Cultural Heritage Commission

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1 >BEVERLV' HILLS City of Beverly Hills Planning Division 455 N- Rexford Drive Beveriy Hills, CA TEL (310) FAX. (310) Cultural Heritage Commission Report Meeting Date: Subject: Project Applicant: Recommendation: October 1, SUMMIT DRIVE - "DAVID O. SELZNICK RESIDENCE" Landmark Nomination Landmark Nomination of the "David O. Selznick Residence" at 1050 Summit Drive as a local landmark for inclusion onto the Beverly Hills Register of Historic Properties. Pursuant to the provisions set forth in the California Environmental Quality Act (CEQA), the Cultural Heritage Commission will also consider adoption of a Categorical Exemption for this project. Benedikt Taschen, property owner Adopt a resolution recommending that the City Council designate the "David O. Selznick Residence" as a Landmark and place it onto the Beverly Hills Register of Historic Properties 1050 Summit Drive - David O. Selznick Residence Attachment(s): 1. Resolution, including City Landmark Assessment Report (by OAC October 2018) as an Exhibit Report Author and Contact Information: Reina Kapadia, AlCP, Associate Planner (310) rkapadia@beveriyhills.org 109

2 Cultural Heritage Commission Report 1050 Summit Dr. Landmark Nomination October 1, 2018 REPORT SUMMARY The "David O. Selznick Residence" at 1050 Summit Drive has been assessed for eligibility as a Local Landmark under Beverly Hills Municipal Code (BHMC) Title 10, Chapter 3, Article 32 (Historic Preservation Ordinance). A City Landmark Assessment and Evaluation Report prepared by Jan Ostashay of Ostashay & Associates Consulting (Exhibit A of Attachment 1) provides background information and historic assessment of the property, and concludes that the property appears to be eligible as a local landmark. City staff peer-reviewed the submitted report, conducted a site visit of the property, and drafted findings in support of the property's landmark eligibility under BHMC Section (Landmark Designation Criteria). The resolution in Attachment 1 recommends that the City Council designate the "David O. Selznick Residence" as a Landmark and place it on the Beverly Hills Register of Historic Properties. BACKGROUND On July 11, 2018, the Cultural Heritage Commission considered the proposal to initiate landmark proceedings on the property and conducted a Preliminary Hearing (pursuant to the requirements in BHMC ), and found that the property appeared to be eligible as a landmark under the criteria in BHMC The City's historic consultant, Jan Ostashay of Ostashay & Associates Consulting, completed a landmark assessment and evaluation report on the subject property (Exhibit A of Attachment 1) which concludes that the property qualifies for local listing. DISCUSSION The estate property is located in the Hillside area of the city, north of Lexington Road, east of Tower Road, west of Laurel Way, along the south side of Summit Drive where it intersects Cove Way. A short driveway off the intersection of Cove Way and Summit Drive opens onto a circular motor court anchored by a large two-story Georgian Revival-style residence. The estate was designed by noted Master Architect Roland E. Coate and built by Thomas E. Sellers in for famed Hollywood filmmaker David O. Selznick. Rectangular in plan with shallow projecting wings, the principal facade features a prominent central pavilion with a circular decorative hand wrought metal canopy over the front door and classically-inspired pedimented front gable above the second story. The exterior of the residence is clad in brick (painted white in the current restoration) and the design overall follows the classical precepts of the Georgian revival architectural style. Following its completion in the 1930's, the Selznick estate was featured in numerous publications, including Architectural Digest, California Arts and Architecture in 1936, and Architectural Record in Selznick produced his most notable production while in residence at the Summit Drive estate - Gone with the Wind in The original property was later subdivided, leaving the single family residence intact with a shortened rear yard and newer swimming pool. A full architectural description of the property can be found in the City Landmark Assessment Report by Ostashay and Associates Consulting in Attachment 1. Based on the City Landmark Assessment Report and other evidence, the subject property appears to satisfies the following Landmark Criteria (pursuant to BHMC ) in support of its landmark nomination: A.I (age), A.2 (artistic value and architectural style), A.3 (integrity), A.4 (historic value), B.2 (an exceptional work by a Master Architect), B.3 (an exceptional work owned and occupied by a person of great importance), and B.6 (voluntary designation). 110

3 Cultural Heritage Commission Report 1050 Summit Dr. Landmark Nomination October 1, 2018 Findings justifying landmark nomination are contained in Section 6 of the resolution in Attachment 1. Pursuant to Preservation Brief 17 from the National Park Service, identifying those visual and tangible aspects of the historic building that help to convey an understanding about the significance of the resource is essential In the defining the character-defining features as they relate to the preservation of a historic site. These prominent features, such as types of construction materials, construction methods, the delineation of spaces, architectural styling, etc. are key features that give a building Its visual character and without these elements, the essential aspects of Its historic nature may be Irreparably damaged. Below Is a summary of the character-defining features for the subject property (also found in Section 7 of the resolution In Attachment 1). The character-defining features associated with the David O. Selznick Residence are those exterior features of the property that reflect and define Its Georgian revival architectural style, as designed by Master Architect Roland E. Coate. Such features Include, but are not limited to the following; Location, symmetrical massing, scale and proportion, and siting of the main residence on the parcel Primary elevations (north elevation of central bay; west and north elevation of eastern projecting bay; east, west, and north elevation of western projecting bay), west (side) elevation, rear (south) elevation Symmetrical two-story fa9ade with prominent central entry bay and extending flanking wings Moderate-pitched complex gable roofs, slight overhanging boxed eaves, flat fascia boards Pedlmented gable ends clad with wide horizontal flush shiplap wood siding, front and rear gable ends pierced by a large decorative, circular shape central vent grille (cast aluminum) with screen behind; arched and rectangular shaped louvered vent openings at other gable ends Brick clad chimneys with concrete caps (four chimneys) Fenestratlon pattern and placement of window/door openings along front fagades facing motor court, west side and rear elevations Fenestratlon type and features: multi-pane sash, multi-pane fixed, multi-pane casement of wood or steel frame; wood molded recessed casings, soldier bond brick lintels, rowlock brick sills, wood louvered shutters; bay windows with flat roof or shed-like roof covers; curved window frames at second-story master bedroom alcove Exterior cladding of brick veneer (running bond, painted white), wide vertical shiplap wood siding with molded joints and dog ear trim bottom along second-story projecting wings of front facade, second-story side elevations, and portions of second-story rear (south) elevation 111

4 Cultural Heritage Commission Report 1050 Summit Dr. Landmark Nomination October 1, 2018 Front entry portico with raised cast stone and concrete stoop, wrought iron umbrella-like metal standing seam roof canopy with cast metal finiai set on lacy wrought iron arched shaped opening supports; at backside of canopy supports the "1934" dated insets; inset hanging light metal framed fixture within canopy cover Front door assembly: recessed wide six panel wood door with brass knocker, decorative metal door knob, and molded surrounds; recessed multi-panel wood entry vestibule; flanking multi-pane wood-framed side lites with base panels and molded surrounds; and molded wood carved fanlight blind transom Exterior doors: multi-panel wood doors; projector room door with louvered wood shutters, arched shape rowlock brick header, and molded wood blind fanlight transom, raised concrete landing with score lines; French doors off set at rear elevation Rear porch cast stone and concrete terrace with cast stone steps and extended wood lattice pergola with lacy trellis-like supports and wood molded base panels Exterior planters at second floor master bedroom alcove Exterior decorative metal hanging light fixtures and wall sconces at entry ways (material, finish, texture, style, size and shape, location and placement, color) ENVIRONMENTAL ASSESSMENT Designation of the "David O. Selznick Residence" at 1050 Summit Drive, Beverly Hills as a local historic landmark was assessed in accordance with the authority and criteria contained in the California Environmental Quality Act (CEQA), the State CEQA Guidelines, and the environmental regulations of the City. It has been determined that designation of the subject property at 1050 Summit Drive would not have a significant environmental impact and is exempt from CEQA pursuant to Sections 15061(b)(3), 15308, and of Title 14 of the California Code of Regulations. It can be seen with certainty that there is no possibility that the designation of the subject property may have a significant effect on the environment, as no specific development is authorized by this resolution, and any future development proposed pursuant to this resolution will require separate environmental analysis when the details of those proposals are known. Further, designating the residence at 1050 Summit Drive is an action of the City to protect and preserve an historic resource. PUBLIC OUTREACH AND NOTIFICATION On September 14, 2018, the owner of the subject property was notified in writing that the Cultural Heritage Commission would consider Landmark Nomination for the subject property at the Commission meeting on October 1, As of the time of publication of this report, no public comments have been received. 112

5 Cultural Heritage Commission Report 1050 Summit Dr. Landmark Nomination October 1, 2018 Type of Notice Required Period Actual Period Required Actual Date Newspaper Notice n/a n/a n/a n/a Date Mailed Notice 15 Days 17 Days 9/16/18 9/14/18 (Property Owner Only) Property Posting n/a n/a n/a n/a Agenda Posting 24 Hours 6 Days 9/30/18 9/25/18 Website (Agenda) 24 Hours 6 Days 9/30/18 9/25/18 GENERAL PLAN CONSISTENCY Designation of the subject property as a local historic landmark is consistent with the objectives, principles, and standards of the General Plan. General Plan Policy "HP Promote National, State, and Local Designation of Historic Resources" encourages the establishment of programs encouraging the nomination of landmarks. RECOMMENDATION Staff recommends that the Cultural Heritage Commission adopt the attached resolution approving the landmark nomination for the "David O. Selznick Residence" at 1050 Summit Drive, Beverly Hills and forward the recommendation to the City Council for approval. NEXT STEPS Should the Cultural Heritage Commission act to recommend landmark designation of the property, staff will forward the Commission's recommendation to the City Council to designate the subject property at 1050 Summit Drive as a local landmark and to place it on the Beverly Hills Register of Historic Properties. 113

6 Cultural Heritage Commission Report 1050 Summit Dr. Landmark Nomination October 1, 2018 Attachment 1 Resolution, including City Landmark Assessment Report (by GAG October 2018) as an Exhibit 114

7 RESOLUTION NO. CHC A RESOLUTION OF THE CULTURAL HERITAGE COMMISSION OF THE CITY OF BEVERLY HILLS NOMINATING THE "DAVID O. SELZNICK RESIDENCE" AT 1050 SUMMIT DRIVE, BEVERLY HILLS, FOR INCLUSION ON THE CITY OF BEVERLY HILLS REGISTER OF HISTORIC PROPERTIES Section 1. Article 32 of Chapter 3 of Title 10 of the Beverly Hills Municipal Code authorizes the City Council to designate local landmarks and historic districts and to place those properties and geographical areas on the City of Beverly Hills Register of Historic Properties. Section 2. On July 11, 2018, the Director of Community Development finalized a Preliminary Evaluation pursuant to Section A.3 (Preliminary Evaluation) of the Beverly Hills Municipal Code, finding that the property may be eligible for designation as a landmark based on available evidence at the time. Section 3. On July 11, 2018, the Cultural Heritage Commission conducted a preliminary hearing regarding the property at 1050 Summit Drive in Beverly Hills, pursuant to Section A.5. (Landmark or Historic District Designation Proceedings; Preliminary Hearing) of the Beverly Hills Municipal Code, and concluded that the "David O. Selznick Residence" warranted formal consideration by the Commission for inclusion on the City of Beverly Hills Register of Historic Properties. Based on the Preliminary Evduation issued by the Director and other evidence, the Commission found that sufficient evidence existed to conclude that the subject property merits formal consideration for landmark designation. Page 1 of

8 Section 4. On October 1, 2018, the Cultural Heritage Commission considered a City Landmark Assessment and Evaluation Report for the "David O, Selznick Residence" prepared by Jan Ostashay of Ostashay & Associates Consulting, which is attached hereto as Exhibit A and incorporated herein by reference, and other evidence provided during the proceedings regarding the potential nomination for landmark designation. Section 5. BACKGROUND. The David O. Selznick Residence is located north of Sunset Boulevard, just east of Benedict Canyon Drive in the hillside area of northwest Beverly Hills. The subject property originally occupied the entire lot 27 of Tract No and now resides on a portion of the parcel, as it was sub-divided into three sections (1050 Summit Drive, 1036 Summit Drive, 1035 Cove Way) in the mid-1960s. Current improvements on the site at 1050 Summit Drive include a large two-story single-family dwelling with attached garage, paved driveway and motor court, swimming pool, and mature landscaping with hardscape elements. Architectural Description. The subject property is a very good example of the Colonial Revival style with Georgian influences as interpreted by master architect Roland E. Coate in the 1930s for Mr. and Mrs. David O. Selznick. The large house is not symmetrical though regular in its massing and arrangement of openings. The primary, front facade (north) faces a paved formal motor court that is lined by a concrete curb and is anchored by a central pavilion with a pedimented front gable. Sheathed with horizontal flush shiplap siding of wood, the pediment is pierced by a decorative, circular shape cast aluminum vent grille with screen behind it. The main entry to the house is slightly elevated and centered just under the massive pediment feature and is announced by an entry stoop of cast stone and concrete and an umbrella-like standing seam metal roof canopy set on lacy wrought iron supports. Behind the iron arches of the canopy, the wood panel door with brass door knocker is flat-headed and topped by a semi-circular wood carved Page 2 of

9 blind fanlight transom. Wood-framed, multi-paned sidelights flank the wide entry opening that is recessed within a wood paneled vestibule. Other fenestration openings along this main elevation of the house include a series of recessed six-over-six wood sash frames with molded wood casings, soldier bond brick lintels, rowlock bond brick sills, and wood louvered shutters. The two-story west wing projecting from the front fa9ade features an extended first floor that housed the original projection room. The interior of this room is lined with poured-in-place concrete to protect the rest of the house and grounds from fire, just in case the film caught fire. The early motion picture film industry used nitrocellulose film stock, commonly called of nitrate films, which was highly flammable and could spontaneously combust if not well ventilated (cellulose acetate film was later used as a safer replacement). This extended first floor is capped by a front-facing gable roof with pedimented wood sheathed gable end punctuated by a louvered attic vent. The projection room is accessed either through the centrally located wood panel entry door with arched shaped wood molded fanlight transom at the wing's north end or from within the game room/library area. The second-story of this wing extends out only slightly from the front facing wall plane and is capped by a side-facing gable roof. The side walls (east and west) are pulled back under the gable eaves to allow for built-in, integrated planter boxes adjacent to rows of multi-pane casement windows and curved fixed-pane windows at the corners. The space within this area was initially designed as David O. Selznick's sleeping alcove. Wide vertical wood boarding with molded joints and dog ear bottom trim clad this upper section of the wing. The two-story east wing also projects out from the front fagade and features an extended first floor that once housed the servants' quarters consisting of four separate bedrooms, a long hall way, bathrooms, and access to the exterior via a small porch and staircase off its back side. This staircase allowed the staff access to the adjacent service porch, service court, and garages. When the parcel was subdivided and the adjacent lot to the east was developed as a separate Page 3 of

