air conditioning, with air-cooled refrigeration, as well as larger restrooms with new fixtures. The theater's technology was also updated with new lighting and equipment for single-projector film equipment. The interior was painted, hkftng the original murals and Spanish Colonial Revival ornamentation.

•51. Moved? li!INo OYes DUnknow n Date: Original Location: •sa. Related Features: Several painted signs are located along the exterior elevations, which advertise "SAN DIEGO's IN SPOT, CORNER 4th & c· (along the north portion of the office tower), "YEAR ROUND NIGHT DOG RACING" (along the south elevation of the fly loft) and "RACING EVERY SATURDAY & SUNDAY, CALIENTE IN OLD MEXICO 5-10, BETTING ON MAJOR US HORSE TRACKS" (along the west elevation of the fly loft).

B9a. Architect: John Paxton Penine b. Builder. Edwards, W ildey and Dixon •e1 o. Significance: Community development Theme: Entertainment Area: San Diego

Period of Significance: 1927-1940 Property Type: Theater Applicable Criteria: A and C (Discuss inportance in terms of tislorical « ;wchitec'1.nl context as defined by theme, period, and geographic: scope. Also address integrity.)

The Cafifornia Theatre building appears eligible for listing in the NRHP under Criterion A and the CRHR under Criterion 1 for lls local significance associated with the booming development of downtown San Diego in the 1920s: and under NRHP Criterion C and CRHR Criterion 3 for its local significance as a good example of a Spanish Colonial Revival-style building. Its period of significance spans from 1927, the date of its construction, to 1940, the date of the removal of its original marquee.

811. Additional Resource Attributes: (Usl attributes and codes)

'812. References: For a full list of referances, see:

AECOM, 2015. Historical Resource Technical Report for the 1122 4th All8nue Dell8Jopmenl Project. San Diego, California.

813. Remarl<s:

'814. Evaluator: AECOM

"Date of Evaluation: 07/08/2015

(This space reserved for official commenls.)

DPR 5238 (1195) 'RoqulnKI lnformlltion

~ of c.llfomla - The Resources Agency DEPARTMENT OF PARKS AND RECREATION

CONTINUATION SHEET

Pege3of3

"Recolded by: AECOM "Oabt: 07Al6/2015

•p:ia, 0Hct1ptlon: (continued)

Primary II P-37-027853 UPQATI: HRl#~~~~~~~~~~~~~~~~~-

Trinomial.~~~~~~~~~~~~~~~~

CJContiooation ll!I Update

Built in 1927, the Gallfomia Theatre (hislOtically known as the New Galifomia Theatre) building, measuring approximately 95 feet by 200 feet, Is comprised of four blocks or parts. consisting of the theater, stage/lly loll pol1ion, a two-story retad block. and a nine story olfic:e tower (with a penthouse). The building features a rectangular form, masonry composition Oller steel-framing, and designed in the Spanish Colonial Revival sfy1e.

The building's appearance is characlerized by the various rooClines that define the four blocks or pans The oll'ice toMr is the tallest .,,_I. loca1ed along the east pol1ion al the building. The theater's audilcfil.sn Is located wi the center portion al the building end is almost four stories in height. The - potlJOn has the stage and a tty loll that Is neatly S8YeO stories !al. and the two sloly retail block. The b<JidS1Q has a basr-.nt along the - and east sides of the PfOPl'1Y, previously used as dressing rooms. sicnge. and cilice areas. and an aleYaioc shall and associa1ed equipmenl are localed along the east pol1ion (with the penthouse containing the elel;ator's mec:hai ical systems).

