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Long Beach HISTORIC LANDMARKS - 4

 

A. Location, description and reasons for designation. Located at 240 Long Beach Boulevard in the City of Long Beach, this commercial building was built in 1924 and has been in continuous commercial use in downtown Long Beach for over fifty years. Its Streamline Moderne facade, added in the 1930s, is an intact and typical period piece. Framed by curving piers with vertical accents, the facade exhibits the typical three horizontal lines and chevron moldings. The south pier rises in three curved steps to form a characteristic tower reminiscent of the contemporary "skyscrapers". The separation of the transom from the display windows below is typical of the original 1924 building. The facade, a classic Streamline Moderne design, is the result of post-earthquake repairs, representing the rebuilding of downtown Long Beach in the "modernistic" style of the 1930s. 16.52.670 240 Long Beach Boulevard. Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the City: A commercial structure at 240 Long Beach Boulevard. 

As home to Acres of Books, it is an established and familiar feature on Long Beach Boulevard that has a regional attraction. Acres of Books is a unique and highly valued bookstore which has been in continuous operation as a family-run business for over fifty years. It is a mecca for bibliophiles, and is widely recognized as a unique cultural resource all over the region. 

Bertrand Smith, who established Acres of Books in Long Beach in 1936, was a nationally recognized antiquarian book dealer. In 1959 he made a very generous and important gift to the City of Long Beach, donating more than two hundred and fifty rare and old editions to the Long Beach Public Library. These volumes are now kept in the Miller Room. As a philanthropist and benefactor to the City and its people, Mr. Smith was a person significant in the past. 
 

16.52.680 320 East Bixby Road. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: A mixed use residential/commercial structure at 320 East Bixby Road. 

A. Location, description and reasons for designation. Located at 320 East Bixby Road in the city of Long Beach, this mixed use residential/commercial building was designed by Edward A. Killingsworth, FAIA in 1960. It is set on a small site of forty-five feet by one hundred thirty feet. The building is a glass cube with structural steel supports, framed by seventeen-foot-high perimeter walls adjacent to a reflecting pool and landscaping. The perimeter walls, placed perpendicular to the street, create a dramatic vista which leads the eye inward, reinforced by a processional of rhythmically spaced crossbeams and a series of stepping stones placed in the reflecting pool. These walls are constructed of wood lath and plaster, surfaced with a pebbly texture and softened with Boston Ivy. The entry courtyard is articulated at the midpoint by a simple vertical slab which is open at both sides and which separates a front and rear courtyard. The second courtyard space contains a staircase with floating treads leading to a mezzanine level, with a landscaped garden beneath. At the top, a lath sunscreen frames the courtyard entry space, creating a rich pattern of light and shadow and reinforcing the dramatic entry vista. 

The glass walls extend from floor to ceiling, creating an interior space seventeen feet high, with the transparent walls allowing a spatial flow between the interior and exterior. The structural steel frame and its bolts are expressed as part of the design. The landscaping, also designed by the architect, is integrated with the architecture, creating visual accents and softening the geometric shapes. 

With its enclosing perimeter walls, the focus of the building is inward, on the interior courtyard and glass-walled interior spaces. 

The crisp, pure geometry of design, the inter-weaving of interior and exterior spaces, and the use of modern industrial materials such as steel supports and glass walls, are hallmarks of the International Style. 

The subtle balance of proportions, delicate and graceful forms, clarity of spatial articulation, tall soaring spaces, integration of landscaping and architecture, and use of stepping stones over a reflecting pool at the entryway, are all characteristic of Mr. Killingsworth's style. 

This building won numerous architectural awards, the most prestigious being the First Prize in the 1961 Sao Paulo Biennial in Sao Paulo, Brazil, selected from entries from fifty countries. Submissions to the Biennial were made by the national headquarters of the American Institute of Architects in Washington, D.C., a pre-screening process that lent additional weight to the quality of work selected to represent America in this important competition. The Sao Paulo Biennial alternates with the Biennial in Venice, Italy, as one of the most important international exhibitions of the fine arts. Earlier in 1961, this building was selected as one of the eighteen finest buildings in the United States for the year 1961 by the AlA National Honor Awards Program. Additionally, in 1960 it was honored as the most outstanding building in Southern California by the Southern California Chapter of the AlA. 

This building is considered by Mr. Killingsworth as one of his most important works. Mr. Killingsworth, an internationally renowned architect, is president of an architecture firm that has been located at 3833 Long Beach Boulevard for more than thirty-five years. During that time, the firm has won forty-two national, regional and local design awards and its work is known in Paris, London, Rome, Hong Kong, Singapore, India and Australia as well as across the United States. 