10 residence in the late 1960s, the eastern half of the servants' wing was removed along with the exterior staircase and attached porch. The west half of the servants' wing was then converted into a garage and a garage door was added where there was once a window and brick wall along with some landscaping on its west elevation facing the formal motor court. The north elevation of this wing, though now truncated, retained much of its original features under its front-facing gable roof including its pedimented wood sheathed gable end punctuated by a louvered attic vent and recessed multi-pane sash windows with brick lintels and sills. During the 1991 remodel work, a series of large air conditioning units were placed on a concrete pad just to the north of this gabled end wing. The garage door is an automated panel roll-up type. The second-story of this wing extends out to be in line with the first floor fagade of the west wing. Hence, further symmetry is achieved. The second-story of the east wing is also capped by a front-facing gable roof of similar size and features as the first floor gable. The walls are clad with wide vertical wood boarding with molded joints and dog ear bottom trim. Fenestration includes multi-pane sash windows with brick sills, lintels, and louvered shutters; a bay window with multi-pane fixed center and canted multi-pane casements; and a pair of multi-pane casements. Original windows along the back (east) of this wing have been relocated and an additional sash window installed, as part of the 1991 work. Similar massing, dominated by a central, front gable block appears on the garden (rear) elevation. The multi-pane, six-over-six wood-frame windows on the upper story of this elevation are also recessed slightly and feature wood louvered shutters, prominent rowlock brick sills, molded casings, and soldier bond lintels. Access to the backyard is via a number of doors off the south elevation of varying type (single and double French multi-pane, etc.). Abutting the rear elevation is a paved cast stone and concrete terrace with covered pergola that is defined by Page 4 of

11 trellis-like wood supports with wood base panels. Several other large fixed, multi-paned windows overlook the veranda and the garden along the first floor of this elevation, as well. The west (side) elevation is also sheathed in brick veneer and features an extended gable end, engaged brick chimney, monumental pedimented gable ends with louvered attic vents, and symmetrically placed multi-pane sash windows with brick sills and lintels and louvered wood shutters on both the first and second stories. From this elevation the two-story "sun room" addition built in 1991 is evident at the building's southwest comer. Compatible features and material were used in the design of this addition. The east (side) elevation is not visible from any vantage point but the east side of the house. It abuts rather closely to the adjacent improvement to the east at 1035 Cove Way, though a very tall, dense mature hedge of shmbs and trees provides adequate privacy between the two parcels. This hedge wraps around the entire 1050 Summit Drive parcel and shelters it from the other adjacent parcel to the south and west at 1036 Summit Drive, as well as from the street. This side of the house features brick veneer cladding at its first floor, vertical board with molded joints and dog ear bottom trim sheathing the upper story, a series of multi-pane windows (bay, casement, fixed, and sash), and two large multi-pane French doors with fixed side lites. Many of the utilities are located along this secondary, out-of-view elevation. Limited changes after that time were made to the property until the mid-1960s. During this period the large parcel that defined 1050 Summit Drive was subdivided into three sections and the vast size of land that the subject property occupied was substantially reduced. Because of this reduction of land the house and original landscaping were modified accordingly. To the west side of the house the original driveway, formal rose garden, and some other landscape features were removed for the development of the 1036 Summit Drive site in the early 1960s. The land for this new site also extended southward and included much of the area behind the 1050 Summit Page S of

12 Drive house. Dozens of trees, shrubs, a vast lawn, walkways, swimming pool, and the tennis house were removed at this time. To the east side of the main house the original detached garage, paved service court, the service yard, driveway, some landscape elements, and other hardscape features were removed to become a development site for 1035 Cove Way. With this reconfiguration of land, the backyard of the main house at 1050 Summit Drive was truncated as was the servants' wing at its northeast corner (which was converted to a garage). New landscaping, which included hedges, shrubs, grass, and some trees, was planted along the perimeter of the newly subdivided parcel of 1050 Summit Drive. The original sunken tennis court became part of the 1036 Summit Drive property. A smaller swimming pool was built within the reconfigured grounds of 1050 Summit Drive just behind the main house in The next significant renovation to the property occurred in 1991, when the outdoor covered porch area adjacent the "game room" at the southwest comer of the house was enclosed and converted to a formal sunroom. Just above on the second floor the original Selznick master bedroom and exterior deck were extended and a portion of the space converted for use as a sitting room. In addition, a bathroom was built out from the upstairs sleeping porch at the southeast comer of the house. During this remodel work, other renovations occurred along secondary elevations that included the installation or relocation of some windows and doors, the replacement of the louvered wood shutters that flanked all of the sash windows on the house, installation of a new standing seam copper roof canopy off the back terrace, and the reconfiguration of some interior spaces. The front elevation was not altered during this work scope. It was probably at this time, that the white paint was removed from the exterior of the house and the brick cladding left exposed. Page 6 of

13 Section 6. FINDINGS AND DESCRIPTION OF PARTICULAR ATTRIBUTES JUSTIFYING LANDMARK DESIGNATION. The Cultural Heritage Commission finds, pursuant to the City of Beverly Hills Historic Preservation Ordinance, that the residence satisfies the necessary requirements for designation as a local landmark based on the following: The "David O. Selznick Residence" is eligible under significance criterion A.l. It is at least forty-five (45) years of age, or is a property of extraordinary significance. Construction of the subject property was completed in 1934, thus in 2018 it is 84 years old. Therefore, the property satisfies this criterion. The "David O. Selznick Residence" is eligible under significance criterion A.2, It possesses high artistic or aesthetic value, and embodies the distinctive characteristics of an architectural style or architectural type, or architectural period. The property is a very good example of the Colonial Revival style with Georgian influences. Aspects of the design of the David O. Selznick Residence reflect the traditional styles that are closely associated with grand homes of Beverly Hills during the 1920s and 1930s. Stylistic features of the Colonial Revival style incorporated in the property include the building's symmetrical composition and massing, complex gable roof shape, cladding materials (brick and shiplap wood), fenestration (sash, fixed, casement) and window treatments (brick lintels and sills, molded wood surrounds, recessed casings), wrought iron trellis-like entry canopy with recessed paneled entry vestibule and door with molded fanlight transom, and its general siting and setback on the parcel. It is visually and physically evident that the Selznick Residence embodies the distinct characteristics of a particular style, period of time, and method of construction. Therefore, the property satisfies this criterion. The "David O. Selznick Residence" is eligible under significance criterion A.3. It retains substantial integrity from its period of significance. The period of significance for the Page 7 of

14 subject property is 1933 to 1945, the period when the property was initially developed, constructed, and directly associated with film industry mogul David O. Selznick. The publicly visible portions of the property, comprising the front (north) facade along Summit Drive is substantially intact. Those important features of design, materials, location, setting, workmanship, feeling, and association from this period of significance are still evident on those primary, publically visible elevations. Therefore, the property satisfies this criterion. The "David O. Selznick Residence" is eligible under significance criterion A.4. It has continued historic value to the community such that its designation as a landmark is reasonable and necessary to promote and further the purposes of this article. The property is considered to have continued historic value to the community due to its unique and distinguished architectural design, as a treasured contribution to the City's varied architectural heritage, and its direct association with a personage of great importance the property is considered to have continued historic value to the community. Therefore, the property satisfies this criterion. The "David O. Selznick Residence" is eligible under significance criterion B.2. It is an exceptional work by a master architect. The David O. Selznick Residence is the work of architect Roland E. Coate. Coate meets the City's definition of "master architect" and is listed in the City of Beverly Hills' List of Master Architects. Coate was a renowned Pasadena-based architect with a substantial body of work throughout Southern California that was produced during his time with the firm Johnson, Kaufman, Coate and through his own individual practice. The Colonial Revival, Georgian influenced design of the subject property developed for movie producer mogul David O. Selznick was so articulated by the architect that it was carefully chronicled in the local press and in fan magazines around the world. Its construction was noted in two Los Angeles Times articles from The property was featured in the Page 8 of

15 Architectural Record in June of 1938, in the California Arts and Architecture trade magazine in 1936 and 1937, the Pencil Points design and art magazine of 1939 and 1941, and in Architectural Digest, among other professional joumals. The design of the home also received an honorable mention from the New York Architectural League in its competition for Because the design of the property has been highly recognized by members of the professional architectural community since it was erected it is considered an exceptional work by a master architect. As such, the property satisfies this criterion. The "David O. Selznick Residence" is eligible under significance criterion B.3. It is an exceptional work that was owned and occupied by a person of great importance, and was directly connected to a momentous event in the person's endeavors or the history of the nation. For purposes of this paragraph, personal events such as birth, death, marriage, social interaction, and the like shall not be deemed to be momentous. Writer and motion picture producer David O. Selznick was a titein of the film industry in the 1930s and 1940s, and was considered Hollywood royalty when he purchased a large parcel of Itind in the hills of the City and built his family home at 1050 Summit Drive. He is best known for producing the motion pictures "Gone with the Wind" (1939) and "Rebecca"(1940), both earning him an Academy Award for Best Picture. The Selznick film style dominated Hollywood as he was able to repeatedly produce what the public seemed to want: "...pictures with class and imagination that found a large and devoted audience world-wide." Selznick brought Alfred Hitchcock to Hollywood to direct "Rebecca" and launched the careers of film legends Katherine Hepburn, Vivien Leigh, Ingrid Bergman, Gregory Peck, and Jennifer Jones, among others. Because of the property's direct association with a very prominent member of the film industry whose work is well-recognized in the history of the nation, the subject property satisfies this criterion. Page 9 of

16 The "David O. Seiznick Residence" is eligible under significance criterion B.6. The landmark designation procedure is initiated, or expressly agreed to, by the owner(s) of the property. The landmark designation procedure was initiated by and expressly agreed to by the owner(s) of the property. Therefore, the property satisfies this criterion. Section 7. PRESERVED. CHARACTER DEFINING FEATURES THAT SHOULD BE Use and development of the "David O. Seiznick Residence" shall be governed by the Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring, and Reconstructing Historic Buildings (1995) by Weeks and Grimmer (herein referred to as the SGI Standards). These standards and guidelines have been formulated to ensure that any significant adverse changes to the property do not compromise those qualities that justify its listing as a landmsirk. The key features that should be preserved are as follows. The character-defining features associated with the 1050 Summit Drive property are those exterior features on the property that reflect and define its Colonial Revival, Georgian influenced architectural style, as designed by Roland E. Coate, and its association with film producer David O. Seiznick. Such features include, but are not limited to the following: Location, symmetrical massing, scale and proportion, and siting of the main residence on the parcel Primary elevations (north elevation of central bay; west and north elevation of eastern projecting bay; east, west, and north elevation of western projecting bay), west (side) elevation, rear (south) elevation Symmetric il two-story facade with prominent central entry bay and extending flanking wings Moderate-pitched complex gable roofs, slight overhanging boxed eaves, and flat fascia boards Page 10 of

17 Pedimented gable ends clad with wide horizontal flush shiplap wood siding, front and rear gable ends pierced by a large decorative, circular shape central vent grille (cast aluminum) with screen behind; arched and rectangular shaped louvered vent openings at other gable ends Brick clad chimneys with concrete caps (four chimneys) Fenestration pattern and placement of window/door openings tdong front facades facing motor court, west side and rear elevations Fenestration type and features: multi-pane sash, multi-pane fixed, multi-pane casement of wood or steel frame; wood molded recessed casings, soldier bond brick lintels, rowlock brick sills, wood louvered shutters; bay windows with flat roof or shed-like roof covers; curved window freimes at second-story master bedroom alcove Exterior cladding of brick veneer (running bond), wide vertical shiplap wood siding with molded joints and dog ear trim bottom along second-story projecting wings of front facade, second-story side elevations, and portions of second-story rear (south) elevation Front entry portico with raised cast stone and concrete stoop, wrought iron umbrella-like metal standing seam roof canopy with cast metal flnial set on lacy wrought iron arched shaped opening supports; at backside of canopy supports the "1934" dated insets; inset hanging light metal framed fixture within canopy cover Front door assembly: recessed wide six panel wood door with brass knocker, decorative metal door knob, and molded surrounds; recessed multi-panel wood entry vestibule; flanking multi-pane wood-framed sidelites with base panels and molded surrounds; and molded wood carved fanlight blind transom Exterior doors: multi-panel wood doors; projector room door with louvered wood shutters, arched shape rowlock brick header, and molded wood blind fanlight transom, raised concrete landing with score lines; French doors off set at rear elevation Rear porch cast stone and concrete terrace with cast stone steps and extended wood lattice pergola with lacy trellis-like supports and wood molded base panels Exterior planters at second floor master bedroom alcove Exterior decorative metal hanging light fixtures and wall sconces at entry ways (material, finish, texture, style, size and shape, location and placement, color) Section 8. DESIGNATION OF THE "DAVID O. SELZNICK RESIDENCE" AT 1050 Summit Drive AS A LANDMARK. The Cultural Heritage Commission finds that the "David O. Selznick Residence" qualifies for City Landmark designation pursuant to the Beverly Page 11 of

18 Hills Historic Preservation Ordinance. The property at 1050 Summit Drive is, therefore recommended for landmark designation based on the recommendations in the City Landmark Assessment Report contained in Exhibit A and the Cultural Heritage Commission deliberations. Section 9. GENERAL GUIDELINES AND STANDARDS FOR FUTURE PROPOSED CHANGES PURSUANT TO THE HISTORIC PRESERVATION ORDINANCE. The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring, and Reconstructing Historic Buildings (1995) by Weeks and Grimmer (herein referred to as the SOI Standards and Guidelines) are incorporated as reference. These standards and guidelines have been formulated to ensure that any significant adverse changes to the property do not compromise those qualities that justify its listing as a landmark. The guidelines and standards are an aid to public and private property owners, and others, formulating plans for new plantings, constructions, for rehabilitation or alteration of existing landscapes, associated structures, and for site development. The SOI Standards and Guidelines are also designed to be standards that City Staff and the Cultural Heritage Commission shall apply when making decisions about Certificates of Appropriateness as required by the City of Beverly Hills Historic Preservation Ordinance. The location and boundaries of the delineated resource are the property boundaries. Section 10. ENVIRONMENTAL ANALYSIS. Designation of the "David O. Selznick Residence" as a local historic landmark was assessed in accordance with the authority and criteria contained in the California Environmental Quality Act (CEQA), the State CEQA Guidelines, and the environmental regulations of the City. It has been determined that designation of the "David O. Selznick Residence" would not have a significant environmental Page 12 of

19 impact and is exempt from CEQA pursuant to Sections 15061(b)(3), 15308, and of Title 14 of the California Code of Regulations. It can be said with certainty that there is no possibility that the designation of the "David O. Selznick Residence" may have a significant effect on the environment, as no specific development is authorized by this resolution, and any future development proposed pursuant to this resolution will require separate environmental analysis when the details of those proposals are known. Further, designating the "David O. Selznick Residence" is an action of the City to protect and preserve an historic resource. Section 11. GENERAL PLAN CONSISTENCY. Designation of the "David O. Selznick Residence" as a local historic landmark is consistent with the objectives, principles, and standards of the General Plan. General Plan Policy "HP Promote National, State, and Local Designation of Historic Resources" encourages the establishment of programs encouraging the nomination of landmarks. Section 12. The Cultural Heritage Commission hereby nominates, and recommends that the City Council designate, the "David O. Selznick Residence" as a local landmark included on the City of Beverly Hills Register of Historic Properties. Section 13. The record of proceedings for designation of the "David O. Selznick Residence" as a local landmark included on the City's Register of Historic Properties is maintained by the City as part of the official records of the Community Development Department at 455 North Rexford Drive, Beverly Hills, California, Page 13 of

20 Section 14. The Secretary shall certify to the adoption of the Resolution and shall cause the Resolution and his certification to be entered in the Book of Resolutions of the Cultural Heritage Commission of the City of Beverly Hills. Adopted: October 1, 2018 Attest: Richard Waldow Chair of the Cultural Heritage Commission of the City of Beverly Hills Mark Odell Secretary of the Cultural Heritage Commission Approved as to Form: Approved As To Content: David M. Snow Assistant City Attorney Mark Odell, Urban Designer Community Development Depeirtment Exhibit A - City Landmark Assessment Report by Ostashay & Associates Consulting, dated October 2018 Page 14 of