The building has a nat root set behind a parapet along the Ylsible street elevatlons (the parapet IS not located along the west part of the olfice IDW9r and the east part of the slage/lly loll). The parapet sits above an elaborated boxed cornice COO$lstJng of decorative dentis, arched corbelling, and a banded entablllture. The root is dad with regularly laid stnolght bam!I mission tiles and composition sheet roll roof, lhough several of the mission tiles have been removed. Other ornamentation includes cast-stone elenwnts, such as finials, Baroque or Churrigueresque arched surrounds, wrought iron aesting, nk:l1es with oriel-like bases, and bas-relief patterned bands and bett courses. The exterior of the auditorium pol1ion also saries of evenly spaced unadorned pilasters. topped with an inverted sea-scroll or Ionic order at the pilasters' capitals with sculptural forms depicting the upper torso of the Greek mythology figure Alias located above the capitals. The pilasters are intended to resemble buttresses. An exposed arched steel truss system is located along the roof of the auditorium, but is not visible from a publk: vantage point behind the parapet walls

The olfice tower bk>ck features symmetrical am11 lgllm8'1ls of recessed steel- and melaHramed '""ldows, With a variety of sash patterns (e.g .. siugle sash, doo•ble sash, doolbla sash with iransom lght) and window types (e.g . ftxed. hopper, awning). More elaborate f8Mstnlbon patterns are located at lhe fourth slOry consisting of a lf1lattile set of mufti-pane doo Ible sash and fixed wvldows separated by ChuniguefesqUEHlelailed mulions and surrounds. with several arranged in • Pallacian fonn. N>ote the fourth sloly, lhe window bays lad< decorative delaJing elCC8pl lot coo c ele slpsils. The enbre - is acx:entuated by stone quoins at the wal-juncfions. The west elevation of the IOWer has a fire escape leada'1g from lhe seventh lo lhe third sloty. The main emrance 10 the !healer was previously localed at lhe ground story of the east eie.alion of the - · Originaly, a smaller marquee was located above the center of this elevation main entranoe; however, in the 1940s, it was replaced with a ~rt larger neonlrt three-part marquee, and then removed again in the 1960s with a flat-back Iii display sign. The 1960s marquee was mocfdied by the 1990s With a simpler three-part marquee (wllic:h has also been removed}. The entryway Is presently bo<dered with plywood; howe-. It was originaly open, with a deeply recessed set of doors located behind the marquee's opeoiug and a freestanding box office (which has been removed). The addition of the 1940s marquee led to the removal of several original S800nd story windows. The entryway to the office areas on the ground floor of the tower was previously localed adjacent to the theater entrance and is also boarded.

The -t pol1ion, which contained the commercial or nitaH bk>ck. has been boarded along the lower portion. The first story is covered by an ovethanging canopy above the commercial pol1ion and above it are pairs of steel-framed windows separated by thick mullions. a tal parapet. and evenly spaced scrolled piers. Similar ornamental delaiing as the office tower is also present along lhe extenor. The fty loll has corbelled and Moorish detailing beneath the cornice that resemt>les the audilonum. The tty loft has no feoesbation. e>eeept along the ic-r pot1lon of lhe building. which has been boo ca ed. A rear Ult that was most likely used by on:hestl8 members and perfol rners IS located at the nortlTwesl comer of the tty loft.

The interiof 5'>8085 of the building are exl8!1$Mlly deeeriorated from ladt of use, water penetrabOn. and ladt of maintenance. The rnenor was not accessible dlrtlg the site SUMty; howe'-. it is assuned ii has not been substanbaly altered sm i was re<:Oided wi 201 • by oonsullants David Marshal and Mane Burke Lia

AECOM, 2015. Historical Resource Technical Repon for the 1122 4th Avenue Dewlopment Projed, Sen Dl9Qo. Galifomia.

Marshall. David and Marie Burl<e Lia. 2014. Draft of Historic American Building SutVey, C8/ifomia Theatre Building.

