Saturday September 14th SBTHP staff hosted the United Way Day of Caring volunteers at El Presidio de Santa Bárbara State Historic Park. Maintenance Supervisor Eduardo Vallin, Executive Director Anne Petersen, Librarian Chris Ervin and I supervised approximately 32 volunteers doing numerous projects around the park. This year volunteers included several families, staff from Exxon/Mobil, and the Santa Barbara School of Squash. Eduardo supervised a group that whitewashed the Northwest Corner Defense Wall, tilled the soil beneath the Cañedo Orchard fruit trees, and cleaned and waxed the statue of King Carlos.
Anne directed a group of volunteers that took on the daunting task of cleaning and organizing of the Old Research Center library space. Chris oversaw the cleanup of the Presidio Research Center landscaping. Trees and shrubs were pruned all the way around the building to provide space for the HVAC equipment and to expose existing signage. I worked with a group of volunteers from Exxon/Mobil to complete the annual maintenance of our garden areas. Volunteers weeded, tilled, hauled mulch, pruned, and planted in the Presidio Heritage Gardens at the Northwest and Northeast Corners.
Thanks to the help of the generous United Way Day of Caring volunteers, SBTHP was able to accomplish critical maintenance projects to prepare the site for winter. We look forward to continuing this successful partnership between SBTHP and the United Way Santa Barbara volunteer community again next year.
In Spring of 2019 the Santa Barbara Trust for Historic Preservation contacted our friend Thomas Van Stein, a talented painter and member of the renowned Oak Group of Santa Barbara landscape artists, with a very special request. We are wrapping up the planning phase for the restoration of the 1871 Cota-Knox House at 914 Anacapa Street, one of Santa Barbara’s earliest brick buildings. As the work progressed, many of us commented that it would really help the community understand the impact of this project if we could show them what the restored building would look like.
Thanks to our generous partners at the Santa Barbara Historical Museum we have access to many wonderful historic images of the building. Our restoration seeks to be accurate to these images, and evoke the original appearance of the building, yet historic photographs are often black and white, sometimes grainy, and convey a time long-lost to memory.
At SBTHP we frequently discuss the idea that although we are champions of preservation, we don’t believe that the goal of our work is to retreat to the past. Rather, we are always thinking about the future, and believe that historic buildings contribute to the character of any thriving city. We work to restore the unique vernacular buildings in the Presidio Neighborhood so we can return them to a useful productive life as community assets. And that is hard to capture in an architectural plan or historic photograph.
At an event in Fall 2018, Thomas approached me and offered to help the community imagine what this diminutive and dramatically altered building could offer Santa Barbara’s downtown through a painting that captured the restored building in its modern setting. In the Spring of 2019 we were thrilled to learn that we received the President’s Award from Colonial Dames of America, which provided the funding for the painting. We had also recently completed a level of planning that allowed us to provide detailed information to Thomas about the restoration. Thomas spent the next three months studying the plans and historic photographs. He presented a preliminary sketch in a meeting with Associate Executive Director Michael Imwalle and myself that knocked our socks off. You can see the results of that careful study in the final painting. He got the detail of the brick work on the façade, and the casement windows and shutters just right! And, the building is full of color and life, with Dr. Knox’s 1890s unicycle replaced with a contemporary cyclist perusing the curbside interpretive sign.
We know the restoration of the Cota-Knox House will have a transformative impact on this block of Anacapa Street. This City Landmark shares the block with the beautiful Julia-Morgan designed Margaret Baylor Inn, and the Carrillo Recreation Center, both also City Landmarks. It sits across Anacapa Street from the Lobero Theatre, and on the next block from the Reginald Johnson-designed U.S. Post Office, both on the National Register of Historic Places. With the restoration complete, the Cota-Knox House will add the final piece to this historic streetscape, and because of Thomas’s amazing artistry, we can help the community imagine its impact. As Thomas said when we visited the site with the painting in hand, “This is project going to make a real difference in the neighborhood!”
This $1,300,000 project will take the help of a diverse range of friends and supporters. Would you like to follow the restoration of the Cota-Knox House and support our efforts? Visit our webpage about the project here. We will keep this page updated as the project progresses.