21 EXHIBIT A 129

22 CITY LANDMARK ASSESSMENT & EVALUATION REPORT OCTOBER 2018 DAVID O. SE12NICK RESIDENCE 1050 Summit Drive, Beverly Hills, CA Prepared for; City of Beverly Hills Community Development Department Planning Division 455 Rexford Drive, Beverly Hills, CA Prepared by: Jan Ostashay, Principal Ostashay & Associates Consulting PO BOX 542, Long Beach, CA

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24 CITY LANDMARK ASSESSMENT AND EVALUATION REPORT David O. Selznick Residence 1050 Summit Drive Beverly Hills, CA APN: INTRODUCTION This landmark assessment and evaluation report, completed by Ostashay & Associates Consulting (GAG) for the City of Beverly Hills, documents and evaluates the local significance and landmark eligibility of the single-family residence located at 1050 Summit Drive in the City of Beverly Hills. Included in the report is a discussion of the survey methodology used, a summarized description of the subject property and its construction history (historical integrity), a brief contextual history of the property, a review of the local landmark criteria considered In the evaluation process, a formal evaluation of the property for City of Beverly Hills landmark eligibility, and any applicable supporting materials. FINDINGS The David 0. Selznick Residence, located at 1050 Summit Drive, appears to satisfy the City's criteria for individual designation as a local Landmark as required in Section of the Historic Preservation Ordinance (Beverly Hills Municipal Code Title 10, Chapter 3, Article 32). This property appears to satisfy all of the mandates of subsection A. and three of the mandates under subsection B. of the City's Landmark Designation Criteria. ASSESSMENT METHODOLOGY The landmark assessment was conducted by Jan Ostashay, Principal, of Ostashay & Associates Consulting. In order to identify and evaluate the subject property as a potential City landmark, an intensive-level survey was conducted. In order to determine If any prior survey evaluations of the property had been completed a review of the National Register of Historic Places (National Register) and its annual updates, the California Register of Historical Resources (California Register), the California Historic Resources Inventory System (CHRIS) maintained by the State Office of Historic Preservation (OHP), and any relevant files maintained by the City of Beverly Hills was conducted. For this current landmark assessment a site visit was performed and a review of original and asbuilt architectural plans, building permits, tax assessor records, and historic aerial photographs was conducted to document the property's existing condition and assist in evaluating the property for historical significance. The City of Beverly Hills landmark criteria were employed to David 0. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page 1 132

25 evaluate the local significance of the structure and its eligibility for individual designation as a City of Beverly Hills Landmark. In addition, the following tasks were performed for the study: Searched records of the National Register, California Register, and California Historic Resources Inventory System (CHRIS) list. Conducted site-specific research on the subject property utilizing architectural plans, Sanborn Fire Insurance Maps (not available for this property), city directories, newspaper articles, professional journals and magazines, historical photographs, aerial photographs, and building permits, among other available resources. Reviewed copies of original architectural plans for the residence on file with the Architecture and Design Collection, Design & Architecture Museum at the University of California, Santa Barbara, as well as early landscape plans property. Reviewed and analyzed ordinances, statutes, regulations, bulletins, and technical materials relating to federal, state, and local historic preservation, designation assessment procedures, and related programs. Evaluated the potential historic resource based upon local criteria established by the City of Beverly Hills and utilized the OHP survey methodology for conducting survey assessments. PREVIOUS SURVEY EFFORTS AND EVALUATIONS The property has been previously identified, documented, and evaluated under the City's past historic resources survey efforts. In , the City of Beverly Hills conducted a citywide historic resources survey of properties built prior to At that time, the subject property was identified and evaluated as eligible for individual listing in the National Register. In 2004, the City commissioned a citywide survey update along with a multi-family residence survey of properties over 45 years of age located within the city boundary. The subject property was once again identified and evaluated and its National Register eligibility was reconfirmed. Because it was previously assessed, the property is included in the State's CHRIS list. The property has not been formally placed on the National Register or California Register. PROPERTY INFORMATION Site and Setting. The Selznick property is located north of Sunset Boulevard and just east of Benedict Canyon Drive in the northwest section of the city. The hilly neighborhood in which it is situated contains parcels of varying size, shape, and topography that are improved with large single-family residences. These homes were designed in a variety of architectural styles dating from the 1920s up through the late 1990s. Many of the post-world War II era homes in the immediate area were built on parcels that had been sub-divided from large estates that were initially developed in the 1920s and 1930s. The subject property, which originally occupied the entire lot 27 of Tract No. 3357, now resides on a portion of the parcel, as it was sub-divided into three sections (1050 Summit Drive, 1036 Summit Drive, 1035 Cove Way) in the mid-1960s. Current improvements on the 1050 Summit David 0. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page 2 133

26 Drive site include a large two-story single-family dwelling with attached garage, paved driveway and motor court, swimming pool, and mature landscaping with hardscape elements. Architectural Description. The subject property is a very good example of the Colonial Revival style with Georgian influences as interpreted by master architect Roland E. Coate in the 1930s. The large house is regular if not symmetrical in its massing and arrangement of openings. The primary, front fafade (north) faces a paved formal motor court that is lined by a concrete curb and is anchored by a central pavilion with a pedimented front gable. Sheathed with horizontal flush shiplap siding of wood, the pediment is pierced by a decorative, circular shape cast aluminum vent grille with screen behind it. The slightly elevated main entry to the house is centered just under the massive pediment feature and is announced by an entry stoop of cast stone and concrete and an umbrella-like standing steam metal roof canopy set on lacy wrought iron supports. Behind the iron arches of the canopy, the wood panel door with brass door knocker is flat-headed and topped by a semi-circular wood carved blind fanlight transom. Wood-framed, multi-paned sidelights flank the wide entry opening that is recessed within a wood paneled vestibule. Other fenestration openings along this main elevation of the house include a series of recessed six-over-six wood sash frames with molded wood casings, soldier bond brick lintels, rowlock bond brick sills, and wood louvered shutters. The two-story west wing projecting from the front fagade features an extended first floor that once housed the original projection room. The interior of this room is lined with poured-inplace concrete to protect the rest of the house and grounds from fire, just in case the film caught fire. The early motion picture film industry used nitrocellulose film stock, commonly called of nitrate films, which was highly flammable and could spontaneously combust if not well ventilated (cellulose acetate film was later used as a safer replacement). This extended first floor is capped by a front-facing gable roof with pedimented wood sheathed gable end punctuated by a louvered attic vent. Access to the projection room is either through the centrally located wood panel entry door with arched shaped wood molded fanlight transom at the wing's north end or from within the game room/library area. The second-story of this wing extends out only slightly from the front facing wall plane and is capped by a side-facing gable roof. The side walls (east and west) are pulled back under the gable eaves to allow for built-in, integrated planter boxes adjacent to rows of multi-pane casement windows and curved fixedpane windows at the corners. The space within this area was initially designed as David O. Selznick's sleeping alcove. Wide vertical wood boarding with molded joints and dog ear bottom trim clad this upper section of the wing. The two-story east wing also projects out from the front facade and features an extended first floor that once housed the servants' quarters consisting of four separate bedrooms, a long hall way, bathrooms, and access to the exterior via a small porch and staircase off its back side. This staircase allowed the staff access to the adjacent service porch, service court, and garages. When the parcel was subdivided and the adjacent lot to the east was developed as a separate residence in the late 1960s, the eastern half of the servants' wing was removed along with the exterior staircase and attached porch. The west half of the servants' wing was then converted into a garage and a garage door was added where there was once a window and brick wall along with some landscaping on its west elevation facing the formal motor court. The north David O. Selzntck Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report pages 134

27 elevation of this wing, though now truncated, retained much of its original features under its front-facing gable roof including its pedimented wood sheathed gable end punctuated by a louvered attic vent and recessed multi-pane sash windows with brick lintels and sills. During the 1991 remodel work, a series of large air conditioning units were placed on a concrete pad just to the north of this gabled end wing. The garage door is an automated panel roll-up type. The second-story of this wing extends out to be in line with the first floor fagade of the west wing. Hence, further symmetry is achieved. The second-story of the east wing is also capped by a front-facing gable roof of similar size and features as the first floor gable. The walls are clad with wide vertical wood boarding with molded Joints and dog ear bottom trim. Fenestration includes multi-pane sash windows with brick sills, lintels, and louvered shutters; a bay window with multi-pane fixed center and canted multi-pane casements; and a pair of multi-pane casements. Original windows along the back (east) of this wing have been relocated and an additional sash window installed, as part of the 1991 work. Similar massing, dominated by a central, front gable block appears on the garden (rear) elevation. The multi-pane, six-over-six wood-frame windows on the upper story of this elevation are also recessed slightly and feature wood louvered shutters, prominent rowlock brick sills, molded casings, and soldier bond lintels. Access to the backyard is via a number of doors off the south elevation of varying type (single and double French multi-pane, etc.). Abutting the rear elevation is a paved cast stone and concrete terrace with covered pergola that is defined by trellis-like wood supports with wood base panels. Several other large fixed, multi-paned windows overlook the veranda and the garden along the first floor of this elevation, as well. The west (side) elevation is also sheathed in brick veneer and features an extended gable end, engaged brick chimney, monumental pedimented gable ends with louvered attic vents, and symmetrically placed multi-pane sash windows with brick sills and lintels and louvered wood shutters on both the first and second stories. From this elevation the two-story "sun room" addition built in 1991 is evident at the building's southwest corner. Compatible features and material were used in the design of this addition. The east (side) elevation is not visible from any vantage point but the east side of the house. It abuts rather closely to the adjacent improvement to the east at 1035 Cove Way, though a very tall, dense mature hedge of shrubs and trees provides adequate privacy between the two parcels. This hedge wraps around the entire 1050 Summit Drive parcel and shelters it from the other adjacent parcel to the south and west at 1036 Summit Drive, as well as from the street. This side of the house features brick veneer cladding at its first floor, vertical board with molded joints and dog ear bottom trim sheathing the upper story, a series of multi-pane windows (bay, casement, fixed, and sash), and two large multi-pane French doors with fixed side lites. Many of the utilities are located along this secondary, out-of-view elevation. Construction History. In October 1933, during the Great Depression, a permit was issued for the construction of a two-story, 22-room house with a valuation cost of $60,000 at 1050 Summit Drive. A separate permit for a large garage structure valued at $1,000 was also issued at that time for the same address. Another permit was obtained in March 1934 for the construction of a tennis court costing $5,000. A month later, a permit was issued for the David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page 4 135

28 building of a dressing room structure or "tennis house" as it was also noted on the permit. The improvements appear to have been completed by the end of 1934 with all construction overseen by contractor Thomas C. Sellars. The wood-frame house was designed by architect Roland E. Coate for Mr. and Mrs. David 0. Selznick. A few years later, in 1939, a permit was issued for the installation of a swimming pool with an estimated valuation cost of $3,000. The pool was placed behind the tennis house to the west. A sleeping porch was also added to one of the bedrooms upstairs that same year. Limited changes after that time were made to the property until the mid-1960s. During this period the large parcel that defined 1050 Summit Drive was subdivided into three sections and the vast size of land that the subject property occupied was substantially reduced. Because of this reduction of land the house and original landscaping were modified accordingly. To the west side of the house the original driveway, formal rose garden, and some other landscape features were removed for the development of the 1036 Summit Drive site in the early 1960s. The land for this new site also extended southward and included much of the area behind the 1050 Summit Drive house. Dozens of trees, shrubs, a vast lawn, walkways, swimming pool, and the tennis house were removed at this time. To the east side of the main house the original detached garage, paved service court, the service yard, driveway, some landscape elements, and other hardscape features were removed to become a development site for 1035 Cove Way. With this reconfiguration of land, the backyard of the main house at 1050 Summit Drive was truncated as was the servants' wing at its northeast corner (which was converted to a garage). New landscaping, which included hedges, shrubs, grass, and some trees, was planted along the perimeter of the newly subdivided parcel of 1050 Summit Drive. The original sunken tennis court became part of the 1036 Summit Drive property. A smaller swimming pool was built within the reconfigured grounds of 1050 Summit Drive just behind the main house in The next significant renovation to the property occurred in 1991, when the outdoor covered porch area at the southwest (rear) corner of the house was enclosed and converted to a formal sunroom. Just above on the second floor the original Selznick master bedroom and exterior deck were extended and a portion of the space converted for use as a sitting room. In addition, a bathroom was built out from the upstairs sleeping porch at the southeast corner of the house. During this remodel work, other renovations occurred along secondary elevations that included the installation or relocation of some windows and doors, the replacement of the louvered wood shutters that flanked all of the sash windows on the house, installation of a new standing seam copper roof canopy off the back terrace, and the reconfiguration of some interior spaces. The front elevation was not altered during this work scope. It was probably at this time, that the white paint was removed from the exterior of the house and the brick cladding left exposed. The existing motor court was, at some point, repaved in-kind and a new circular opening in the center of the court was cut and planted with a mature palm tree at the end of David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report pages 136

29 Recorded with the City of Beverly Hills include the following permitted work (exterior): YEAR DESCRIPTION OF WORK 1933 Single-family residence 1933 Garage 1934 Tennis court 1934 Tennis house 1939 Swimming pool 1939 Sleeping porch addition 1941 Cut-in light (unspecified) 1954 Convert porch to bathroom, alter fireplace, renovate windows and doors 1955 Hobby shop building 1966 Remodel garage, planter wall 1967 Entrance gates, brick pier and wood fence 1972 Retaining walls 1972 Swimming pool 1973 Open lattice cabana 1988 Re-roof with fire-treated shake 1991 Exterior renovation/remodel portions of side/rear elevations, remodel interior 1993 Series of 3-foot high retaining walls at front yard 2014 Re-plaster and re-tile existing pool Although the Selznick Residence has undergone some alterations over the years, most of them have been restricted to its interior or along secondary elevations. But for the reconfiguration of the original large parcel in the 1960s and the removal of the original Florence Yoch designed landscape features, the alterations to the subject property have been sympathetic to its overall historical and architectural character. The most notable alteration to the house, as seen from the public right-of-way, is the conversion of the original servants' wing to a garage. The remodel and addition work to the back patio area and upstairs master bedroom suite in 1991, were limited to the rear and side elevations and have not necessarily changed the building's overall massing, scale, or proportion. These changes, as seen from the public right-of-way, have not significantly altered the property's original architectural design as a Colonial Revival style building with Georgian influences, nor its historical integrity or important character-defining features. HISTORICAL CONTEXT Beverly Hills. The early settlement and development of Beverly Hills began on what was called Rancho Rodeo de las Aguas. This land was originally claimed by Mexican settlers Maria Rita Valdez and her husband Vicente Valdez around Aptly named The Ranch of the Gathering of the Waters, the swamps or "cienegas" that characterize the natural landscape were created by rain run off flowing out of Coldwater and Benedict Canyons, Vegetable farming, sheep herding, bee keeping and the raising of walnut trees were the primary agricultural activities within the rancho lands during the latter half of the nineteenth century. Several attempts at David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page 6 137