OPR 523L (1195)

I~ of Cllllfomla - The R.esoun:es ~·ncy OEPAR1111EHT Ct" PARl<S AND RECREATION

PRIMARY RECORD

P•1ofl

Pmwy•~~~~~~~~~~~~ HR1 •~~~~~~~~~~~~~-T111omial

"RHoun::e Name or I: Califomoa The8lle Signs 11, 2. and 3

P1. OU- l<*ltlfler: Caliente Race1rack advertisements. Balbaly Coast advertisement "P2. Location: 0 Not for Publication Ea Unrestricted "a. COUnty. San Diego

irid (Y2D iriCi PZC 01 PZd AHaCh a COCi6Ciri MIP a•• 11 rry.) "II. USGS T.5' Quad: Point Loma D•le: 19&4 T NIA; R NIA y. or;. of Sec ; B.M. S.B.B.M. c. Address: 1122 4th Ave City: San Diego Zip: 92101 d. UTM: Zone: 11 ; 484850 mE/ 3619935 mN (NA083) e. Other Locational Data: (e.g., pattel #, dileclia11 to,...,...., •""'•tiol• etc., as lllJl"OPriate) Elewtion:

The signs are located on the exlerior walls of the California Theatre at 1122 4th Avenue and 330-336 C Street at the northwest comer of 4th Avenue and C Street in downtown San Diego (APN 533-52-104 and -105).

"P3a. Dffcttptlon: (Desaibe resoon:e anl its m...,.-11a. lncble design, materials, ... -,-. .u.. -.g. an1 ~)

See Continuation Sheel

"P3b. Resource Allrlbutes: (Lisi - ...., ...,., HP26 - MonumenU Mural/ GraveslDne

D Bulding DS1rudura li1lObjec:t OSite OOistrict OElemenl of Distnc:t OOlher (lsdotes. etc.)

P5b. Description of Photo: Calilomle Thealle, Sign 113, ..;ew facing nor1heasl 07/27'2015

"P6. Date Conatructed/Ae- and Sources: laHlsloric OPrehislOric OBoth 1950s-1960s; sign content

•p7. Owner and Address: 1122 4th Ave , LLC 301 N. Caison Oriw, &ite 205 Bevefly Hils, CA 9021 O

"Pl. Rec:onled by: AECOM 401 WASl!MI San Diego, CA 92101

"P9. Date Recorded: 07/20/2015

"P10. Survey Type: Intensive survey

"P11. Report Citation: AECOM, 2015. Historical Re90<ne Technical Report for the 1122 4lh Avenue Oevelcpmenl Project. San ~ C1 f'omlot. ·~: ONONE Olocalion Map OSltetch Map li!lContSluatio Sheet li!lBulding, SttucUe. and Object Record

OAtt:heeologial Record O[l;strid Record OU- fealut8 Record Ot.ang Station Record ORock Art Record OAnit.ct Record OPIOogl aph Record 0 Other (IAC):

DPR 523A (11115)

State of C•tifomla - The Resources Agency Primary# DEPARTMENT OF PARKS AND RECREATION HRI#

BUILDING, STRUCTURE, AND OBJECT RECORD Page 2 of 6 'NRHP Status Code 6Z

•Resource Name or I Cahfoma Theatre 5'gfls #1, 2. and 3

8 1. Historic Name: NIA 82. Common Name: NIA 83. Orig.Ina! Use: Advertising 84. Present Use: Advertising

·es. Architectural Styta: NIA '86. Const ruction History. (Cooslnx:bon date altaratlonc. Ind date of alterations) Sogns #1-3 were created in the 1950s-60s. Date determined based on advertising content and hislOl)I of business' featured on signage: Sign #1 advertises Ille "Barbary Coasr a San Diego tavern. and Signs #2 and 3 advertise the Caliente Racetrack at Agua Caliente in Baja California, Mexico. ll is likely the signs were created using "pounce patterns.· a typical sign painting praroce employed after 1940. which involved the use of perforated paper stencils and chalk lo create temporary outlines that could be applied directly to the walrs exterior. The signs may have been repainted as part of a general maintenance aebVily.

"87. Moved? lilNo O Yes OUnknown Date: Original Location: • 88. Related Featuru: The painted wal signs are a related feature to the California Theatre building 89a. Architect: NIA b. Builder: unknown

"B 10. Slgniflcanai: Mid-20lh century advertising Theme: Advef1ISlng Area: San Diego Period of Slgniflcanctt: 1950s-1960s Property Type: Mural Applicable Criteria: NIA (Dllam tmpOl Wi""' in terms of I_ ..... Of arc:holecllnl - .. defined by Iheme. period. and geogioptlic scope N$O address Regrity.)