This building exemplifies Killingsworth designs for the California Case Study House Program, an innovative design program that shaped architecture in the United States and Europe in the postwar years. It is unusual in being a commercial building, whereas the Case Study House program was for residential buildings. The Case Study Houses, commissioned by John Entenza and published in his influential magazine, Arts and Architecture, formed the cutting edge of design in America and abroad in the postwar period. Killingsworth projects for the Class Study House Program were CSH# 23, a triad of houses in La Jolla (1959-1960) and the Frank house, CSH# 25 in Naples (1962). 

B. General guidelines and standards for any changes. The "Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings" prepared by the Secretary of the Interior (Revised, 1983), as amended, are incorporated by reference, and they, along with the following additional guidelines and standards as recommended by the Cultural Heritage Commission shall apply to the landmark: 

Any alterations, modifications or repair of the above structure shall be done so in keeping with its historic character, and any alteration, modifications or changes shall follow the Secretary of Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings. 

The following additional standards and guidelines are adopted: 

    1. The building shall not be changed architecturally on its exterior and all present elevations shall remain as they now exist; 

    2. The colors of existing exterior materials shall remain the same; 

    3. Landscaping, including all trees and ivy, shall remain generally as now existing. Minor changes and additions of plant materials shall not require Cultural Heritage review; 

    4. The existing ceiling heights of approximately seventeen feet in the building's interior shall not be changed; 

    5. Changes or modifications to existing walls, floors and ceilings in the reception area, corridors and front office shall be compatible in color and texture with the external and internal architecture of the building; 

    6. All draperies will remain a simple natural color (not white) and shall hang from ceiling to floor. Draperies may hang so that they may be opened, but not in swags or curves; 

    7. The reflecting pool and stepping stones shall be retained; 

    8. The second floor interior is not included in this environmental review by the Cultural Heritage Commission.

16.52.690 The Hancock Motors Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Hancock Motors Building. 

A. Location, description and reasons for designation. Located at 500 East Anaheim Boulevard in the City of Long Beach, this prestigious and important automobile dealership was related to the development of Anaheim Boulevard as "auto row," a significant fact in the city's economic profile and indicative of its economic growth. Strategically located on the main thoroughfare between the oil fields of Signal Hill and the refineries and port, the flourishing of important automobile dealerships on Anaheim Boulevard was highlighted with the opening of Hancock Motors, acting as distributor for the Hupmobile. The Hupmobile, itself an interesting chapter in the history of automobile engineering and merchandising, was produced between 1908 - 1940. 

The automobile showroom is a lavishly decorated and perfectly intact example of Art Deco architecture. The open interior space is lit by large bays of plate glass windows and original Art Deco geometric chandeliers. On the exterior, broad ornamental bands accent the show windows and doorways and crown the top of the building. These bands contain a wealth of Art Deco ornament, with floral and geometric motifs. The corners are highlighted by stylized ram heads from which abstract ornament flows outward and downward. Although the show windows are slightly altered with wood paneling, and the corner doorway has been replaced, this building is an intact and excellent example of Art Deco architecture. Today it remains as one of the most flamboyant and original Art Deco buildings that has survived, with unusual decorative richness and an unaltered interior. 

The architects, Shilling and Shilling, were important local architects well known for their achievements in the Art Deco style. They designed the Lafayette Hotel, a designated city landmark, and the Moderne remodel of City Hall after the 1933 earthquake (now demolished). They also designed the American Legion Hall (1932, demolished), and the Home Market Building at 10th Street and Daisy Avenue, another city landmark. In 1933, Cecil Shilling was president of the Long Beach Architectural Club, a professional association. The consulting architect, W. Horace Austin, was an eminent Long Beach architect with a long and distinguished career. 

This was the first Art Deco building in Long Beach, heralding the advent of "modernistic" architecture. Created in 1928, it was an avant-garde building, and one of the first of its kind in the Southern California area. Every ornamental detail and component was designed to be integrated with the Art Deco style, and everything was freshly conceived. The decorative details are inventive and unusual; although drawing upon eclectic sources, they are totally original in their Alt Deco interpretation. 

It is related to the development of automobile dealerships on Anaheim Boulevard, and represents a high point in the history of this business activity on a major thoroughfare. It recalls a period of history in which the city's major car dealers were clustered on Anaheim Boulevard. When it opened to great festivities in October 1928, it was hailed by related businesses as a welcome addition to the neighborhood. 

16.52.700 The Cheney-Delaney Residence. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Cheney-Delaney Residence. 

A. Location, Description and Reasons for Designation. Located at 2642 Chestnut Avenue in the city, this high quality example of Streamline Moderne architecture exemplifies many typical features of the style, plus many fine, customized details. It is an asymmetrical single-story house, with two bedrooms and a den. The forms are unified by a projecting horizontal cornice below the roofline. This horizontality is repeated in three lines above the cornice, in the unified horizontal window bands and with horizontal lines on panels between the windows. The exterior has curving corners at the living room and entry canopy. The corners have wrap-around windows and a curving window bay. The entry canopy is supported by a slender metal cylinder. Behind a modern screen door, the original door has a chevron design, and original period hardware. Adjacent is a round porthole window, divided into four parts, made of yellow opaque glass. The kitchen window projects in a shallow bay, articulated underneath with geometric steps. The rear door is sheltered by a curved canopy. The seafoam green exterior color may be original. 