30 subdividing and establishing communities on the ranch lands were attempted during the 1860s and 1880s, but ended in failure.^ In 1906, the Amalgamated Oil Company reorganized as the Rodeo Land and Water Company. Burton Green played a leading role in formulating the plans for a garden city, located between Whittier Drive on the west, Doheny Drive on the east, Wilshire Boulevard on the south, and the foothills above Sunset Boulevard to the north.^ The syndicate hired notable California park planner, Wilbur F. Cook, Jr., to plan the new community. Cook had worked with landscape architect Frederick Law Olmsted prior to moving to Oakland in 1905 to establish his own firm. Comprised of "Beverly" in the commercial triangle between Santa Monica and Wilshire boulevards and "Beverly Hills" north of Santa Monica Boulevard, the new community was one of the earliest planned communities in southern California. Prompted largely by concern over the water and school systems, residents voted to incorporate in 1914 and created the new City of Beverly Hills. The original boundaries of the City were much the same as they are today, except for the area south of Wilshire Boulevard, annexed in 1915, and Trousdale Estates, annexed in Most of the City was open land at the time of incorporation with development scattered around Canon Drive, Beverly Drive, Crescent Drive, and the downtown triangle.^ The architecture of Beverly Hills in the years following the City's founding was dominated by the Craftsman; Mission Revival; and Period Revival styles like Tudor Revival, Colonial Revival, and Beaux-Arts Classicism. These more formal styles joined the vernacular ranch buildings that dotted the open land, creating a variegated landscape representative of a community in transition. By 1920, Beverly Hills had become a burgeoning city. Most of its lots were still vacant, but residential development was clearly underway, encouraged by movie stars Douglas Fairbanks and Mary Pickford moving into their Summit Drive house called "Pickfair." More movie stars like Will Rogers, Rudolph Valentino, Harold Lloyd, and Gloria Swanson moved to Beverly Hills in the 1920s, lending the new city a certain cachet as a hotspot for the rich and famous and further encouraging development. By 1926, the City's population had grown to 12,000 up from under 700 in 1920.^ Many of its new residents lived in multi-family housing as well as single-family residences in the southern part of town, typically in either Moderne styles or Period Revival styles like Spanish Colonial Revival, French Norman, Tudor Revival, or Colonial Revival. Commercial designs increasingly featured Art Deco and Streamline Moderne styles, reflecting the latest trends of the time. The upper-middle class neighborhoods continued the tradition of sophisticated Period Revival houses typical of any affluent part of Southern California in the 1920s and 1930s, although like their even larger and wealthier neighbors to the north, they began to display more extravagant and theatrical tendencies. ^ Beverly Hills Historic Resources Survey , pg. 5. ^ Ibid, pp ^ ibid, pg. 11. ^ PGR Services Corp., Historic Resources Survey, Part I: Historic Resources Survey Update and Part li: Area 4 Multi- Family Residence Survey, p. 14. David 0. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page? 138

31 The pinnacle of the city's 1920s through the 1940s residential development was the construction of massive mansions in the elite estate neighborhoods in the northern foothills of the community, with Mediterranean-influenced styles like the Italian Renaissance Revival, Spanish Colonial Revival, and the classically inspired Colonial Revival style appearing on increasingly grander scales. Architects like Robert D. Farquhar, Gordon Kaufmann, Wallace Neff, Ralph C. Flewelling, Roland E. Coate, Paul R. Williams, Gerard R. Colcord, Roy Sheldon Price, and Elmer Grey left their mark on Beverly Hills' residential, commercial, and institutional built environment and their single-family residential designs embodied the styles most closely associated with Beverly Hills as a place of luxury and sophistication. The estates of real estate magnates, oilmen, and Hollywood producers mingled with those of movie stars in the hills above Sunset Boulevard, drawing tourists, as well as would-be residents to the rapidly growing, largely affluent community of Beverly Hills. By the end of World War II, much of Beverly Hills was fully developed, but was still growing in density, resulting in the subdivision of some large estates and the demolition of older building stock for new residential and commercial development. The city's commercial district gained a number of professional occupants and Beverly Hills became less of a bedroom community to Los Angeles and more of a destination in and of itself. Single-family residential development continued to feature Period Revival styles, although the 1950s saw the beginning of the Modern movement in the city. In 1955, the Trousdale Estates neighborhood, just north of the subject property, was created from the subdivision of the former Doheny family ranch land. The most common styles of architecture associated with the new homes being constructed included Mid-century Modern, Contemporary Ranch, and Hollywood Regency. Many of the newer homes were designed by notable master architects such as Cliff May; Buff, Straub and Hensman (Buff and Hensman in later years); Lundberg, Armet & Davis; Welton Beckett; Paul Laszio; James Dolena; John Elgin Woolf; Paul R. Williams; and Harold Levitt. By the 1980s, new construction in Beverly Hills was scattered throughout the city on undeveloped properties in the hills and on redeveloped parcels in the residential and commercial sections of the "flats." Beverly Hills' pattern of increasingly dense urbanization has continued into the present. Some of the City's older housing stock, particularly in the residential section of the "flats," has been replaced with monumental contemporary style residences designed by noted architects of world-renowned recognition. Nonetheless, in considering the City's overall development its long lineage of high quality residential and commercial architecture serves as a physical manifestation of the City's rich and diverse architectural heritage Summit Drive. Writer and motion picture producer David 0. Selznick was a titan of the film industry in the 1930s and 1940s, and was considered Hollywood royalty when he purchased a large parcel of land in the hills of the City and built his family home. Located at the confluence of Summit Drive and Cove Way, the David 0. Selznick Residence is one of the most celebrated homes in Beverly Hills. Selznick and his wife Irene, daughter of movie mogul Louis B. Mayer, entertained lavishly, and their parties helped to create the Hollywood legend. David O. Selznick is best known for producing the classic film "Gone with the Wind" in David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report pages 139

32 Built in 1933 and completed a year later, the residence was carefully chronicled in the local press and in fan magazines around the world. A brief article in the Los Angeles Times dated from October 1, 1933, announced the construction of the large two-story with basement residence for Mr. and Mrs. David 0. Selznick and noted its architect as Roland E. Coate. Another Los Angeles Times article from early December 1933, references the excavation of more than 16,000 cubic yards of earth on the site and the use of more than 100,000 feet of lumber for the construction of the large residential structure. The property was featured in the Architectural Record in June of 1938, in California Arts and Architecture in 1936, and in Architectural Digest, Landscaping was by the prominent landscape architectural firm of Florence Yoch and Lucille Council. The home received an honorable mention from the New York Architectural League in its competition for As referenced in the 1936 California Arts and Architecture \ourna\, "In this house...mr. Coate has combined brick veneer, green shutters, vertical boards, and trelliage with a delicate skill that would have received more than honorable mention had we been on the jury." The estate was located on roughly a two-and-a-half acre parcel close to the estate of Charles Chaplin, Mary Pickford, and Tom Mix. The home and grounds are the epitome of the Hollywood lifestyle, which was untouched by the Depression. It was designed with several bedroom suites, extensive servants' quarters and separate servants' dining area, a large game/film room, living room, morning room, dining and breakfast areas, a nurse's room, enclosed sleeping porch, and a fire-proof projection room. The main rooms opened onto a backyard area with a wide lawn that overlooked all of Beverly Hills. An exterior pergola-covered terrace stretched between the living room and breakfast area and a Beaux-Arts designed parterre rose garden was set off to the immediate west of the house. Beyond the expansive lawn was a swimming pool and tennis court. A tennis house with a play room in the center between the men's and women's dressing areas was sited along the west side of the sunken court. Although the grounds were subdivided in the early 1960s, from public view the Selznick house has not been substantially altered and retains the feeling of a much larger piece of property. A newer pool now sits nearer the home and the tennis court has become part of the adjacent property at 1036 Summit Drive (the tennis house and original swimming pool were removed for the construction of the 1036 Summit Drive house). According to Irene Selznick ( ) the goal was to "achieve the impossible," and build a house "in the country and yet in the city."^ She settled on a hilltop lot down the road from Pickfair and across from Charlie Chaplin's house and within walking distance of the Beverly Hills Hotel. To find an architect, Irene Selznick traveled through neighborhoods and "out to respectable Pasadena, which yielded half a dozen houses, each quite different from the others. Everything she liked was by a man named Roland Coate." Hence, he became her architect. The new home was designed with the most modern conveniences available. Irene helped with the efficient layout design of the kitchen and pantry areas, as well as the bathrooms.^ There was a separate projection booth that was insulted with concrete for fire-proofing purposes and ^ Thomson, David. Showman: The Life of David O. Selznick, p Ibid., p ^ Ibid., p David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page 9 140

33 had its own exterior access door adjacent the game room so that Selznick could screen movies, review screen tests, view dailies, and have movie night with his family. His master bedroom windows upstairs were electronic so that he could open and close them automatically without getting out of bed.^ This master bedroom also had an adjacent "bed alcove" area, which was set over a portion of the game room. The original detached garage and paved service court (now demolished) were to the east of the main house and service yard. This "back of house" service area was accessed either directly from the street via its own driveway or by a narrow driveway that was linked around to the main motor court area. Landscaping of the grounds was a monumental fete under taken by landscape architect Florence Yoch and her partner Lucille Council. Yoch began her work on the Selznick landscape plan when the house was already under construction. She sketched directly on construction photographs to show the placement of the trees, plantings, and hardscape features. The defining feature of her design was a vast lawn with mature trees that occupied a quarter of the property on the south side and was bordered on the east by a tennis court with lights for nighttime games.^ She also designed the parterre rose garden at the west side of the house and lined the perimeter of the property with shrubs and more trees to provide privacy from the street. The Beverly Hills house was decorated in elegant but unostentatious style. The staff included a maid, personal maid, nurse and relief nurse for the two boys, chauffeur, and two-full time gardeners.^^ Two shifts of cooks also remained on duty just in case Selznick wanted a meal at any hour of the day or night. The Selznick family resided there for several years. However, after fifteen years of marriage the Selznicks separated in 1945, and formerly divorced in January David Selznick moved in with actress Jennifer Jones, who he married in July Irene Selznick kept the house, but moved to New York and became a successful producer of Broadway plays. During that time, she let some of her friends stay at the Beverly Hills Summit Drive home, including Katherine Hepburn. Irene Selznick eventually sold the 1050 Summit Drive property to Edward L. Doheny III in 1953, who was raised at the Beverly Hills estate "Greystone." It was just a few years later that Irene began selling off small portions of the parcel along its southern end. Doheny owned and occupied the residence until The property was then sold to Robert Wasserman a business, real estate investor who subdivided the large lot into three distinct sections and built an adjacent single-family residence at 1036 Summit Drive in The residential improvement to the immediate east at 1035 Cove Way was completed in 1970, and required the removal of the detached garage, service yard, paved service court, driveway Ibid., p Waiters, Sam. Houses of Los Angeles, , vol. II., p " Ibid., p " Yoch, James. J. Landscaping the American Dream: The Gardens and Film Sets of Florence Yoch, , p Thomas, Bob. Selznick, p. 83 David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

34 connector between the service court and formal motor court, and a portion of the servants' quarters wing at 1050 Summit Drive. The subject property was briefly owned by entertainer Sammy Davis Jr. in the late 1960s, who then sold it to real estate investor David Murdock. Other owners of the property included media mogul Frederick Woodruff 'Ted" Field, television host Ed McMahon and his wife Victoria, and real estate investor Alan Joelson. It was recently purchased by Benedikt Taschen, a German publisher and contemporary art collector, and his wife Lauren. David O. Selznick. As mentioned, the original owner of the property, David O. Selznick ( ), was one of the "wunderkinds" of the film industry, his most famous production being the classic motion picture "Gone with the Wind," which he produced in Although he was a relatively independent producer, he worked for a time at both Paramount and for his fatherin-law at Metro-Goldwyn-Mayer before founding Selznick International in David Oliver Selznick was born on May 10, 1902, in Pittsburgh, Pennsylvania. He was the youngest of three sons born to Lewis and Florence (Flossie) Selznick. The boys were raised in New York City. Their father made his fortune in early silent moving pictures, which had a great influence on David. David studied at Columbia University and worked as an apprentice for his father. Lewis' company eventually went bankrupt in Despite this setback, David Selznick still wanted to achieve fame in the movie business. He landed in Hollywood with his brother Myron in 1926, and used his father's connections to find a job at Metro-Goldwyn-Mayer (MGM). He quickly advanced at MGM, but moved to Paramount Studios where he assumed the position of associate producer. He married Irene Mayer, daughter of MGM mogul Louis B. Mayer, in A year later, he joined RKO as Head of Production. His years at RKO were fruitful, and he worked on many films, including King Kong (1933). In 1933, he returned to MGM where his father-in-law, Louis B. Mayer, was studio CEO. At MGM Selznick produced the all-star cast movie "Dinner at Eight" (1933), "David Copperfield" (1935), "Anna Karenina" (1935), and "A Tale of Two Cities" (1935). Despite the output of successful movies at the various studios Selznick wanted to be an independent producer with his own studio. In 1935, he formed Selznick International Pictures, leased RKO Culver City Studios and back lot, and distributed his films through United Artists. By this time, he and his wife Irene were living at their newly built estate on Summit Drive in Beverly Hills, which was designed by noted Pasadena architect Roland E. Coate. There they raised two sons, Jeffrey ( ) and Daniel (1936-). At Selznick International Pictures David Selznick's successes continued with classics such as "The Garden of Allah" (1936), "The Prisoner of Zenda" (1937), "A Star is Born" (1937), "The Adventures of Tom Sawyer" (1938), "The Young at Heart" (1938), "Intermezzo" (1939), and "Gone with the Wind" (1939), which won eight Oscars and two special awards. Selznick also won the Irving G. Thalberg Memorial Award that same year. In 1940, he produced his second Best Picture Oscar winning movie, "Rebecca," the first Hollywood production for British director Alfred Hitchcock. Selznick had brought Hitchcock over from England, launching the director's American career. After "Rebecca" Selznick closed Selznick International Pictures and took some time off. His business activities included the loan David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

35 of his contracted artists to other studios, including Alfred Hitchcock, Ingrid Bergman, Vivien Leigh, and Joan Fontaine. In 1944, he formed The Selznick Studio and returned to producing pictures with the success of the movie "Since You Went Away," which he wrote. He followed that with the Hitchcock films "Spellbound" (1945) and "The Paradine Case" (1947), as well as "Portrait of Jennie" (1948), a vehicle for actress Jennifer Jones. Irene and David Selznick had separated in 1945, and divorced in 1948 (formally decreed in 1949). Irene moved to New York and produced "A Streetcar Named Desire" on Broadway in Selznick married Jennifer Jones in 1949, whom he discovered early in her career and mentored. They went on to have one daughter, Mary Jennifer Selznick ( ), who committed suicide by jumping from a multi-story skyscraper in Los Angeles on May 11, David 0. Selznick stopped making films in 1948 and spent much of his time nurturing the career of his second wife. In the early 1950s, he ventured into television producing extravagant specials. His last motion picture, the big budget production "A Farewell to Arms" (1957) starring Jennifer Jones and Rock Hudson was ill-received. Selznick was not a healthy person and suffered a series of heart attacks beginning in On June 22, 1965, he was stricken with a final heart attack and died at the age of 63 years. Following his death he was interred at Forest Lawn Memorial Park in Glendale, California alongside his brother Myron Selznick ( ) in the family crypt. For his contribution to the motion picture industry, Selznick was posthumously awarded a "star" on the Hollywood Walk of Fame at 7000 Hollywood Boulevard, in front of the historic Hollywood Roosevelt Hotel on October 26, Roland E. Coate, Sr., FAIA, Architect. The Georgian influenced Colonial Revival estate at 1050 Summit Drive was designed by master architect Roland E. Coate of Pasadena. Roland Eli Coate was born in Richmond, Indiana in After attending Earlham College for two years, he transferred to Cornell University where he completed his degree in architecture in After school, Coate settled in New York and found work at the Trowbridge and Ackerman architectural firm. After serving overseas during World War I, he moved to Los Angeles and worked for the distinguishing Pasadena architect, Reginal Johnson. While he was a junior partner in the firm, Coate helped to design St. Paul's Episcopal Cathedral in downtown Los Angeles and All Saints Church in Pasadena. In 1922, Coate and another young architect became partners in the firm, thereby forming Johnson, Kaufmann & Coate Architects. By 1925, the firm had disbanded and Coate opened his own practice in Los Angeles. His first solo project was the All Saints Episcopal Church in Beverly Hills, for which he received an honor award from the Southern California Chapter of the American Institute of Architects. Coate went on to design other buildings including the Pasadena Town Club, Caltech's Hale Solar Laboratory, and a number of schools and hospitals in the Southern California area. He was; however, most prolific designing private residences for his affluent clients in Pasadena, San Marino, Los Angeles, Beverly Hills, Santa Barbara, Montecito, and elsewhere. During World War II, Coate moved to Birmingham, Alabama, where he was associated with the engineering construction firm of Bectel and McCone. After the war, he returned to Southern California and continued his practice a few years later with an office in Pasadena. Coate was professionally active well into the 1950s designing late Period Revival and Ranch Style homes. David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