Signs #1-3, located on the exterior wans of the Califomla Theatre building, are associated with San Diego's tourism and en1enaiM1ent trends and development in the 20th cttntury. The historical significance of the 51gns was determined by applying Ille criteria for the NRHP, CRHR, and HRB eligibility Based on site investigations and historic researdi. the signs do not appear to possess the requisite significance to be erogible for listing in the NRHP, CRHR, CJ( local register

See Continuation Sheel

B 11. Additional Resource Attributes: (List at1ributas Ind codes)

"812. References: F(l( a tuft list of references, see:

AECOM. 2015. Historical Resouroe Tedltvcal Repott for the 1122 4lh A\'llllue Development Project San Diego. Califomia.

B13. Remaru:

"B14. Evaluator: M.K. Melser, MA. AECOM

·oat• of Evaluation: 100Q.l2015

DPR 5238 (1195) "Requi'9d lnlonnatlon

SUU of c.llfomla - Tht Resources Agency DEPARTMENT OF PARKS AND RECREATION

CONTINUATION SHEET

P93ofl

"R9corded by: AECOM

•pJa. Ducrlptlon: (continued)

Sign #1

"Dat9: 07/20/2015

Primary# HRJ# ~~~~~~~~~~

Tmorrial.~~~~~~~~~~~~~~~~

~rce....,.,. ort: Califcmla TheaU'e SV>s #1, 2, and 3

ll!IContinuation a Update

Sign #1 , localed In the uppermost portion of the north Iida of the office tower, is roughly 30 feet by 30 feet the advertisement reads "BARBARY COAST, SAN DIEGO's in spot, CORNER 4" & C" (Plate 18). The UPP8f part of the sign, reeding "BARBARY COAST," has a pale bedcgroond and faded darlt letters. Below it. the sign has a red background wfth white lett&tS reading, "SAN DIEGO'S in spot.· with an arrow pointng east. To the left of the amM, lhefe is a pale oval over a darl<er red bedqjroond wfth no content ii the oval. Below this section, a black band with white lett&tS reads, "CORNER 4" & 'C': Under this painted sign, a ghost sign depicling a rising sun pettem is also visi>le. The images ate palntec:t diredly on the masonry and exlend the lul wldlll of the wal. Al. grOU'ld leYel. 1hera is a mounted billboard adwftisamenl; the bllbo9o1! Is not attached to the exlarlor of the building. Sign #1 has visible detenoration caused by outdoor exposure; hooi-. the QY8111118l11 ls legible.

Sign . 1 (north aide), view facing south.

Sign #2 Signs #2 advertises the Caliente Racetrack. The sign is located on the south wan of the fly loft. measures 30 feet by 80 feet, and reads "YEAR ROUND NIGHT DOG RACING." "CALIENTE!" (Pla1e 19). The sign has a redangular shape wfth rounded comers and occupies the majority of the wan. The painted blue and whtte background and brown text Is vary faded and barely legible. It is deteriorated due lo outdoor eJCpOSUre.

Sign #3 Sign #3 also advertises the Celiente Racetrack. II ls locallld on the west wal of the fly loft. measuntS 40 feet by 80 feet. and reads, "RACING EVERY SA TUROAY & SUNDAY, CALIENTE! IN OLD MEXICO, HOME OF THE FABULOUS 5-10, BETTING DAILY ON MAJOR US HORSE TRACKS" (Plate 20). The palntec:t sign is rectangular In shape and ocx:upiea the majotfty of the wall below lhe cornice. 11 fealures a yellow bad<ground wfth a black border with concave comeis, and red and bl8Ck text painted diredly on the wal sutface. The sign depicts two raceholMS, one localed within the "C" of the "Caliente" logo, and the oiler occupies lhe soulhem section of lhe -.facing wal. The "C" of the Caliente logo is decorated with a rose Pllltem. The sign has visible weathenzabon ellects and is faded; howvvar. text IS legitJle.