The interior contains many unique design features in the Streamline style that demonstrate fine customized craftsmanship. The entry hall is defined with a curved wall and a stepped pyramid arch. The stepped pattern is carried throughout the house, from the moldings to the living room ceiling where built-in lights are located. The kitchen contains curved corners and some period hardware. The den is paneled in blond wood, and unusual wood panels over the windows with the stepped pyramid pattern contain recessed lighting. Except for the flagstone fireplace and wall moldings in the dining room, the interior appears to be totally intact and unaltered. 

The house is significant architecturally, as a very fine example of Streamline Moderne architecture, popular in the `thirties. The style represents a fascination with modernity, and utilizes forms from abstract cubist art: the cube and the cylinder (or cylinder segment). Forms are integrated into a unified whole, with windows flowing around walls and different elements united by continuous horizontal lines. The repetition of horizontal lines and curving shapes indicate an interest in "streamlining" and the imagery of speed. 

Streamline Moderne architecture is relatively rare in Long Beach, compared with the prevalence of California Bungalows, Spanish Colonial Revival and other period revival styles. 

16.52.710 The James E. Porter Residence. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The James E. Porter Residence. 

A. Location, Description and Reasons for Designation. Located at 351 Magnolia Avenue in the city, this large two-story home, prominently sited on a corner lot, is composed of varied shaped masses arranged asymmetrically. A steeply pitched gable crowning an offset cross gable roof dominates one side of the facade, balanced by an open wrap-around porch with ionic column supports. Bay windows appear on the front facade, under the porch and at the north side. The foundation is faced with rounded river rocks. The lower story is sheathed with narrow clapboard siding; the upper story with shingles. The gable interior contains diamond shingles. The triangle pattern also appears on a horizontal band above the string course separating the two stories. Many of the windows contain the original leaded and bevelled glass. Other windows contain contemporary stained glass made by the current owners. 

The house has been meticulously restored with rebuilt foundation, new roof, new plumbing and electrical, new exterior paint and interior restoration. The building is totally intact and has maintained its original design (see historic photograph). The only loss is the leaded glass transom over the living room window. The interior, which had been converted into a boarding house, has been converted back to a family home and restored by the current owners. The rear garage and garage addition are new, but have been designed to complement and match the main house. At the south side is a small secondary structure that is original to the house, set back from the driveway. 

The building is one of the oldest large-scale historic homes in the city. It was built in 1902, and has remained intact on the exterior from its date of construction. 

The original owner and building of the house was James E. Porter, who migrated from Kentucky to Arizona and finally to Long Beach. His story is typical of many early settlers of the city; he first spent his summers here, and then established his home here in 1902. 

His career reflects the early history of the West. Mr. Porter worked as a land surveyor in the 1870's and early 1880's, doing survey work in Sonoma County and in Cajon Pass, California. He was part of the first survey party to map Arizona, New Mexico and Utah. Later, he purchased a large ranch at Navaho Springs, Arizona, and became a sheep and cattle rancher. After establishing himself in Long Beach in 1902, he continued to build and develop homes here. The house is significantly architecturally and historically. Architecturally, it is an intact and monumental example of the Victorian Queen Anne style. Relatively few examples of this quality, integrity and grandeur remain in the city today. Historically, it is associated with a man who pioneered the settlement of the West, as a surveyor, rancher and builder. 
 

16.52.720 The Meeker Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Meeker Building. 

A. Location, Description and Reasons for Designation. Located at 650 Pine Avenue/112 East 7th Street in the city, the Meeker Building was constructed in 1924 at the eastern end of the main commercial street of Long Beach. The two-story structure occupies a prominent corner of the business district, contributing to its character and continuity. The building was designed in the Renaissance Revival style and still exhibits elements of that style, primarily on the second story. Elements of the original style still extant include decorative brick and tile work, arched openings, medallions, and a frieze with medallions. Some alterations on the corner have damaged the integrity of the building, but the structure remains a representative example of commercial architecture in downtown Long Beach from the 1920's period of development. 

The building entrance at 112 E. 7th Street retains its monumental architectural character in its original condition. It is a two-story Renaissance-styled doorway, flanked by paired columns. The two-story lobby contains an open staircase and original cage elevator. The lobby walls are decorated with cast plaster ornamental floral designs in a frieze. 

The second story retains all its original interiors: mahogany woodwork, original glass and mahogany doors with transoms, original double-hung wood frame windows, high ceiling heights. The retention of all the original 1924 building fabric in the interiors is remarkable, and a special asset of the building. 