36 Coate was married to Gladys Robinson and they had three children, William, Susanne, and Roland Jr. Roland Jr. went on to become an architect In the 1960s. Roland E. Coate, Sr. passed away In San Diego on October 17,1958. As for his design portfolio and philosophy of work, Coate Sr. was primarily a residential architect who was very much concerned with the ease and flow of his designs and a sense of unity and simplicity. Most of his designs present a formal exterior to the street, but their Interiors are much more Informal and open to the outdoors. His houses were known for their central hallways with direct access to all public rooms and generous patios that leant themselves to outdoor living. Coate's educational and professional background well suited him to the affluent and aesthetically conservative clientele for whom he would build. He became well-recognized for his single-family houses In the greater Pasadena and West Los Angeles areas. Frank Capra, David 0. Selznick, Jack L. Warner, George Cukor, Myrna Loy, Gary Cooper, Robert Taylor, and Barbara Stanwick were among his clients. He worked In all of the leading historic modes, Tudor, Georgian, Spanish Colonial, Colonial, French, and Monterey. In the Beverly Hills area he Is also credited with designing the Richard Fudger residence at 1103 San Ysldro Road (1931), the Bernard A. Forrest house at 612 North Beverly Drive (1931), the Jack L. Warner estate at 1801 Angelo Drive (1937), and the Leigh Battson estate at 1130 Schuler Road (1955). Florence Yoch, Landscape Architect. Born In 1890 In Santa Ana, California, Florence Yoch was a highly respected garden designer and one of the few female professionals working In the field during the early twentieth century. As a distinct figure In the history of American landscape design, Yoch's gardens were widely acclaimed In the western United States. Yoch grew up In an affluent family and studied at the University of California, Berkeley, Cornell University, and the University of Illinois, Urbana-Champaign, where she completed a degree In landscape architecture In When she established her professional garden design business In Pasadena In 1918, she went on to design landscapes for celebrity figures and movie sets for some of the most memorable movies In Hollywood's history. As she was establishing herself In the male-dominated profession, Yoch met and hired Lucille Council, another female landscape architect. Born In Massachusetts, Council had studied at the Cambridge School of Domestic and Landscape Architecture. The two formed a partnership In 1925 and worked mainly In Pasadena, San Marino, Beverly Hills, and Monteclto. Yoch was the primary designer, and Council was In charge of the office. Yoch's gardens reflected the lifestyle of her Southern California clients and ranged from the conventional Pasadena homes to the more flamboyant estates for Hollywood figures such as producers Jack Warner, David 0. Selznick, and director George Cukor. Yoch's work encompassed a broad range of landscape types from botanical gardens, magnificent estates and public courtyards, to parks and movie sets. Yoch also created the landscape designs for the David O. Selznick classic movie "Gone with the Wind," which was built on the back-lot of Culver Studios In Culver City, as well as for the films "How Green Was My Valley" and "The Garden of Allah," among others. After World War II, Yoch simplified her designs and made the gardens easier to maintain for the David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

37 workers who were installing and caring for them. In 1960, she and Council settled in the Monterey Peninsula area. After Council's death in 1964, Yoch continued to work until She passed away one year later at the age of 82 years. Colonial Revival Architecture. The Colonial Revival style encompasses a number of architectural traditions, including English, Dutch, French, and Spanish colonial influences that were combined during the late-nineteenth and early-twentieth centuries to create buildings that celebrated Colonial America. The restoration of Colonial Williamsburg in the 1930s, refueled interest in the style, and it remained popular into the post-world War II era. Thus, large formal Georgian homes. Federal townhouses, columned mansions. Cape Code cottages, gambrel roof houses can fall under the Colonial Revival heading, so long as the entrances, cornices, and windows are fitted with classical details. Colonial Revival buildings are usually one or two-stories in height, and are sometimes symmetrical but frequently asymmetrical with rectangular, L-shaped, or irregular plans. They typically feature side gable or cross gable roofs, sometimes with gabled dormers; exterior walls clad in horizontal wood siding and occasionally brick or plaster/stucco; prominent brick chimneys often located at the gable ends of the house; double hung, multi-pane wood-frame windows usually with flanking louvered wood shutters; paneled wood doors, sometimes with sidelights, transom lights, fanlights, or louvered wood shutters; and the restrained use of other Classical details. Some Colonial Revival houses have small, centered pedimented entry porticos while others have shed-roofed porches supported on wood posts or columns that extend along the length of the primary facade. A variant of the Colonial Revival style, the Georgian Revival looked specifically to the architectural vocabulary of the Georgian period. The Georgian style was originally popular in the 18^^ century and was used frequently in early colonial New England settlements. Stately, balanced, and symmetrical, these homes imitated the larger, more elaborate Georgian style dwellings that were being built in England at the time. Rooted in the Classical design principles of ancient Greece and Rome, this style variant came to America by way of British pattern books and an ever-swelling wave of masons, carpenters, and joiners who emigrated from England. The term "Georgian" generally refers to a period of architectural development in America from 1700 to the Revolution (during the reigns of King George I, II, and III). An interest in the early English and Dutch houses of the east coast caused a resurgence of the style called Georgian Revival (as well as Colonial Revival, Dutch Colonial Revival, etc.). The Georgian Revival style variant as well as its prescribed. Colonial Revival style, remained popular domains of fashionable architecture and were favored for the large residences of wealthy clients. This particular revival style is characterized by a formal arrangement of parts and employs a symmetrical composition enriched with robust classical elements. Designs incorporated characteristic features of Colonial buildings, including pedimented porticos, columns, pedimented dormer parapet, prominent cornice, brick cladding, gable or hip roof, wood lap siding, multi-pane windows (usually with shutters), and in the grandest of the style the front fagade is dominated by a pedimented, usually projecting, pavilion and elaborate entry portico and door surround. David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

38 HISTORICAL SIGNIFICANCE ASSESSMENT FRAMEWORK Evaluation Criteria. In analyzing the historical significance of the subject property, criteria for designation under the City's local landmark program was considered. Additionally, consideration of historical integrity and the State Office of Historic Preservation (OHP) survey methodology was used to survey and assess the relative significance of the property. City of Beverly Hills Landmark Criteria. The City's Historic Preservation Ordinance (Municipal Code Title 10 Chapter 3 Article 32; BHMC ) authorizes the Cultural Heritage Commission (CMC) to recommend the nomination of properties as local landmarks to the City Council. The Council may designate local landmarks and historic districts by the procedures outlined in the ordinance. The Preservation Ordinance also establishes criteria and the process for evaluating and designating properties as potential local landmarks. An eligible property may be nominated and designated as a landmark if it satisfies the following requirements: A. A landmark must satisfy all of the following requirements: 1. It is at least 45 years (45) years of age, or is a property of extraordinary significance; 2. It possesses high artistic or aesthetic value, and embodies the distinctive characteristics of an architectural style or architectural type or architectural period; 3. It retains substantial integrity^^ from its period of significance; and 4. It has continued historic value to the community such that its designation as a landmark is reasonable and necessary to promote and further the purposes of this article. B. in addition to the requirements set forth in Paragraph A above, a landmark must satisfy at least one of the following requirements: 1. It is listed on the National Register of Historic Places; 2. It is an exceptional work^'^ by a master architect;^^ " In BHMC , the Ordinance defines "substantial integrity" as "integrity that is considerable in importance, value, degree, amount, or extent, and that continues to exist, or would have continued to exist, but for work done without appropriate permits after the enactment of this architect." In BHMC , the Ordinance defines "exceptional work" as "a remarkably superior example of architectural work that has been recognized as such by members of the architectural community. At a minimum, the work's exceptional quality shall have been documented by at least one of the following: a) it was the subject of a major architectural award; b) it was substantially discussed (i.e. not just mentioned) and photographically depicted in at least two (2) publications (e.g. a book, treatise, trade magazine article, film, or set of photographs made available to the public by an institutional archive) authored by acknowledged experts in the field of architecture. A monograph or publication made available to the public solely in electronic form and without any reasonable expectation of compensation to the author, or substantially authored by the architect of the work, shall not count toward this minimum." In BHMC , the Ordinance defines "master architect" as "an architect of widely recognized greatness in David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

39 3. It is an exceptional work that was owned and occupied by a person of great importance, and was directly connected to a momentous event in the person's endeavors or the history of the nation. For purposes of this paragraph, personal events such as birth, death, marriage, social interaction, and the like shall not be deemed to be momentous; 4. It is an exceptional property that was owned and occupied by a person of great local prominence; 5. It is an iconic property;^ or 6. The landmark designation procedure is initiated, or expressly agreed to, by the owner{s) of the property. Historical Integrity. According to the National Park Service, "Integrity is the ability of a property to convey its significance." In addition to meeting the criteria of significance, a property must have integrity. Integrity is the authenticity of a property's physical identity clearly indicated by the retention of characteristics that existed during the property's period of significance. Properties eligible for local landmark designation must meet at least two of the local landmark designation criteria and retain enough of their historic character or appearance to be recognizable as historical resources and to convey the reasons for their historical significance. Both the National Register of Historic Places and the California Register of Historical Resources recognize the seven aspects of qualities that, in various combinations, define integrity. To retain historic integrity a property should possess several, and usually most, of these seven aspects. Thus, the retention of the specific aspects of integrity is paramount for a property to convey its significance. The seven qualities that define integrity are location, design, setting, materials, workmanship, feeling and association. The seven qualities or aspects of historical integrity are defined as follows: Location is the place where the historic property was constructed or the place where the historic event occurred. Design is the combination of elements that create the form, plan, space, structure, and style of a property. Setting is the physical environment of a historic property. Materials are the physical elements that were combined or deposited during a particular period of time and in a particular pattern or configuration to form a historic property. Workmanship is the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory. the field of architecture whose iridividuai genius influenced his or her age." In BHMC , the Ordinance defines "iconic property" as "a property that has been visited and photographed so often by residents and visitors to the city that it has become inextricably associated with Beverly Hills in the popular culture and forms part of the city's identity to the world at large." David 0. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

40 Feeling is a property's expression of the aesthetic or historic sense of a particular period of time. Association is the direct link between an important historic event or person and a historic property. Building on the definition of integrity used by the National Register of Historic Places, the City's Municipal Code under , defines integrity as "the ability of a property to convey its historical significance through its location, design, materials, workmanship, feeling, relevant association, and character-defining features." EVALUATION OF LOCAL HISTORICAL SIGNIFICANCE Application of City Landmark (Significance) Criteria. Based on the current research and the current assessment of the property located at 1050 Summit Drive, it appears to satisfy the necessary City of Beverly Hills landmark criteria for designation as a City Landmark. The property was evaluated according to statutory criteria, as follows: A. A landmark must satisfy all of the following requirements (BHMC (A)): 1. It is at least 45 years (45) years of age, or is a property of extraordinary significance. The subject property was completed in 1934, and is over 45 years of age. Therefore, the property satisfies this criterion. 2. it possesses high artistic or aesthetic value, and embodies the distinctive characteristics of an architectural style or architectural type or architectural period. The property is a very good example of the Colonial Revival style with Georgian influences. Aspects of the design reflect the traditional styles that are closely associated with grand homes of Beverly Hills during the 1920s and 1930s. Stylistic features of the Colonial Revival style incorporated in the property include the building's symmetrical composition and massing, complex gable roof shape and treatment (wood shake shingles, fascia, soffits, etc.), cladding materials (brick and shiplap wood), fenestration (sash, fixed, casement) and window treatments (brick lintels and sills, molded wood surrounds, recessed casings), wrought iron trellis-like entry canopy with recessed paneled entry vestibule and door with molded fanlight transom, and its general siting and setback on the parcel. It is visually and physically evident that the Selznick Residence embodies the distinct characteristics of a particular style, period of time, and method of construction. Therefore, the property appears to satisfy this criterion. 3. it retains substantial integrity from its period of significance. The period of significance for the subject property is 1933 to 1945, which is the David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

41 time period when the property was initially developed, constructed, and directly associated with film industry mogul David 0. Selznick. The publicly visible portions of the property, comprising the front (north) facade along Summit Drive is substantially intact. Those important features of design, materials, location, setting, workmanship, feeling, and association from this period of significance are still evident on those primary, publically visible elevations. Hence, the property appears to satisfy this criterion. 4. It has continued historic value to the community such that Its designation as a landmark Is reasonable and necessary to promote and further the purposes of this article. Because of its unique and distinguished architectural design, treasured contribution to the City's varied architectural heritage, and its direct association with a personage of great importance the property is considered to have continued historic value to the community. Therefore, the property appears to satisfy this criterion. B. In addition to the requirements set forth in Paragraph A above, a landmark must satisfy at least one of the following requirements (BHMC (B)): 1. It Is listed on the National Register of Historic Places. The subject property is not listed on the National Register of Historic Places. Therefore, the property does not satisfy this criterion. 2. It Is an exceptional work by a master architect. The David 0. Selznick Residence is the work by architect Roland E. Coate. Coate is listed in the City of Beverly Hills' List of Master Architects and meets the City's definition of "master architect." Coate was a renowned Pasadena-based architect with a substantial body of work throughout Southern California that was produced during his time with the firm Johnson, Kaufman, Coate and through his own individual practice. Developed for movie producer mogul David 0. Selznick, the Colonial Revival, Georgian influenced design of the subject property was so articulated by the architect that it was carefully chronicled in the local press and in fan magazines around the world. Its construction was noted in two Los Angeles Times articles from The property was featured in the Architectural Record in June of 1938, in the California Arts and Architecture trade magazine in 1936 and 1937, the Pencil Points design and art magazine of 1939 and 1941, and in Architectural Digest, among other professional journals. The design of the home also received an honorable mention from the New York Architectural League in its competition for Because the design of the property has been highly recognized by members of the professional architectural community since it was erected it is considered an exceptional work by a master architect. Therefore, the property David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