DPR S23L (1195)

s-of Cllllfomla - The Resources Agency DEPARTMENT OF PARKS AHO RECREATIOH

CONTINUATION SHEET

"Date: 07/20i2015

Sign I 2 (aoulh lkle). view facing north.

Sign t 3 (west aide), view facing east.

DPR 523l ( 1195)

Primary•~~~~~~~~~~ HRlll~~~~~~~~~~~~~~~~

Trinorrial.~~~~~~~~~~~~~~~

'Raoun:e Name or II: Calilomla TMatre $9'15 #1, 2, and 3

ll!JCootinuation D Update

State of California - The Resources Agency DEPARTMENT OF PARKS AHO RECREATION

CONTINUATION SHEET

Page 5 of 6

"Recorded by: AECOM 'Date: 07/20/2015

*810. Significance: (continued)

NRHP Criterion AICRHR Criterion 1/HRB Criterion A

Primary#·------------HRm _________________ _

Trinomi~'-------------------

'Resource Name or#: California Theatre Signs #1, 2, and 3

!l!!Conlinuabon 0 Update

Sign #1 is associated with commercial advertising in San Diego, specifically for a business located within the California Theatre building. It advertises 'BARBARY COAST, SAN DIEGO'S in spot, CORNER 4°' & C." In 1968, the Barbary Coast tavern was in operation at the comer of 4th Avenue and C Street (City Direclories 1968, 1970, 1971, 1974, and 1976). The comer had previously been occupied by the Silver Cask Co. restaurant/1avem from approximately 1934 unli 1966 (City Directories 1934-1966). A different Barba!)' Coast cocldail lounge was located at 2431 Pacific Highway in 1966 through 1980 (City Directories 1966-1980). City diredories from the 1970s list separate operators associated with the Barbal)I Coast tavern localed at 4lh and C Street and The Ba1bal)I Coast cocktail lounge at 2431 Pacific Highway, and it Is unclear if the two establishments were associated (City Directories 1974 and 1976). By the 1960s, San Diego had a plethora or taverns and cocktail lounges. Research has not revealed any significant historical events or themes related lo the Batbal)I Coast tavern at 4th Avenue and C Street that was in operation from circa 1968 unti circa 1976. The sign, painted approximately between 1968 and 1976 in relation lo the business ft advertised, has no important associations with historical events or themes. The sign, as a representation of a !tend or painting advertisements on the exterior walls of commercial buildings, is not significant

Signs #2 and 113 are also associated with comm~ advertising in San Diego. The signs advertise the Caliente Racetrack. In the 1950s, the Agua Caliente Racetraclc was renovated, and featured dog and holseracing. A new advertising campaign for Caliente Racetrack targeted the San Diego and southern California mart<eL with a pubfic relations office in downtown San Diego and p<int materials and slgnage featuring a logo that ornamented the ·c- In Caliente with roses, and images of racehorses. Both Signs #2 and 113 feature the logo. Sign 112 advertises horseracing, and Sign #3 advertises dog racing. The signs were painted in the 1950s or 1960s, coinciding with the presence of the pubfic relations office in downtown San Diego and the advertising campaign that employed the logo and images. In relation lo the Caliente Racetrack. the signs do not represent important associations with historical events or themes. Also, the signs are not important representations or a broad trend or painting acfllertisements on the exterior wans of commercial buildings.

Signs #1- 3 do not distinctively embody or represent a pattern of events or a major event. The signs are commercial advertisements and do not relate lo activities that occurred al the businesses they represent. and do not demonstrate the importance or conlributions of any events. Therefore, Signs 111-3 do not meet NRHP Criterion A. CRHR Criterion 1, or HRS Criterion A.