The aluminum storefront sign which obscures the facade is removable; original building material exists underneath. 
 

16.52.730 278 Alamitos Avenue (skating rink). 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: 278 Alamitos Avenue (skating rink). 

A. Location, Description and Reasons for Designation. Located at 278 Alamitos Avenue in the city of Long Beach, the original use of this building as a roller rink was important to the recreational history of Long Beach, and served as a social center for several decades. It was a place of public assembly and recreation and is remembered fondly by many residents of the city. Its closure as a skating rink reflects changes in the recreational lifestyles of Americans, and changes in the economic profitability of that activity. Its use for modeling the Long Beach Marina was significant for the development of the Long Beach waterfront in the late 1970's. 

It is an intact example of Art Deco architecture in its ZigZag phase, with stepped pilasters, chevrons, and geometric ornament. It is relatively unusual to find this style translated into masonry material. The original marquee with chevrons is still in place. The design quality of the facade makes it an excellent example of that style. 

The roof is a fascinating example of historic engineering used for spanning large spaces. Called "lamella" in the construction drawings, it is a wooden arched roof uninterrupted by interior supports, pierced by skylights. The arches consist of a web of diamond-shaped wood supports surmounted by wood boards, anchored by slender horizontal metal tie-rods. This roof structure is unique in Long Beach, and the design of the open span roof represents a significant engineering innovation and was a precursor of the geodesic dome. 

Its location at the crossing of two major streets, Alamitos Avenue and Third Street, and the lively, vibrant design of its Art Deco facade, make it a prominent visual feature of its neighborhood. It has been a feature of the Long Beach cityscape for more than sixty years. 

16.52.740 The Recreation Park bandshell 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Recreation Park bandshell. 

A. Location, Description and Reasons for Designation. Located in Recreation Park at 4901 East Seventh Street in the city of Long Beach, the bandshell was the location of numerous public events, reflecting many elements of the cultural, social and political history of Long Beach. It was a location of the all-state picnics, including many of the famous Iowa picnics. School performance and drama festivals took place there. Graduation exercises for Long Beach City College were held there. After the 1933 earthquake, it was used as temporary classroom space. One of Long Beach's parent cooperative nursery schools used this facility from 1952. It was also the site of political gatherings, such as an appearance by Richard Nixon during his early political career. The bandshell was also the site of the Municipal Band's regular concerts. Long Beach's Municipal Band was thought to be the only city that supported year-round band concerts from 1912 through 1940, and was a source of civic pride. 

The Spanish Baroque Revival style used here appears rarely in Long Beach. This is the only public building in that style, which was popular in the early 1920's. This style was launched by the eminent architect Bertram Goodhue in buildings designed for the Panama-California Exposition of 1915 in San Diego, and became popular throughout Southern California. The rich plasterwork, the elaborate curvilinear design of the central arch, the broad border of colorful Malibu tile, the stucco walls and red tile roof are all features of this style. 

The bandshell has been identified as an important historic resource by a professional architectural historian hired by the city as a consultant, who determined that the building might be potentially eligible for the National Register of Historic Places. The richly ornamented historic architectural style plus the multifaceted community historic significance of the building more than amply constitute qualifications for designation as a city landmark. 

16.52.750 The Coffee Pot Cafe. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Coffee Pot Cafe. 

A. Location, Description and Reasons for Designation. Located at 955 East Fourth Street in the city of Long Beach, this small building exemplifies a type of architecture known as "programmatic," in which the building form is based on a common object and serves as a large-scale sign advertising the business contained within. Such novelty buildings were popular in the `thirties, a kind of roadside vernacular architecture arising concurrently with the growing popularity of the automobile; the fantasy design was meant to be eye-catching at high speed. Other examples of this architecture are the Brown Derby Restaurant (Wilshire Boulevard, Los Angeles); I Scream ice-cream parlor in an ice-cream cone-shaped building. Such buildings flourished, particularly in Southern California, in association with our automobile culture. Today, most of these buildings have been destroyed for new development. 

The coffee pot-shaped restaurant, with octagonal sides echoing the gigantic rooftop coffee pot, is a survivor of this period and reflects cultural attitudes of that time. Another Long Beach example, now gone, was Tee Pee's Barbecue, a Belmont Shore restaurant shaped like an Indian teepee. 

The unusual design of the building to resemble a coffee pot reflects a distinctive architectural style popular at a singular period of history. Programmatic architecture flourished in the `thirties as a novelty building to attract the attention of passing motorists. These buildings were small scale commercial buildings, each one of which was distinct and individual. Later they evolved into "theme" buildings, such as the Van De Kamp windmill, in which one design became a standardized product used in many different locations. 