42 appears to satisfy this criterion. 3. It is an exceptional work that was owned and occupied by a person of great importance, and was directly connected to a momentous event in the person's endeavors or the history of the nation. For purposes of this paragraph, personal events such as birth, death, marriage, social interaction, and the like shall not be deemed to be momentous. Writer and motion picture producer David 0. Selznick was a titan of the film industry in the 1930s and 1940s, and was considered Hollywood royalty when he purchased a large parcel of land in the hills of the City and built his family home at 1050 Summit Drive. He is best known for producing the motion pictures "Gone with the Wind" (1939) and "Rebecca" (1940), both earning him an Academy Award for Best Picture. The Selznick film style dominated Hollywood as time and again he produced what everyone seemed to want: "...pictures with class and imagination that found a large and devoted audience world-wide." Selznick brought Alfred Hitchcock to Hollywood to direct "Rebecca" and launched the careers of film legends Katherine Hepburn, Vivien Leigh, Ingrid Bergman, Gregory Peck, and Jennifer Jones, among others. Because of the property's direct association with a very prominent member of the film industry whose work is well-recognized in the history of the nation the subject property appears to satisfy this criterion. 4. It is an exceptional property that was owned and occupied by a person of great local prominence. Though the subject property was owned and occupied by a person of great importance, David 0. Selznick, there is no evidence to indicate this person's activities had a substantial impact on the local history of the city. In reviewing primary and secondary sources, there is no information to suggest that he was extensively involved in the locally community outside of organizing some social events at his home for family and friends. As defined in the City's Historic Preservation Ordinance, Selznick does not satisfy this criterion. 5. It is an iconic property. Located at the confluence of Summit Drive and Cove Way, the David 0. Selznick Residence is one of the most celebrated homes in Beverly Hills. Selznick and his wife Irene, daughter of movie mogul Louis B. Mayer, entertained lavishly, and their parties helped to create the Hollywood legend. The property was "Person of great importance" is defined in the City of Beveriy Hiiis Historic Preservation Ordinance (BHMC ) as "A person vi/hose activities had a substantial impact on the history of the nation, which impact can be demonstrated through scholarly research and judgment. At a minimum, a person of great importance is someone whose name and exploits were widely known across America during his/her lifetime, and whose widespread fame continues through to the present day. A person shall not be considered to be of great importance by virtue of his/her position or title, race, gender, ethnicity, or religion." David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

43 photographed by George D. Height, a professional photographer, in 1934 for publication in various trade journals dating from the 1930s to the early 1940s. However, there are no additional collection of photographs on the property and because of its semi-secluded location has not been extensively photographed by the public or others. The property is included in the various "homes to the movie stars" tours offered in the area, but this alone does not constitute recognition as an iconic property. Therefore, the property does not appear to satisfy this criterion. 6. The landmark designation procedure is initiated, or expressly agreed to, by the owner(s) of the property. The landmark designation procedure was expressly agreed to by the owner{s) of the property. Therefore, the property satisfies this criterion. Character-defining Features. Every historic property is unique, with its own identity and its own distinguishing character. A property's form and detailing are important in defining its visual historic character and significance. It is a property's tangible features or elements that embody its significance for association with specific historical events, important personages, or distinctive architecture and it is those tangible elements; therefore, that should be retained and preserved. Character refers to all those visual aspects and physical features that comprise the appearance of every historic property. According to National Park Service Brief 17, Architectural Character: Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character, character-defining features include the overall shape of a property (building, structure, etc.), its material, craftsmanship, decorative details, interior spaces and features (as applicable), as well as the various aspects of its site and immediate environment (form, configuration and orientation). The Secretary of the Interior's Standards for the Treatment of Historic Properties defines historic character by the form and detailing of materials, such as masonry, wood, stucco, plaster, terra cotta, metal, etc.; specific features, such as roofs, porches, windows and window elements, moldings, staircases, chimneys, driveways, garages, landscape and hardscape elements, etc.; as well as spatial relationships between buildings, structures, and features; room configurations; and archaic structural and mechanical systems. Identifying those features or elements that give a historic property visual character and which should be taken into account and preserved to the maximum extent possible is important in order for the property to maintain its historical significance. The character-defining features associated with the 1050 Summit Drive residence are those exterior features on the property that reflect and define its Colonial Revival, Georgian influenced architectural style, as designed by Roland E. Coate, and its association with film producer David 0. Selznick. Such features include, but are not limited to the following: Location, symmetrical massing, scale and proportion, and siting of the main residence and paved motor court on the parcel David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

44 Primary elevations fronting motor court (north elevation of central bay; west and north elevation of eastern projecting bay; east, west, and north elevation of western projecting bay), west (side) elevation, rear (south) elevation Symmetrical two-story fagade with prominent central entry bay and extending flanking wings Moderate-pitched complex gable roofs with wood shingle (shake) covering, slight overhanging boxed eaves, flat fascia boards Pedimented gable ends clad with wide horizontal flush shiplap wood siding, front and rear gable ends pierced by a large decorative, circular shape central vent grille (cast aluminum) with screen behind; arched and rectangular shaped louvered vent openings at other gable ends Brick clad chimneys with concrete caps (four chimneys) Fenestration pattern and placement of window/door openings along front facades facing motor court, west side and rear elevations Fenestration type and features: multi-pane sash, multi-pane fixed, multi-pane casement of wood or steel frame; wood molded recessed casings, soldier bond brick lintels, rowlock brick sills, wood louvered shutters; bay windows with flat roof or shed-like roof covers; curved window frames at second-story master bedroom alcove Exterior cladding of brick veneer (running bond, painted white), wide vertical shiplap wood siding with molded joints and dog ear trim bottom along second-story projecting wings of front facade, second-story side elevations, and portions of second-story rear (south) elevation Front entry portico with raised cast stone and concrete stoop, wrought iron umbrella like metal standing seam roof canopy with cast metal finial set on lacy wrought iron arched shaped opening supports; at backside of canopy supports the "1934" dated insets; inset hanging light metal framed fixture within canopy cover Front door assembly: recessed wide six panel wood door with brass knocker, decorative metal door knob, and molded surrounds; recessed multi-panel wood entry vestibule; flanking multi-pane wood-framed side lites with base panels and molded surrounds; and molded wood carved fanlight blind transom Exterior doors: multi-panel wood doors; projector room door with louvered wood shutters, arched shape rowlock brick header, and molded wood blind fanlight transom, raised concrete landing with score lines; French doors off set at rear elevation Paved front motor court partially framed by low-rise concrete curbing with bullnose top finish and offset curved corners Rear porch cast stone and concrete terrace with cast stone steps and extended wood lattice pergola with lacy trellis-like supports and wood molded base panels Exterior planters at second floor master bedroom alcove David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

45 Exterior decorative metal hanging light fixtures and wall sconces at entry ways (material, finish, texture, style, size and shape, location and placement, color) CONCLUSION The David 0. Selznick Residence located at 1050 Summit Drive appears to satisfy the City's criteria for designation as a local Landmark as required in Section of the Historic Preservation Ordinance (BHMC Title 10 Chapter 3 Article 32). This site appears to satisfy all of the mandates of subsection A, and three of the mandates under subsection B. David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

46 BIBLIOGRAPHY Ancestry.com. United States Census records (database on-line): 1900, 1910, 1920, 1930,1940; World War I draft registration records; World War 11 draft registration records; voter registration records, city directory files. Provo, Utah, Anderson, Robert S. Beverly Hills: The First 100 Years. New York: Rizzoli, Architect and Engineer. Architect and Engineer, vol San Francisco: Architect and Engineer, October Basten, Fred E. Beverly Hills: Portrait of a Fabled City. Los Angeles: Douglas-West Publishers, Benedict, Pierce E., ed. History of Beverly Hills. Beverly Hills: A.M. Cawston, Beverly Hills Public Library, Historical Archives Collection. Bricker, Lauren Weiss. "Roland E. Coate: Furthering an Architectural Inheritance," Johnson, Kaufmanr), Coate: Partners in the California Style. Claremont, California: Capra Press, "David Oliver Selznick." Encyclopedia of World Biography. Encyclopedia.com. (August 7, 2018). Davis, Genevieve. Beverly Hills: An Illustrated History. Publications, Inc., Northridge, California: Windsor Entenza, John. California Arts & Architecture. Los Angeles: John Entenza, June Entenza, John. California Arts & Architecture. Los Angeles: John Entenza, Gebhard, David and Robert Winter. Architecture in Los Angeles. Salt Lake City, Utah: Peregrine Smith Books, Gebhard, David and Robert Winter. An Architectural Guidebook to Los Angeles. Salt Lake City, Utah: Gibbs Smith Publishers, Grimes, Theresa and Mary Jo Winder. "Residential Period Revival Architecture and Development in Pasadena from ," prepared for the City of Pasadena, Gross, Michael. Unreal Estate. New York: Broadway Books, Harris, Gloria G. and Hannah S. Cohen. Women Trailblazers of California: Pioneers to the Present. Charleston, South Carolina: History Press (Arcadia Publishing), David 0. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

47 Historic Resources Group and Pasadena Heritage. Cultural Resources of the Recent Past Historic Context Statement Report: City of Pasadena, Hollywood, California: Historic Resources Group, Historic Aerial Images, Accessed at Holliday, Peter J. American Arcadia: California and the Classical Tradition. New York: Oxford University Press, Hunter, Paul Robinson, ed. and Walter L. Reichardt. Residential Architecture in Southern California Santa Monica, California: Hennessey + Ingalls, Johnson Heumann Research Associates. Beverly Hills Historic Resources Survey Final Report. Prepared for the City of Beverly Hills, Jones & Stokes, ICF. "City of Beverly Hills Historic Resources Survey Report, Survey Area 5: Commercial Properties." Prepared for the City of Beverly Hills, June 2006, rev. April Leitereg, Neal J. 'In Beverly Hills, Oscar and Architectural Pedigree for $19.9 Million.' Los Angeles Times, February 26, Lockwood, Charles. "The Houses that Made Hollywood (the homes of Mary Pickford and Douglas Fairbanks; George Cukor; Dolores del Rio and Cedric Gibbons; and Jack L. Warner are highlighted)," Town & Country, vol. 153, no. 5233, n.d., p Los Angeles County Tax Assessor Information. Los Angeles Public Library. On-line historical and image database archives and files. Los Angeles Times. "Large Dwelling to Be Erected." October 1,1933, p. 19. Los Angeles Times. "Large Dwelling to Be Erected." December 3,1933, p. 17. Los Angeles Times. "New York League Accords Honor to Los Angeles Architecture." March 8, 1936, p. v3. Los Angeles Times. "Stars Move Frequently to New Homes." December 19,1937, p. Cl. New York Times. David O. Selznick, 63, Producer of 'Gone with the Wind,' Dies. June 23,1965. No Author. Pencil Points, vol. 20, no East Stroudburg, Pennsylvania, No Author. "Words about California," Pencil Points, vol. 22. East Stroudburg, Pennsylvania, May Ovnick, Merry. Los Angeles: The End of the Rainbow, Los Angeles, California: Balcony Press, 1994 David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

48 PGR Services. "Historic Resources Survey, Part I: Historic Resources Survey Update and Part II: Area 4 Multi-Family Residence Survey." Prepared for the City of Beverly Hills, June Polk's City Directories, City of Beverly Hills. ProQuest Historical Newspapers: Los Angeles Times ( ). Regan, Michael. Stars, Moguls, Magnates: The Mansions of Beverly Hills, Bel Air, Holmby Hills and Vicinity. Los Angeles: Regan Publishing Company, "Residence of Mr. and Mrs. David 0. Selznick, Beverly Hills: Roland E. Coate, architect." Architectural Digest, vol. 9, no. 3,1934. Sanborn Fire Insurance Company. Sanborn Fire Insurance Maps, Beverly Hills. 1922,1950,1951. Selznick, David. Memo from David O. Selznick. New York: Viking Press, Selznick, Irene Mayer. A Private View. London: Weidenfeld and Nicholson, Thomas, Bob. Selznick. New York: Doubleday & Company, Thomson, David. Showman: The Life of David O. Selznick. New York: Alfred A. Knopf, United States Department of the Interior. National Register Bulletin 15. "How to Apply the National Register Criteria for Evaluation." Washington, D.C.: National Park Service, Interagency Resources Division, United States Department of the Interior. National Register Bulletin 16, "Guidelines for Completing National Register Forms." Interagency Resources Division, Washington, D.C.: National Park Service, United States Department of the Interior. National Register Bulletin 24, "Guidelines for Local Surveys: A Basis for Preservation Planning." Washington, D.C.: National Park Service, Interagency Resources Division, United States Department of the Interior. Preservation Brief 17. "Architectural Character - Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character." Washington, D.C.: National Park Service, Interagency Resources Division, 1982 rev. Wanamaker, Marc. Images of America: Early Beverly Hills. Charleston, South Carolina: Arcadia Publishing, Wanamaker, Marc. Images of America: Beverly Hills Charleston, South Carolina: Arcadia Publishing, Watters, Sam. Houses of Los Angeles, , vol. II. New York: Acanthus Press, David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

49 Western Architect and Engineer. Western Architect and Engineer, vol Portland, Oregon: McGraw-Hill Company, October Whiffen, Marcus. American Architecture Since 1780, A Guide to the Styles, Cambridge, Massachusetts: MIT Press, Yoch, James J. Landscaping the American Dream: The Gardens and Film Sets of Florence Yoch, New York: H.N. Abrams, David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

50 APPENDIX Vicinity Map Location Map Assessor Parcel Map Site Map (current) Site Map (1991) Plot Plan (1933) Architectural Plans Ephemeral Material Photographs (current) David O. Selznick Residence, 1050 Summit Drive City Landmark Assessment and Evaluation Report page

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52 o. 9k-. -V - >. Pohonv 'if. - ' ^ \ 1 \ -S: 1 ' fi "i-zi" V i- ' ri""' - ': " ' "). -.1 S--- ' ' J/- -^^~:"y':"\- - ". '>V,...\,; «(iftta,aiff A ; -./ri- :..' ^ 1-.. A',: /' ' '! ^ -^ '.jl '" ',1 '- ' ^ % '^ > V -'*> "> '> ' : V-TT-n V-.. ^ " - \ '% \ ' '1 - ' y /A... A -, A:::^;-AV'-A >^-V'V- :v- \\ ;. / -.! {\^,_J. - JV -ra. \"' -V...A. CIT r A-'aX r-at:'. A ;-LA^-a,- \. \. : "' 7- f -r-i \ f'., a:-., i L.y yu SHIlMlt is/y- tr^--v^. an*"" ' \- -\ r- ^v; VIRTUAL t^terlv?, fewllls, v_0 \ e Copyrvghl 2010 C«y of Bovarty Hn«. An rtgfds remtfoo. Afthougn an malw ovwy often to provide sccursia dels herein, (hit map ia onfy repreaentaoonal and no q wananoaa npreuad or implwd m I Projection: Web Mercator Author: OAC Date: 4 September Summit Drive Vicinity Map 160

53 LoccUiC)! '] Mar Legend I I Parcels a i Notes - '-/fr' 1050 Summit Drive Beverly Hills, CA 1: 2,257 WGS_1984_Web_Mercator_Auxiliary_Sphefe <0 Latitude Geographies Group Ltd. 0.1 Miles This map is a user generated static output from an Internet mapping site and is for reference only. Data layers that appear on this map may or may not be accurate, current, or otherwise reliable. THIS MAP IS NOT TO BE USED FOR NAVIGATION 161