NRHP Criterion BICRHR Criterion 2/HRB Criterion 8 Signs #1-3 do not appear lo be directly associated with the life and career ol an individu~ who made important contributions to the history of the United States, California, or the City of San Diego. There is no indication that individuals associated with the Cafiente Racetrack or Barbary Coast tavem. or other individuals associated with the design and construclion of the painled wan signs obtained prominence because of their association with the adverosements. Therefore, Signs #1-3 do not meet NRHP Criterion B, CRHR Criterion 2, or HRS Criterion B, as they are not associated with the fives of any important hisloncal persons.

NRHP Criterion C/Criterion Criteria 3/HRB Criteria C and D Signs #1-3 are located on the exterior walls of the California Theatre building, but were painted in the 1950s or 1960s, and are unrelated to the Spanish Colonial Revival design or the 1927 building.

Research has not indicated any cre<fa for the design of Sign #1, and its painters are unknown. Research has revealed a daim that Sign #3 was painted by "Pacific outdoor Advertisement· and that Jos6 Jesus Moreno was one of the painters that wort<ed on the Cafiente logo (Limon 2011 ). Because the signs appear contemporaneous, ii may be assumed that the same company painted both signs. In the 1950s and 1960s, Pacific Outdoor Advertising Co. was a predominant Los Angeles-based billboard company that erected signs throughout southern Calrfomia. The company was known for hand-painted billboards for Hollywood films and for a variety of free-standing IMllboalds along the highways. By 1968, the company had more than S12 million in sales and served over 2,400 food stores in California (Daily Independent Journal 1968). Signs 112 and 3 are representative of Pac:ilic OUtdoor Advertising Co.'s prormc signs. but are not particularly <fistlnctlve as notable examples of the company's best or most innovative 519ns during the period or in the region. There are no known associations of Signs #1-3 with any mastef artists or craftsmen.

The signs were hand painted and most likely created using "pounce patterns: a typical sign painting practice employed after 1940, which in1IOlved the use of perforated paper stencils and chalk to create temporary outlines that could be applied directly to the waifs exterior (City of Fort Collins 2007:9). The paint application of signs on the exterior wans of the building does not embody a dtsbnctive method of construction, special materials, or craftsmanship.

DPR 523L (1195)

~ of tallfomla - The Resources Agency DEPARTMENT OF PARKS AND RECREATIOH

CONTINUATION SHEET

Pllge6 of6

•ReconMd by: AECOM 'Date: 07/20/'2015

PIYnary#.~~~~~~~~~HRW~~~~~~~~~~~~~~~~~-

Tmonial.~~~~~~~~~~~~~~~

~ Name or I : calilomia Thea1t8 Signs #1, 2, and 3

~Continuation 0 Update

The c:omposition of Sign #1 includes basic colors and shapes for the background and lettering in both a standard sans serif font for "BARBARY COAST; and ·coRNER 4th & ·c·; and a more ornamented font for rin spot• It has little ornamentation and is apparently miss<ng an elemeot that was once In the pale oval in the sign. Sign #1 does not possess high artistic values. The composition of Signs fl2 and #3 inckJdes rectilinear backgrounds in pale, soid colors, with the Caliente Racetrack logo prominently featured and lettering that is mostly in a standard sans serif fonl It is dif!icUI to ascertain whether there are any other featured images in Sign #2 due to its progressed deterioration. Sign #3 has contrasting colors between its yelow background and the red used lor the roses in the Caliente Racetrack logo and for the 5-10 logo. Also clepiclsd in Sign #3 Is a horse and jockey. The logos and Images in Sign #3 were frequenUy used in the Caliente Racetrack's advertisS1Q campaign dating to the 1950s and 1960s, and are not a spacial design. It is lllknown whether Sign #3 1 ep a sents the first example d the use d the logo, or whelhel the logo was specillcaly designed for the sign. but research has not .-led any ildk:alious that this sign was imporun as the mt used the logo. The fraquenlly used inages in the sign do not possess high artistic va9Jes.

Tha<efore, Signs #1--3 do not appear eligible for isling in the NRHP, CRHR. or local register oodar NRHP Criterion C, CRHR Criterion 3, or HRS Criteria C and D, as the signs do not embody the dislinctiwe d'laraclerislics d a rype, period, region, or method d c:onstruc:lion. represent the wOO< of an important creative individual. or possess high artistic values.