This singular building has long been recognized by many citizens as unique to the built environment of Long Beach. It is featured in the renowned architectural guidebook, "Architecture in Los Angeles: A Complete Guide," by David Gebhard and Robert Winter, with a picture and description as a Long Beach landmark. 

16.52.760 The Chancellor Apartments. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Chancellor Apartments. 

A. Location, Description and Reasons for Designation. Located at 1037 East First Street in the city of Long Beach, this is an excellent and impressive example of Georgian Revival architecture, a style used more commonly on single-family houses than for apartments. This style contains classical revival detailing, such as the semicircular portico with columns and entablature, dentils, dormer pedimented roofs, and entry door. The curved fanlight and Queen Anne windows in the dormers are also typical of this style. Nationally, the Colonial Revival style, of which the Georgian tradition is part, was the dominant fashion for homes in the first half of the 20th century. In Southern California it appears less commonly, superseded by locally popular styles such as the Craftsman and the Spanish Colonial Revival. The Chancellor Apartments mix in some local traditions, using a terra cotta tile roof from the Spanish Colonial Revival style. 
 

16.52.770 The Kress Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Kress Building. 

A. Location, Description and Reasons for Designation. Located at 449 Pine Avenue in the city of Long Beach, the Kress Building was number 152 in the total of nationwide chain stores founded by Samuel H. Kress (1863-1955). Constructed in 1923 on Long Beach's premier retail street, Pine Avenue, the store prospered. In 1928 - 29, a three-story addition was built on the south to double the store space and increase lunch counter services. Its opening was announced in the Press-Telegram on November 24, 1929. Kress' competitors, Woolworth and J.J. Newberry, also came to Pine Avenue, Woolworth in 1916 and J.J. Newberry in 1950. Unlike its competitors, the Kress store included a "high-rise" (seven story) office tower, whose profile was prominent on low-rise Pine Avenue. 

The founder of the Kress variety stores was renowned not only for his business success, but also for his art collection, which now is housed in the National Gallery of Art in Washington, D.C. After his death in 1955, the chain was purchased by Genesco in 1963, which company closed one-third of the Kress stores in 1974. The Kress chain was liquidated in 1981. 

The Kress Building, in its rise and fall, exemplifies the history of Pine Avenue as downtown's premier retail shopping street. Although American Avenue (now Long Beach Boulevard) was intended to be the City's "Main Street," in fact Pine Avenue became the location of choice for the city's premier businesses and stores. The city's first hotel, the Bay View, was built on Pine between 1st and 2nd Streets in the 1880's. The first residence in the city (1882) was located at 317 Pine. W.W. Lowe opened a small store at Ocean and Pine which became the city's first official post office in 1885. The city's first school was built at Pine and 6th. The Pine Avenue Pier opened in 1893 and heightened the increasing prominence of that street. 

The city's banks chose a Pine Avenue location also, beginning with the Bank of Long Beach on the northwest corner of Ocean and Pine; it was later taken over by Security First National Bank. Later also came the Farmers and Merchants Bank (which included an office tower like the Kress Building) at 4th and Pine, constructed in 1923 just before the Kress Building; the Long Beach National Bank at 7th and Pine (1924) and Security Pacific National Bank at 1st and Pine (1925). The city's major department stores were also on Pine starting with the Mercantile Company in 1904, which later became Buffums in 1912. Its three-story building at Pine and Broadway was enlarged to six stories in 1926. Other retail stores on Pine were Famous Department Store (1929), Marti's (1929) which became Walker's (1933), Wise, and Penneys. 

The decline in the Kress Company fortunes coincided with the decline in downtown retail activity on Pine Avenue. The rise of suburban shopping centers, the dwindling of the aerospace industry, the removal of the U.S. Navy, were all factors in the fall of retail sales on Pine Avenue. The formation of the Downtown Redevelopment Project by the Long Beach Redevelopment Agency has aimed to support the economic revitalization of downtown and the rebirth of Pine Avenue as a pedestrian-oriented retail corridor. 

Tenants in the office building represented a cross-section of commercial activity on Pine Avenue during its heyday: physicians, dentists, attorneys, insurance companies, accountants, and other professional services. The most prominent among them was probably the photographer Lawrence Inman (1890-l979), whose sign appeared prominently displayed on the penthouse wall where he had his office. He photographed local celebrations, events and many local scenes. His photographs of the 1933 earthquake are today important documents of that trauma. He sold many of his prints to local newspapers and other publications, counting both national companies such as Ford Motor Company and International Harvester and local oil companies on Signal Hill among his clients. He served as President of the Photographers Association of America, where he founded that group's Commercial Division. Many of his negatives are now in the collection of the Historical Society of Long Beach. 