Anne Petersen is the executive director of the Santa Barbara Trust for Historic Preservation
The History and Relevancy Project is a collaborative effort by California State Parks, UC Santa Barbara and the Santa Barbara Trust for Historic Preservation (SBTHP) to bring specialized educational programming exploring the universal themes of migration and immigration to CA State Historic Parks. As a part of this pilot project, we plan to offer a customized field trip to all of Santa Barbara Junior High School’s 400 seventh graders on September 26 and 27, 2019 at El Presidio de Santa Bárbara State Historic Park. In preparation, we invited two of SBJHS’s seventh grade teachers for a tour of the Presidio in early August. Here is seventh grade history teacher Kristin Martinez-Pettit’s reflection on the process thus far:
All students should know that their story is relevant and part of Santa Barbara’s history. Through a series of meetings with representatives of the Santa Barbara Trust for Historic Preservation, UC Santa Barbara and CA State Parks, seventh grade English and Social Studies teachers at SBJHS, with the help of our teacher librarian and community liaison, are planning and facilitating a project to help students connect their stories to the city of Santa Barbara. The project will include class visits from CA State Parks and UCSB staff and a field trip for all of our seventh graders to visit the El Presidio de Santa Bárbara State Historic Park in late September, organized by the SBTHP Programs Department. Our goal through this project is to build a sense of community amongst our students as well as stoke their interest in the human story while cultivating their own.
“Our goal through this project is to build a sense of community amongst our students as well as stoke their interest in the human story while cultivating their own.“
In preparation for our trip, we met with SBTHP representatives, educators, and teachers to create the best learning experience for our students. After a series of meetings and our preview of the Presidio grounds and planned activities, teachers began planning the logistics of the trip. Every preparation meeting for our planned field trip has been insightful, informative, and helpful as we attempt to merge the history of Santa Barbara with learning in the classroom.
Dennis P. Doordan, Ph.D. is an architectural and design historian and museum consultant. He is the author of Twentieth Century Architecture and co-editor of Design Issues, a journal devoted to the history, theory, and criticism of design. Dennis is a professor emeritus at the University of Notre Dame. He was the Associate Dean of Research, Scholarship and Creative Work at the Notre Dame School of Architecture. He has a Ph.D. from Columbia University and a B.A. from Stanford University. Dennis recently retired and moved to Santa Barbara with his wife in June 2019. Dennis’ brother John Doordan serves on SBTHP’s Board of Directors. The following article was published in La Campana, Summer 2019 .
La Campana is one of many benefits of being a member of SBTHP, to join and receive the next issue, click here.
Santa Barbara: Yesterday, Today, Tomorrow
by Dennis Doordan, PhD.
Santa Barbara is a special place with a distinctive setting, a fascinating history, a genial climate and a rich architectural heritage. Residents know this well, of course, but because of the architectural and urban quality of Santa Barbara this special place is also an important model for students of architecture and urbanism. Indeed, as an architectural historian, I have taught and written about Santa Barbara throughout my career and I want to explain why.
In the late 1990s I was commissioned by an academic publisher to write a history of twentieth-century architecture.1 There is an unforgiving economy of words involved in writing a survey text that is established by the publisher’s strict limit on the number of words and illustrations. For every building included, others must be left out; every illustration chosen means one less somewhere else in the book. So I selected buildings that allowed me to make multiple points about architecture in the twentieth century. I included the Santa Barbara County Courthouse (1927-29) because it allowed me to tell several stories simultaneously. The Courthouse documents the enduring presence of historical revivalism in twentieth-century architecture. It also illustrates the ongoing dialogue between regional and national versions of government architecture in the United States. And finally, it is a superb example of the art of architecture. Good architecture addresses multiple themes.
“Spanish and Mediterranean themed architecture had, by the early 1940s, impressed upon Santa Barbara its distinctive identity as a New Spain in America.”