NRHP Crli.rlon OICRHR Crltwfon 4/HRB Crli.rl• F The resource Is not likely to yield further infonnatlon regarding history or prehistory. It does not appear eligible l.llder NRHP Criterion 0 , CRHR Criterion 4, or HRS Criterion F.

Referwncn:

AECOM 2015 Historical Resooroe Technical Report for the f 122 4th Awenue Development Projed, San Diego, CaJiklmja_

City Direclories Various Accessed at Ancestry.com. U.S. City DlireclOOes. 1822-1989 [database on-line). PnM:>, UT, USA: Ancestry.com

Opatations, Inc.. 2011.

City d Fon Coli1S 2007 Appatftions of the Past: The Ghost S/91IS of For1 Coins An Historical Conteia.

Dally Independent Journal 1968 "Advertising Firm Boasts a Good Yeat." November 13, 1968.

Limon, Enrique 2011 'The Agua Cafiente Racetrack Murars Future is Still in J eopardy," San Diego City Beat. December 21 , 2011 .

Accessed at http://sdcitybeaLcom/aoicle-9969-agua=eahen!e-raqelraci<·mural·san=d1eoo-g1Vbeat-eoo0ue-l1mon.hlml

DPR 523l ( 1/95)

APPENDIXE

PREPARERS' QUALIFICATIONS

l\t.K. Meiser, M .. A. (M.A. Historic Preservation Planning, Cornell Universiiy; B.A. History, Kenyon College), is a historic preservation planner and meets the Secretary of the Interior's qualifications (36 Code of Federal Register Part 61) in architectural history and history. Ms. Meiser has more than I 0 years of experience in identifying and planning for cultural

-----.,,resoo;:nnwl'ft~e.:-s,-iin=citmli:ng-historie sttuetures. districts, ana~landscape:s-:-She specializes in technical analysis to support regulatory compliance. specifically under Section I 06 of the National

Historic Preservation Act, the National Environmental Policy Act (NEPA), and the California Environmental Qualiiy Act (CEQA). Ms. Meiser conducts cultural resources studies. including inventory, survey, and evaluation repons; impacts analyses and findings of effect; National Register of Historic Places (NRHP) nominations; and Historic American Buildings Survey (HABS)/Historic American Engineering Record (HAER) documents. She consults on a variety of rehabilitation, transportation, energy. military. and community projects with clients, designers,

and agencies. Her experience in historic preservation provides a strong understanding of federal, state. and local regulations and a thorough knowledge of the Secretary of !he Interior's Standards for the Treatment of Historic Properties and their function in architectural design and historic preservation planning.

Jeremy H ollins, M.A. (M.A. Public History, University of San Diego; B.A. History [Environmental], Universiiy of Rhode Island). is a Secretary of the Interior-qualified Architectural Historian and Historian. He is also a certified Project Manager. Since 2003, Mr. Hollins has performed numerous historic evaluations, context studies. and determinations of eligibiliiy and effect for a range of resources based on local, state. and National Register criteria

and through technical reports, DPR 523 series forms. HABS reports, culrural landscape reports, historic structures reports, and resolution documents. He has a detailed knowledge of the Jaws and ordinances which affect historic properties, such as Section l 06 of the NHP A, CEQA, NEPA, Section 4(1), California Public Resources Code, State Hisooric Building Code, and the Secretary of Interior. Mr. Hollins has provided program guidance and third pariy reviews for a range of local, state. federal, and private clients, frequently attending Council/Commission meetings as an ex.pert regarding historic preservation issues. He has made informational presentations to the public agencies regarding complex. historic preservation topics, including assessment of landscapes. unique and significant resources. and overall policies and best

management practices for the stewardship of resources. He has also made presentations to numerous nonprofits and community groups to discuss participation and benefit of the Mills Act program. Historic Ta-.: Credits, and Adaptive Uses of historic properties.

san dieito, ca.:j::jfornia--

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