The architect, Thomas Franklin Power, was a prominent and prolific Los Angeles architect who designed office buildings, many Roman Catholic churches, schools, houses and apartments. He was born in Boston in 1874; the year of his death is not known. His most important commission was the planning, design and construction of the Playa del Rey campus of Loyola Marymount University, which began in 1927. Aside from the Kress Building, the only other work in Long Beach of his design is St. Bartholomew's Catholic Church at 5143 Livingston Drive, constructed in 1938. 

The building has been severely stripped following a failed attempt at reuse and restoration, so that much of its architectural character has been lost. However, some original fragments and "clues" plus the original architectural plans remain, so that its architectural character can be identified. 

The architectural style was Renaissance Revival. The lower two stones constituted the store portion of the building, separated from the upper five office stories by a frieze. The frieze originally contained swag relief ornamentation, of which some fragments and "ghosts" survive. The 5th street store elevation was broken into bays, with two-story pilasters on high bases and ornate capitals. The ground floor contained plate glass show windows. The mezzanine level contained unusually narrow windows; the second floor windows were rectangular. The exterior was cement stucco scored to resemble terra-cotta. The cornice frieze contained ornate plaster decoration, some of which still remains today. The building was crowned with a decorative cornice. 

B. The Secretary of the Interior's "Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings" herewith are incorporated by reference, and adopted for this structure. 

16.52.780 The Gaytonia Apartment Building

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Gaytonia Apartment Building. 

A. Location, Description and Reasons for Designation. Located at 212 Quincy Avenue in the city of Long Beach, the "Gaytonia" is a twenty-seven unit, "U" shape plan apartment building prominently sited at the corner of Quincy and Shaw Streets in Belmont Heights, designed in Norman Revival/English Tudor style. 

The "Gaytonia" consists of three stories of apartments along Quincy Street, with the sloping grade to the rear providing space for a thirty-six-car semi-subterranean garage. Two large roof patios, accessible from inside, are visible from the rear. 

The stucco exterior contains pseudo-stone quoins, and pseudo-halftimber at the third story. The overhanging upper story is set on corbels, with a varied or broken eave line above the pointed windows. A steeply pitched hip roof, of simulated slate composition, tops the building. The symmetrical design is broken by an asymmetrical corner turret with a conical roof, and the rooftop tower upon which there is a large metal scaffold supporting a neon sign, "Gaytonia," in Gothic script. The sign, original to the building, no longer illuminates. Multi-paned metal casement windows of various sizes are used. An oriel window, resting on corbels and with a battlement trim on top, occupies the central recessed bay above the main entrance, while two smaller turrets with metal conical roofs crown the doorway. The door of the main entrance contains a stained glass window, and the entranceway is also flanked on either side by stained glass windows. 

Quoins, corbels, battlements, coats of arms and chimney pots add charming decorative elements to the structure. Metal finials on the tower and roof, and a weather vane crowning the main turret have been removed. Otherwise, the "Gaytonia" remains intact, with only minor cosmetic alterations. A fire ladder was added later, in 1957. 

The lobby of the "Gaytonia," characterized by wood panelled floors, contains an inglenook and fireplace with Batchelder tile infill. Three pointed arches lead to the hallway, the transition marked by three cross vaults. The hallway is punctuated with arches resting on corbels. Decorative elements include corbels at the lobby ceiling level, and ornate plaster work under crown moldings throughout the hallway. Light sconces shaped like heraldic shields (in the form of a coat of arms or crest) in the lobby, and paintings of a knight in armor and two crests along the hallway wall, add a medieval decorative touch to the interior. Each apartment door is designed with a pointed arch relief and ornate metal door knockers in the coat-of-arms motif. The original wood panelled elevator is still used. 

The "Gaytonia" was built in 1930 by owner-contractor, George T. Gayton, who retained ownership until 1956. Gayton was a contractor of buildings along the west coast for several years during the early part of this century. He also built the seven hundred and fifty-seat Belmont Theatre in Belmont Shore in 1929, the first in Long Beach to be built for talking pictures. 

Reginald Freemont Inwood was the architect for both the "Gaytonia" and the Belmont Theatre. Inwood had an office in Long Beach, although he designed structures throughout the Los Angeles area. His other projects included a Methodist Church in El Segundo (1927), another Methodist Church in Lynwood (1928), and a Baptist Church in Colton (1930). 

The "Gaytonia" was constructed at a cost of one hundred thousand dollars, a significant amount at the time. The "Gaytonia" was originally an upscale residential building which catered to Naval officers stationed in Long Beach. Although the "Gaytonia" was always an apartment building, it was originally managed like a hotel. Maid and valet service was provided, and each apartment building was furnished, including the provision of linens and dishes. 

The large scale, including the height and bulk, of the "Gaytonia" and the prominent position it occupies, set on a hill, make the "Gaytonia" a dominant element in the Belmont Heights neighborhood. The conspicuous "Gaytonia" sign is visible from several vantage points in the Belmont Shore area, identifying the building to passersby. 