54 4348 I! DETAIL A" NO 3CALE e.lbo-si f -j t. f tvc3'9 t- 0 SB S- '3 S3! 6-60 ti-i! -oc 700ft2493C 70033/.-^. SC3S3' ^eo.j/ 73036/ }S, Cf MiiiyjTJj'n» - V?W-A- /7?f? ^AYirK Most N Cor Tr. He.!6A S detail's NO ^ALE Si / it TRACT NO M. B (5-16 JRACT NO._29!5 M.B TRACT. NO, M. B. "eio A. SUMMIT dr. CODE 2410 JRACT. NO, M.B SUMMIT DRIVE, BEVERLY HILLS. CA - PARCEL MAP for UEV. ASSMT <i:)46-19 S l COUNTY OF LOS AN6ELES. CALIf, 162

55 IMt C Copy^t 2010 Cty of Bevorfy Hill. M rights resorvod. Mthough ws maka evofy oftvl to provtda accurato data horala ihit map (S only repras«ntauol^aj and fio Q wvranbas axpfauad cr impliad. 21 _L Projection: Web Uercator Author: OAC 42 m Date: 4 September Summit Drive Site Map 163

56 Sv «C \i? Ma?? \!-^M^\% J. kl * i"^r^ ^Ws, «T/ fi/at. W i\»-iy \Vi ; / >^7 ^.fiy S / / 11 /fwi? / -iplkcse ^ V, s 5 - V, I? W g?l1'^ss D r*0 'J : >-^ncc}. C» ' <%».J W'!' ^«' TntM go 'I. f T03J OS7f:>'03 [ *' a «gli-" / -r^ " l>au'k«164

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59 167 Mi in liilh wmm rr- iy'vli.: fi tr.. UTT^. or' M -M -1 --V, P ' 'i\ ^ il

60 PLANS AND SPECIFICATIONS and other data must also be filed DEPARTMENT OF BUILDINGS Application for the Erection of Buildings 1933 CLASS T9 the Board of Tru«(e«a of the City of Boverly Hiltat Application Is herob)' ninjo to tho Trusteea of tho City of Beverly lllus, (hroueh the otflce of Ihe Chief inspector ot Buildings ror a permit In cecnnlanca with tlio deacrlptlon and for tho purpose hereinafter set forth. This application la mads subject to the following conilltloni. which shall be deemed conditions entering Into tho exorcise of the permit; Flrsti That the permit docs not grant any right of privilege to erect any buudtng or other atnicturo therein described, or any portion thereof, uper» any street, alloy, or other public placo or portloq thereof. Saeendi That the permit dose not grant any right or privilege to use any building or other ' truolurs therein detorlbed, or any portion thereof, for any purpose that u. or may hereafter be prohibited by ordinance of tho City of Beverly Hills, Thirdi That the granting of the permit does not arfeet or prejudice any claim of titio to, or right of passeaston In. the property doacrlbcd In aucb permit. Lot No... f^z. Block Tract \ * -^Deacrlptlim of Job) ^ No..^.V.jrjr. SC ^Ofrrrr, ;:> v// t- (USE INK OR INDEUBLE PENCIL) 1. Purpose of No. of Rooms..fltZ. No. of 2. Owner's Name Phone.^^..,^4.^../ Owner's Address 4. Architect's Name Phone 5. Contractor's Name.XJtf.^3..'. 9hQntQ6...f.A^J2. 6. Contractor's Address flncludlng Plumbing, Gaa Pitting, eew-1 ' y ' gp H 7. VALUATION OF PROPOSED BLDG.{«". \ Finishing, C"»dooi». all Lobor, Eaevnioro, etc. painting, )( M 8. Is there any existing building on lot?.. How used? 9. Clear Height of Ceiling: Bath, Tollet..X.7..^...)?frtW.iLlvjng Rooms.^.4t.ift:/.HalIs.j?!.'I?AM'/(tellars../.r.t/..,.^2"if - (Stale Law) y. ",, to. Number of Stories Height to Highest Point ^.2:.Z..P. I 11 Size of LotJZJt^^I.. X.:3Ail.tJ)Area of Per Cent of Area Covered by All Buildings (Pill out Item S of No. 11 In case of Courta. Apartmenta, Hotels 12. Set Back from Properly Line {cmm^f, aw^s^'eto.^^' ^FrontZ^--^ Rear.;.. Side 13. Frmndatlon Material Footing WIdth../A.i?//.^^.Deplh Below Natural Ground../^..t^!'/// 14. Height of Foundation Above Fiijlshed Grade..i^_^.A<^^a1l Wldth..?...^/jtf.Mud Sills 15. Joist Clearance fr^ Gcound.^.r.jP..'!...GirdersJ^^ ^ ^..^..^^^Po^_^Jii^er^d^ifrf...?/^^ ^ 16. Chimney MalerlaljfttfefCNo, of Inlets to plpe...l^!tihe^lue5.lzor?...th^ of Chimney 17. Materials of Exterior WalIs5xyf?*i*.,2.11?wffA.^/AftAtaterla1 of Interior Construction. 'i 18. Will all Provisions of State Dwelling House Act be complied with? 19- EXTERIOR Studs...2.!1...x...A..j...IN,XERIOR BEARING Studs.. Interior Non-Bearhg ^ds...2.v-x..^'.'...ceiling Joi5ts..A'...xAfe!.Roof Rafters..^ ^..6..L.F)RST FLOOR JOlSTS-'^/.^CSZ..., Second Floor Joists Roof Material 7"*/) 20. Location of Plumbing Cleanouls..%>rt»?fct^..Dcpth of Sewer "Y^LMc^CnvcriLangthW Fall per ily-zf,, I have carefully examined and read the above apphcatlfm and know the same to be true and correct, and that all provisions of the Ordinances and Laws govcptffig~byilding Constr^tl^wlll be complied with, whether herein specified or not. / ^ ^ ^ (Owner or Auth^^ed Ag^t) - (FOR PEPARTMENT 086 ONUV) nc'dkiht' Plans and Bpsclfleallona ehsoksd AppllcsUan ohschsd and found eump hsrs when permit Is r^c,i*lvll I INVi.'. and found to conform to OrdI- O.K. Issued nencet, filsts Laws, Etc. MalTEiiamtBer OCT 25 W3 Buporlntendent of ButieUiff. 168

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62 1*^ >Wi,v:<v ''"'v \; ; * "7.^ ' r' -ct V-V'V " ' -^ The -s' V'l^^ I '^fchitectural "Digest " D.ges, f Best Architecture. Established 1920 Volume IX.. Number 3, " 43 17' ^ R "i. inkvvvri pms'tki ; r'^sv: R.?-! i Single Copy. $IJQ 1 p;w'- -,PS' l55h---..vri!5 :v-7 ^Subscription, Four Numbers. $5.00 (For Foreign Delivery Add 35 Cents a Copy) JOHN C BRASFIELD T^ubUsher ^5'p3; -3:7'! V,4R 426 South Spring Street Los Aneeles 170

63 - '.. V:. -m V\ '^K A i ' 4 4 i A!»*V Front Efitrtnu f Krsii/rmr of Mr. uml Mrs. Dnviil (). Silznit k. Hnurly Hills Rohmtl /*.. (Jontf..1 n liitn t 171

64 Residenct of.\ir. and Mrt. David O, Scltnick, Beverly Hills Roland E. Coate, ArrhUecl Thomat C. StUan, BuilJrr Air CenJilioHiHff (G. E.): Air ConJitioning Company Firrfiaee Fixiarn: Colonial Shofs Hardocart Maaafadurert: Rllt Hardxaarr Mtntiijaclurinff Company l.iphling Fixlurtt (partial): Hotlyvyiod Lighting Fixture Co., Inc. Lumber for Snximmiag Pool, Tennis Courts attj Mill If'orb: E. K. IFaoJ Lumber Company Marble: Termonl Marble Company Ornamental Iron: tfrought Iron Studio, Frank IFeingariner Painting Contractor: II. Mibielle Plumbing Fixtures: Standard Sanitary Manufacturing Company Wall Paper: C. W. Stocknvrll Company, ijd. Weather Strips: Monarch Wrathrrproofng Corporation 172

65 173

66 ... (t J Tennis House RetiAenee of XIr. nml Mrs. DnviJ O. Seltniit. Ihirrly llilu RolnnJ E. ('mile..irehih rl T^ontiii (\ S/llari, OuilJer 174

67 ALIFORNIA ARTS & ARCHITECTURE 9 HOMES GARDENS INTERIORS TWENTY-FIVE CENTS? A C O P Y JUNE

68 151 III ISI t Residence of MR. AND MRS. DAVID O. SELZNICK Beverly Hills, California ROLAND E. COATE, A. I. A. Architfct FLORENCE YOCH AND LUCILE COUNCIL L«nd>c«p«Architects In Los Angeles are several oxampies of misplaced Colonial archi tecture. In Bel-Air a huge Colonial house Is perched upon a steep hillside where It stands with tears In its eyes, yearning for the broad expanse of level lawn that should sirutch from its porticos to a river. Here Is no such anachronism. The main rooms ovcrloolc a wide ex panse of green. Beyond is the dis tant, glistening sea. From left to right the rooms are the projection room, living room, morning room, dining room and breakfast room. Architectural styles are jumping around with an agility that defies editorial pursuit. About the time wc have received a dozen or so volumes on modern architecture and have thorn fairly well digested, up pops some truly capable artist like Roland Coate with a revival of Colonial Georgian. In this house, which received honorable mention at fhc New York Architectural League show this year, Mr. Coate has combined brick veneer, green shutters, vertical boards and treillagc with a dollcatc skill that would have received more than honor able mention had wo been on the jury. The center bay is the jiving room, the distant bay the dining room. The morning room opens onto a pergola-covered terrace between the living room and the breakfast room. 176

69 J U N E m fhoto^rapht by Gcorq* HalqM The tennis house is a gem consistent with the house. The play room is in the center between the men's and women's dressing rooms. It may be opened on both sides by means of sliding, glazed doors, sliding screens and Venetian blinds. It overlooks the site of the future swimming pool and the present tennis court. At one end of the room Is the bar; af the other, the fireplace, which seems to be a happy arrange ment. The pass window from the bar decides which end of the room shall be flanked by the men's dressing room. Whether a "Black Widow" could be found if she decided to hide In the wall decorations is a matter of speculation. 177

70 fm 178

71 i pk- V 'X. m main entrance, residence of MR. DAVID O. SELZNICK, 1 BEVERLY HILLS, CALIFORNIA 1 ROLAND. COATE. F. A. I. A.. ARCHITECT 1 THE ARCHTECT AND ENGINEER 179

72 V 180

73 RESIDENCE OF MR. DAVID O. SELZNICK. BEVERLY HILLS. ROLAND E. COATE. ARCHITECT Itklerior vi«wt show that the roorn tredfments h4v» been well ed«pted by Mr. Coaie lo their varioui functions. m Chinese motifs have been adopted for the game room, shown below, and a special room housing a cou lection of Oriental art. The use of bamboo gives an open-air effect. OCTOBER

74 ARCHITEaURAL DiGE HE INTERNATIONAL MAGAZINE Of FINE INTERIOR DESIGN APRIL 1990 S5.00 i i t. $ 182

75 David O. Selznick DV/j(///c('/'(>y 0.)csl ^Pichnvs ^joiw }j illillw }) iiulaiul''rclnro architecture by ROLAND E. COATE TEXT BY RUDY BEHLMER I»AV II u) SI I /\K K pnnlufi d Coin- With ilir W'nul, iim'df the nuist j>ipuic»r.ind prortl.iblo pictures ever made, and one that is still p.oin^ strong. i\'t>t had tor ofvners. Mi- alsti brought Alfred Hitchcock and V'ivii.>n Leigh fri>ni L.nglaiui. and Ingrid Ik-rgnian fn>m Sw'itk'n. I litchc(k'k's first tilm for Sel/nick was Krhcmi (Jo-tO), with Hmrence Olivier and o,in H)ntaine. lu'rgman was intr(»duceil to Ameri can audiences in Inh'nnczzo with Leslie Howard. And, iit c«iurse, tlie n-ialivei)- unknown Leigh Ivcame Scarlett O'l lara. f arlier.sel/nick had produced such stalwart classics as Dinnrr nl {1^33), ntu'ul 0>/7»«t/J(7i/ (035), A hilr I'f Two Cilic> (the 035 Ronald Colman version). Anna Kun-niiui (the I''35 Carbo versinn), the original pro duction of A StiO Is The Prisoner of /'.cihla(both in H>37, the latter star ring Colman again), and so on. lvi7/j llic [\'i)iil and ReiHrca re ceived Academy Awards for Best Pic ture of loypand O40 res{x.vtivel\ the first and only time an\" producer has won the award two vears in a row. Sel/nick was also the recipient of the coveteii Irving C. Thalberg Me morial Award for What functions did Selznick actu ally perform as a prtnlucer? In his own words, his role was "to be res x>nsible for everything." \Vh\' didn't he direct as well as prtxiuce his films? There is no m\'s(erv* to directing," Selznick said in "1 don't have the time, Prnnkly, it's easier to criti cize another man's work than to direct Mv ania phtin nt tlu- pr.hlua-r's rolf is lh.u il i> Mmikir to Iviiif; iho miutuctur of.m offht-mr.i," Mut Davut I). Sel/nick (.iln.\. ) Ill I. lu T he front cntrjno- of his Ik'Vorly J litis house. % I l5o 183

76 Sd/mck. who W.1S nomiu.ik-.1 six iimi-s for Acadt-mv Awards rm-tvixi I Wars for (7..i/r W,lh tlu- \\m.:\.,iul K.iv. /(i-40) mu w 1 I k-mknixl by.irchiu-ct Roland I:. CuiU-, Sx-l/n.ck's houst-, winch ho shared wilh his w,f....no Mayor S-i/nu k, was bmli in la.rj and was lo.oiirtxl in AiLUili-iliir.il Ihsol shitlly IhoroafUT. micw Tho morning roi.m foalurtxl a Kogoncy-sivlos,.faand a lil.xl hr.-pl.uo Iranuxl bv dis,.k,\ uibinols J 184!!