Because the building has been well-preserved and maintained, it is an excellent example of the Norman Revival style. The structure is unique to the Long Beach area in its style, character and picturesque architectural details. Other Long Beach buildings, such as the Pacific Coast Club (1926) in the Norman style, and the Villa Riviera (1929) in the Chateauesque style, while similar to the "Gaytonia" in some respects, (such as the use of hip roofs, turrets, conical caps and corbels), differ from the building in their larger scale and in their more formal architectural treatments and character. The "Gaytonia" is characterized by a more "rustic" appearance, with its pseudo-halftimber style and pointed arches. The "Gaytonia" also exhibits richer detailing than other Chateauesque buildings of similar scale. 

16.52.790 The Masonic Hall Commercial Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Masonic Hall Commercial Building. 

A. Location, Description and Reasons for Designation. Located at 5351-55 Long Beach Boulevard in the city of Long Beach, the former Masonic Hall Commercial Building is one of the oldest and most prominent commercial buildings in North Long Beach, distinguished by its architecture and by its use. Constructed in 1928 by architectural designer, F.D. Davis, it is a fine example of Renaissance Revival vernacular design. The exterior is clad in gold-hued brick with terra-cotta Renaissance-styled terra-cotta detailing around the windows, cornice, parapet and stringcourse between the floors. A round terra-cotta medallion with the Masonic logo accents the corner, and indicates the use of the upper floor for a Masonic Hall. The ground floor accommodates retail tenants. The building is typical of period revival commercial buildings of brick with lighter terra-cotta accents built in the `twenties; this example stands out in isolation on the north portion of Long Beach Boulevard. Its presence indicates the first emergence of commercial development in that neighborhood. Its use as the meeting site of a fraternal order, the Masons, gives it additional social and cultural significance. 

The building's architecture is a typical example of Renaissance Revival design in a small-scale vernacular commercial building. Clad in masonry materials, brick and terra-cotta, the construction detailing is finely done. The ornamental motifs of the parapets and window surrounds derive from the Renaissance style. The triple windows with transoms are typical configurations for commercial construction of that period. The ground floor storefronts have been altered, and signs hide the original transom zone. 

Little is known about the original designer, F.D. Davis of Lynwood. However, following the '33 earthquake, the repair and restoration work was done by W. Horace Austin, noted Long Beach architect. The construction drawings specify that the building is to be repaired and restored to its original condition. 

It is an established and familiar visual feature of north Long Beach Boulevard, and provides a visual link back in time to the first period that this neighborhood was developed. It is distinguished by its unusual shape, with a corner oriented on the diagonal, which is accented by a Masonic emblem medallion. 
 

16.52.800 The Art Theater Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Art Theater Building. 

A. Location, Description and Reasons for Designation. Located at 2025 East Fourth Street in the city of Long Beach, this building is the last remaining neighborhood movie theater left in Long Beach. Its design and construction reflect three successive eras of development, beginning with the silent film era. The first theater on this site was built in 1925, and contained a theater organ. The plans show a "period revival" style, with orientalizing touches reminiscent of the Chinese Theater in Hollywood. This theater was flanked by two separate storefronts. The storefront on the east side of the building survives from this period, with its original transom windows. The Streamline Moderne design was the work of Schilling and Schilling in 1933, done after the `33 earthquake. From this period date the Art Deco stylistic elements: the concrete stepped piers, the tiered layers, the central curved mass with horizontal accents and a vertical stepped element supporting the original Art Deco sign, the ticket booth, the black ceramic title, the sidewalk terrazzo. The design is an interesting combination of Zigzag Moderne and Streamline Moderne, with the fluted stepped vertical elements exemplifying Zigzag design, and the horizontal stringcourses wrapped around curving corners from the Streamline style. A major renovation was done in 1947 by Hugh Gibbs, at which time the marquee was remodeled, the glass block wall inserted, and new poster boxes built. The building retains its integrity from these successive phases of construction. 
 

16.52.810 The Ambassador Apartment Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Ambassador Apartment Building. 

A. Location, Description and Reasons for Designation. Located at 35 Alboni Place, in the city of Long Beach, the Ambassador Apartment Building is on a short block between Ocean Avenue and First Street. The Ambassador Apartments is an L-shaped masonry building, constructed in 1925 by eminent architect W. Horace Austin. The projecting wing of the "L' is four stories and the rear wing is five stories, and both sections plus the walled courtyard in the void of the "L" are set over a basement. Mediterranean detailing enlivens the rather straightforward design. The facade has been smoothly stuccoed over a pseudo rusticated base. A hipped tile roof crowns the structure. Symmetrically organized, the street facade of the projecting the wing consists of three bays occupied by paneled and bracketed balconies in the center and paired double-hung sash in the sides. The entry is located in the north bay of the recessed wing and is dignified by a rusticated surround and a keystone. An "A" on the keystone and gold lettering in the transom over the double door identify the building. The Ambassador Apartments were constructed in 1925 according to the Sanborn maps. They were characterized by fireproof construction, reinforced concrete floors and reinforced brick curtain walls. A typical example of a medium-sized, Southern California urban apartment building of the 1920s, the Ambassador is situated close to the amenities of downtown and the allure of the shoreline. It was built during a period of tremendous growth in Long Beach, when several apartments and hotels, some offering individual ownership of units, were erected. The majority of these buildings shared a similar downtown location and offered a genteel lifestyle to their residents. Although not architecturally outstanding, the Ambassador is an intact representative of this important trend in Long Beach's development. 

16.52.830 The Merrill Building. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Merrill Building. 

A. Location, Description and Reasons for Designation. Located at 810-812 Long Beach Boulevard in the city of Long Beach, the Art Deco styling of this commercial building is intact. It is two stories, stucco-clad, and possesses a symmetrical facade. A central entry way is defined by piers, which are fluted in alternating wide and narrow widths and rise about three-quarters up the building. Decorative panels in low relief, accented by a chevron surmount the entry, which leads to the upper story. To either side, storefronts are topped by a patterned frieze. Reeded piers marked the ends of the building. The plane containing the second story windows is slightly recessed and punctuated by reeded panels and mullions. Each of the three windows in the side and two in the central bay are topped by patterned panels. This decorative band contrasts with the smooth surface of the frieze area into which the name "Merrill" is incised. The Merrill Block was probably built around 1921, replacing a smaller improvement on the property assessed to Isabel E. Lyman. Merrill Rowe, whose business was real estate, became the assessed owner in 1922. The Rowes lived next door to Mrs. Lyman, a widow, on East 8th Street. By 1922 the city directory listed the occupants of the Merrill Building as the Sasnak Tire Company (distributors of Lancaster Tires) and the La Belle Apartments. 

Following the 1933 earthquake, six thousand dollars worth of alterations were made to the building, whose appearance probably dates to that year. Art Deco emerged in the 1920's as a style that looked forward to the future rather than to history for its ornamentation. It was an expression of the eminence of technology and the machine age. 

The building received the name "Merrill" following the 1933 alterations, done by the firm of Schilling & Schilling. The upstairs units were then called the Merrill Apartments. The ground floor has been used for various retail activities: in 1935, K.C. Welch butcher's equipment; in 1939, E.A. Glass restaurant. City Directories for 1951-52 show the Keller Paint Company downtstairs and the Long Beach Nurses Institute, a school, upstairs. Later (1959) the units again became apartment. 

The building is significant as an example of the Art Deco work of Schilling & Schilling. The richness of the ornament recalls the Hancock Motors Building (500 E. Anaheim). Piers and fluted pilasters are flattened in a "modernistic" mode. The building is intact underneath the current obtrusive plastic signage. 

16.52.840 The Flossie Lewis House. 

Pursuant to the provisions of Chapter 2.63 and with the recommendation of the planning commission, the city council designates the following building as an historical landmark in the city: The Flossie Lewis House. 

A. Location, Description and Reasons for Designation. Located at 1112 Locust Avenue in the city of Long Beach, this single family two-story Victorian house appears virtually unaltered from its original date of construction in 1905. Its most distinctive visual feature is a large cross-bellcast-gambrel roof, with curved stickwork on the gable return. Inside the gambrel are dog-eared shingles. The porch is recessed at the north end, with a pair of Ionic columns on a pedestal support. The ground floor is clad with narrow clapboard siding and has a three-part bay window. Window and door surrounds are surmounted with a cornice. Five cement stairs lead up to the entry, between low rough-cut stonework. There is a small one-story addition on the side with a shed roof. The house is in good condition. Constructed in 1905, this is the oldest remaining house in its neighborhood, and part of the original residential development of Long Beach. It is architecturally unique among Long Beach Victorians for its complex roof forms. There are not many Victorians left in Long Beach; this is one of the most outstanding examples. 

The house represents an era when large-scale Victorian houses were an indicator of prosperity among the middle-class, and was built during a time of rapid growth and expansion for the young city. Today, now that many houses from this era have been lost, it marks an important stage in the development of Long Beach. 

Flossie Lewis established the first program in Long Beach for recovering alcoholics in 1948. She was widely respected for her generous social contributions. She was an important community leader, considered "the mother of A.A." in Long Beach. Her name became associated with this structure in 1985. 

This structure is an outstanding example of Victorian architecture, and is intact on the exterior. Its cross-bellcast gambrel roof form is unusually complex. The corner porch, bay windows, dog-eared shingles and decorative columns are typical features of the style.

Source: City of Long Beach   http://www.ci.long-beach.ca.us/

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