77 was doing exceptionally well in charge of his own unit at MCM, Irene Maj'or Selznick was in charge of the prikluction of a new Cei>rgian Colo nial htiuse to be built on Summit Drive in Beverly Hills. In her words, "It was going ti> be a house in the country and yet in the city, It was go ing to be luxurious and at the same time not extravagant." With her characteristic organiza tion and careful research, Mrs. Selz nick dih-idtxl tin architect Roland E. Civile. Tew }.x\>ple were building large houses in the IX^pression years, how ever. and Coate was about In close his office. But she cimvinccxl him to take on the house and actuall)' helped to design the kitchens and baths. When David Selznick traveled to England for Doi'iii Coi'pi'rfii'hi in "WV >fvimliail in Sunday ftv.ills Mrs Sr l/nn k. "VrnniN ti-nniv vvt>iild.sljrt.itkund livn, thi ri' wivuld Iv thirlv tnr Mipfx-r, and tin- j\irl\ luuld slill lvj;i'in>;nn woll atu r niulninid." ai<h\ i A ^r.uidinnthcr tlix k.md a liuxl Jin-plan- addi-d w.irnuli li> llupri>)i'»lu>n rih>m. whi-rt- llu' Si-l/nicks njti'n first-run lilnis (nr thi'ir };ik*sts. "Our lili" lom'tlu'r was ilnminatixj by partii"s, f;amt>linn. and mnsl nl all work." IrrnoSi'lznu'k says, miow Tlu- dining nxim IcaturiHl NiMtiassua) arvhiti-ctural i'lonu'nt.s. nivself. Asa protuicer, 1 can tnainlain an txlilorial jk-rsfx-ctivi that 1 wouldn'l h.ive as a dirlvti>r. I coasider myself first a cri'dtive pnxlucer, then a shi»wnian. and then a busini^ksman." Sel/nick's idea of collaboration was to engage first-rate talent, extract cer tain attributes from that talent and mold them to suit his vision. Selznick was a ^x-rfectionist whi> said. "I've found that most ptxiple have to be forced into raising their sights." He had taste and vision and he lovcvi making movies. David O. Selznick (the O was later adoptcxl by the producer to distinguisli him from an uncle of the same name) was born in Pittsburgh on May 10. I "302. His father was a suc cessful studio head who made pic tures starring, among others. Clara Kimball Young. Norma and Con stance I'almadge. and Elaine Hammerstein. While still in high school, David worked for his father, signing distribution contracts, mapping out advertising cam^xiigns and supervis ing a once-a-\vcvk newsrcx^l. He produced his first film in t"322. a little exploitation item calkxl Will fir Coiiijut'i The film made money, lit l"32e lie got a job as a reader at MCM, and in a short while bec.ime an assix'iale pnxlucer on Tim McCoy westerns. He impressed everxone by making two of these.sp(n7t'r> of till' IVVsf and I Vuo»/;»y for little more than the cost of one by shikiting them simultaneously at the same location vvith the s.ime crew and tivo leading ladies. In I "^2? he went to work as an asslstant to B. P. Schulberg, Paramount's West Coast head of production. Two vears later he marricxi Irene Mayer, Louis R. Mayer's younger daughter, and continucxi his rise at Paramount. By l"330 Selznick had prixluccxl half a dozen pictures at Paramount and had supervised the production of almost as many more. David Sarnoff, president of RCA, hircxl Selznick in J931 losuperviseall RKO productions. Selznick was so successful that his father-in-law of fered him a vice-presidency and a full prixluccrshipat MCM, which he took in early In o34, while Selznick Selznick was always 15ft 185

78 N31, la'nt' wi'nt.ilong AccortliiiK to her, "Antiques in b)s 'Angeles wenin short supply, exj>'nsive imd dubi ous in origin. CahkI furniture could bo bought in l-ngland torn fraction of the price." Indeixl, many of the Sel/.- nicks' new furnishings were acijuiriil on that trip. Sei/.nick's "literary" periinl continuetl with his protluctions of Anna Karcniiin and A TaU' of Tuv Cities at MCM. "The trick in adapting nov els." said Seiznick, "is to give the illusion of plu>tographing the entire btiok. This is more difficult than cre ating an original like A Star Is l^orn." By 1035 Seiznick realized that it im'f/enit't/ UK exp "I want U' filerlously iix fi>r Great CauM- I vvaiil to loaf ami pkiv anj wrilo ami love," l>avid Sol/nick oiu'o wrote to Irvm* (ifft, with hmi in tho [XH>lhousv). uih Xv rixo }H>ri-hos wito dislinguisluxl by ^vhit^ -^'.llnll^t iatlicfwork ai!i>rm\l witli crwping vim-s. The landscapinj* w.u. dono by I-loa'iuv Yoch, wh«> lalit landscjpvil I'ara f<<r G<>ki- W'iIIi thr IVrnd. ivi«thusiastic and ebullient master of revels, hating to see the evening end "fc-:-- </ I ( t I.' d m 186

79 LWin O Shl-ZNICK frikluut i)j I'u-»ur«'s IVil/f Hi,-.md firhru u ivufiniuul frtm pijfr /S".VRCIIITHLTUIUi. DK'.KST Call our ToII-I-rcc Number For Customer Service As our valued customer, you deserve the best available service. We have staffed a tv>ll-free number with speciallv trained personnel to answer your inquiries about payment, deliveries, and change of address. They will also correct your name and address on your Arc/n/cc/wni/ D/x'csl mailing label. Dial the above toll-free number for prompt, cour teous subscriber service and receive fast results. Please have your mailing label or subscription notice on hand when you call. If you prefer, you may write us. Please attach your mail ing label and send corre spondence t(»: )\RCIIlTHCrUKiVLDI(;EST P.O. box lolmo Des M(unes, la 5( was time to launch an indefvudent film company of his own, and created Sel/iiick International. In ulv I93t? he ^\iid fifty thtmsand dollars for the screen rights to Margaret Mitchell's first (and only) m>vel. Gene With Uw W'liiii. For the next two and a half years he devoted much of his time, talent and energy to what was to prove to be his magnum opus. Meanwhile the Sel/nicks stayed on in their Ik'verly Hills residence,- where Irene's management was detaikxl, tasteful and filkxi with "grace under pressure," considering the work habits of her husband. David Sel/.nick did like to entertain, and he and Irene made their dinner parties and regular Sundav aftermk)n and evening gatherings "productions" that were carefully orcheslratcxi but not overly lavish or formal. The Sel/nicks spiviali/cxi in Sun day parties. Tennis would Ixgin at about two in the afternoon, played on a sunken court that gave the shots a marvelous resounding quality. (The Sel/nicks had been impressed with art director Cedric Cibbons's sunken court and insisted on installing their own.) The court had lights, but only tmce were they turned on at night, and that was f<ir Carbt», who had an urge to play after the preview of Anno Kan'iiino. Following afternoon tennis and swimming, there often would be about thirty for supper, and the fes tivities might go on past midnight. David Selznick was always an enthu siastic and ebullient master of revels, hating to scv the evening end. In fact, Irene Selznick recalls that just after the last guest departed, David would say, "I can hardly wait for next Sun day!" At one or lwt> in the morning, she did not share his anticipation. After Ci'MC With the Wind and /?«- hccco, Sel/nick was at the zenith of self-confidence. During the 1940s he prixiuced only a few films S/'/nv V»>// Wi'nt Awatf (1944), SiH-llhound (1945), Duel in tfw Sun (1946), Tire Paradim' Cam' (1948) and Portrait of Icnnic (1943). Three of these starred his pro tege and second wife, Jennifer Jones. Selznick and Irene were divorcetl in 1948, and she settled in Now York, becoming a prvxjucer of such out standing plays as A Stnwtcar Named Oemrr, Hell, Ihyok and Candle and The Chalk Garden. She sold the house on Summit Drive in J953. During the 1940s and 1950s, David Sel/nick began to do all of the writing on many of his films himself, and he hovenxl aumt the set during sh(x)ting, criticizing and stvond-guessing the dinvtor (exa'pl Mitchax-k) some thing he did not indulge in, for the mt>sl part, in the 1930s. In the mid-i9sos Siel/nick threw himself into a prcxiuction he had long contemplated a remake of Heming way's A Pareurll to Armm He hired John Huston to direct and arranged for production in Italy. In March 1957, shortly before shtx)ting was to commence, Huston was hit with one t>f Sel/nick's famous momos, which began, "I am most desperately un happy about the way things are going... 1 am not asking you to re sign; I am merely telling you the only circumstances... under which I think you can continue," and went on for sixteen single-spaced typowrillen pages. Not unexpectedly, Huston resigned. Selznick told the press: "1 am the producer and must produce. In Mr. Huston I asked for a first vi olinist and iastead got a soloist." The finished A Foreroell to Anns was hardly in the class of the prtxiucer's Gfiju' With the Wind or several of his other fine films. But it was to be his last personally produaxl picture. In June 1965 he died of a heart attack. Haunted for a long time by the fear that he would never make another film that would rival Cone With the Wind, Selznick had often predicted, not without humor, that the banner over hls obituary would read, "Maker of Cone With the Wind Dies." On June 23, 1965, the day after his death, The Nczo York Times declared in a front-page headline: "David O. Sel/nick, 63. Producer of Gone With the Wind, Dies." n 2St> 187

80 p Lanclscapin^r the American 1 >!X\ n.-'ts?.'.;; THE GARDENS AND FILM SETS OF FLORENCE YOCH IH90-I972 BY JAMES J. YOCH Mcreir CcvJtT sjorufcx Mptoh^ iae ^3 «*r MwtMf Q Wtsmts C***.-" UrAT,. or. Mfi & MlLf DAVID-O f.lzjv/ck~ & ^.ALY Hill y CAL/roA/nA j V M e. /jj* ^ 188

81 The David Seh.nkk Garden F'orence 'loch's proiecr \n 19^4 tor Mr. and Mr>. David O. Selznick had :cn:a:-.ve bv^irinin^''. Irene belznsjk origmallv walked through the site specifvit.g design element!- ro Yoch and Council. When they told herihat "we di"*"': know how to do what you "Aant" and that they preferred to work w::h the land>cape %ocabuiary they had round successful, r.hey proumed thev would not get the commission..after the Selznick contrac tor called to a-k them about the placing of >ome trees, however, they got in touch with Mr^. Sei/nick. who >ummoned them back with the observa tion that >ince she kept hndmg their gardens were the ones she liked best, she wanted them to get right to work. The house was already under construction, levivmg little time to prepare plans, -io Yoch sketched trees directiv on photographs ro deter mine them iucattor.s. The--e charcoal drawmg> >how how theatrical her ;dea> were f-or iand>caping the hoiine. Trees form a graceful pro>cenium ai-cl ac^o^^ the front facade, leavrng the center open for the \ lew. Except ror the big trees :n this comp^»:tio^. ^'och made no conce''<ion> to the de>;rc tor immediate effect. As che later wrote. "The man in a hurrv t-. not a good gardener." Irene Selzmck ob-ierved rh.i: "Mi^n ^och didn't stint there vm iopnoii' or on anv or the >env?b'c pnoririe>..money was sunk where it didn't -how. so wc had a grand new hou>e, a -piendid tennis court, a fe'a nice trees, and many tiny plant-..mis!> ^och said we were to practice patience and let them grow a big order in that overnight tow n."- Ciorntorrable tair.ilv life i> the theure or the Seiznick garden, and \och and Counc! recognvzed that thi- recjuired a ma^ar shirt m their -tyle..a> in earlier 10b-. the l.ind-caping brought texturai intere-r and romantic sug gestion to the hou>e. N'lnes on large treliises stretching from the ground to the eaves s^>rtcn the rectangular forms; leamngnld trees sugge-t vencr.iblc agc. But many ramihar elements become Ics- imptsrtant. parterre i> m.cidental and viccupie? a -mah place to the side ot the hou>c. Instead, in what mu-t have -eemed a novel arrangement, the principal feature i- 'he open, uncluttered law n. w hich occapio aimo-t 2 quarter of the lot and i> read'.'. acvtcsst e fro;:: the -outh fac.idc of the house for view ing and for play On one edge 2 walk lazih- hends along a border ot multi-trunked crape rn) rtle-. 'underpl.tntcd with a!ys-um and in-..along the >:de of the property :;e the accoutrement- or -uburban hte at it- 'ne>r; a tenni- court, a playhou?e, and a tree-enclo-ed playground. This garden mark- a shift of empha-i- in Yoch's practice, in front of the house, t'he unusualh large motor court has a 'o.-mal shape-, but the rest of the garden is dciiber.ite'i\ ah'-toncal. There is no -tatuarv. ktage- for car> and games dominate this unabas'hedly.american plan. In thi- com mission for the first time Florence Yoch acknowledged the needs of LA.VD sc APIN'G THE.-^.MERIC.AS DKE.^.M 189

82 I'.utrv. the \chntt k (ijimii (if \]r. rhniihis ( A!<)t)r.-/ llon'iitc Yinh's skclil' of Irccs tin /'«/ stuftsf'iif t)f ihf fmnl ihf Dm-iJ Si-lznii.k (.i.inicn. i 'fiirrcf\tif Air. IhiinijyC (..\Rl)hN?> FOR NU)\ll NUX.L'l-S 190

83 rp0,fit ^ v/l Q V;- VA /> \W/' O Jt.HMLK riot, the [)M'ui Stlznuk Garden. :( nnrtesx of Mr. Thomas (.. Moore) *4 I-ANDSCAIMNC. THI AMF.RfCAN DKl AM 191

84 /- -.'J jfc - / -' - trtti^. -'.. 4 Ihc ilvnfly iiirrthy ujii: from sporti iircjs to null)! hmsc, the /).jf ii/ SeUuiik (ninu'ii ic oiirtvsy of Air Ihrmiyis (- Al««>r<'l Vr>»/,'V >ht'teh on her fn.ipshot of the KitrJen l.i\\ule. the llimf Sehnu k (uirdeii icointefx of Air ihtwuts C A[(»or, > iiii.uj St >-.--v... " (.AHDI SS H)R \U>\ n MCX.l'LS "S 192

85 Urn HR HAFCNER itrc&ly MILL'. C4.:-- (3 j children. Si/.ahic areas tor play respond [o the cnanj;es, more obvious and uni\ersal alter the war, in the ways.americans wanted to use the outdoors. I he lack Warner (larjen Much urander than the Sd/nicks' estate was the project lor a garden of 6.;.icres w ithin a propert) almost three times that size'»that jack Warner commissioned from Ao»,h.md Council m iims- The producer had divnrced his lirst w ite and married.ann Boyer, a Southerner. She turned the existing Spanisii house in which Warner had lived into a columned plantation. Between December iv^s and Jime is>',~, Voch and Council worked on tiie gardens, their most extensive residential project. Voch translormed tiie site into the magniticent grtiunds ot a baroque \ illa. Formal terraces and tonnt.niis rise m front of the house, and the back lawn is shaped like a robust Roman areh. Neoclassical pavilions at the tennis court and at the [sool otter shaiied seats tor the audiences of the good.american lite, in w Inch sports provide the drama that plays did in the the.iters ot the.arcadian Academy in Rome. Voch made the Iioiise the gnatest performer in the first.ict tif the garden spectacle. From the entrx gates of the estate, the long drive turns, turns again, and then again to expand the impression of sp.ice on the property..aged sycamores lean out o\er the road to create a languorous PLw, tlh' Jiu k W'arwr Cnircicti. Jiick Winner has written on the plan. "This IS the plan on which this job is hasej." (C.ourtesy of A In Vhomas (. Moore) I he forecourt, with eiuptica! poof, off-i.eiiter oak tree, anj playful ciipul, njiriii a seal^rsi-, the lack Warner iiariien. (Ciuirtesy of Air. I'hornas C. Moore) -6 I AN OS ( AIM N(. IMF AMI K 10 AN OKI \ \1 193

86 PHOTOGRAPHS: 1050 Summit Drive PHOTO -1: Front (north) facade, central entry PHOTO - 2: Front facade, east half, looking southeast PHOTO - 3: East wing of front facade, looking southeast PHOTO 4: Main section of front (north) fa9ade PHOTO - 5: West wing of front facade, looking southwest PHOTO - 6: Projection room entry, north elevation 194

87 PHOTOGRAPHS: 1050 Summit Drive Ta PHOTO - 7: West (side) elevation, looking southeast PHOTO - 8: West elevation, looking northeast El PHOTO - 9: Rear (south) elevation, looking north PHOTO -10: Rear (south) elevation, looking northwest PHOTO -11: East (side) elevation, looking southwest PHOTO 12: East elevation fenestration 195

88 PHOTOGRAPHS: 1050 Summit Drive PHOTO 13: Front entry portico details PHOTO -14: Date of construction medallion at front entry PHOTO 15: Decorative attic vent in front gable end PHOTO 16: Fenestration in 2"''-floor sleeping alcove PHOTO -17: Aerial perspective (MLS 2017) PHOTO -18: Approach entry from Summit Drive (MLS 2017) 196