I am hardly the first to note the quality of architecture in Santa Barbara. Anyone who studies Santa Barbara builds on the solid scholarly foundation created by historians like Harold Kirker and David Gebhard.2 Their work provides the outline for the master narrative of what Gebhard called “the creation of a New Spain in America.” Writers, artists, and architects all contributed to the creation of an exotic image for the region. An early example of this is Helen Hunt Jackson’s novel Ramona.3 Published in 1884, Ramona is set in California after the Mexican-American War and was instrumental in popularizing a romantic image of Mexican California. California State Pavilions at the World’s Columbian Exposition held in Chicago in 1893 and the 1915 Panama-California Exposition in San Diego promoted the Spanish Colonial Revival style in architecture and design. In the skillful hands of architects like James Osborne Craig, George Washington Smith, Myron Hunt and others. Spanish and Mediterranean themed architecture had, by the early 1940s, impressed upon Santa Barbara its distinctive identity as a New Spain in America.
In Southern California the Spanish Colonial Revival flourished alongside the rise of Modern Architecture. For David Gebhard, the simple massing, white-washed walls and courtyard plans typical of Spanish Colonial domestic designs shared an affinity with early modern architecture and, in a seminal 1967 article, he argued that there was a meaningful give and take between the two architectural styles. In the end it could be suggested that the Renaissance of modern architecture which occurred in California during the 1930s was due in no small measure to the fact that the visual leap from the Spanish Colonial Revival building to the modern was not a great one. Ironically, the modern movement found its “historic” roots not in the distant past but in the very tradition against which it was supposedly battling.4
It may not have been a “great leap” for Gebhard, but for many others it was a controversial one. The role of historical precedent combined with the materiality and solidity of Spanish Colonial Revival buildings was frankly incompatible with the prevailing Modernist architectural culture that privileged novelty over precedent, volume over mass, and preferred simplicity to decoration. In the 1970s and 80s, as the debate between Modernist and Postmodernist architects regarding the role of historical models in contemporary design intensified, Santa Barbara’s experience, conveyed through the work of historians like Gebhard, made it an intriguing and important point of reference in contemporary discussions of architecture.
The narrative arc described above carries us from the earliest interest in Mission and Spanish motifs in Southern California through to the emergence of a Postmodern sensibility in architecture that once again projected Santa Barbara squarely into professional debates about what constitutes good architecture and urban design. I want to suggest a parallel story worth considering, one that focuses on the principles of Beaux Arts Classicism rather than the romance of the Spanish Colonial Revival. Once again, the great fairs in Chicago (1893) and San Diego (1915) provide the starting point. Both fairs were important models for American urban design. Both fairgrounds were laid out with axes and cross-axes that struck an artful spatial balance between the solids (the buildings) and voids (the spaces in between). The designers of these fairs created clear spatial hierarchies and provided a variety of spatial experiences ranging from grand formal vistas to more informal picturesque courts. Building on the success of the World’s Columbian Exposition of 1893 the City Beautiful Movement began to spread across the country. Cities large and small looked for opportunities to reconfigure themselves as efficient and modern urban centers enriched with classically inspired buildings. Large cities like Chicago produced plans that sought to integrate transportation networks, civic and cultural institutions and urban parks on a grand scale.5 Smaller cities worked on a more modest scale, one building, park or fountain at a time.
In architectural terms, the Civic Classicism associated with the drive to improve and beautify cities in the early twentieth century drew upon the vocabulary of classical architecture and the principles of Beaux Arts design. Noteworthy examples in Santa Barbara include the Santa Barbara Club by Francis Wilson (1903-04), the Charles Caldwell Park Watering Trough and Fountain on East Cabrillo at Channel Drive, also by Francis Wilson (1911) and the band shell in Plaza del Mar on West Cabrillo at Castillo (1919). The design of these structures is clearly rooted in an alternative architectural tradition to the Spanish Colonial Revival. Moving beyond the consideration of individual buildings, progressive architects and planners associated with the City Beautiful Movement urged communities to consider streets and the buildings that fronted onto them as unified wholes. It is at this more urban scale that one can detect attempts to integrate an aesthetic sensibility rooted in the Spanish Colonial Revival with progressive planning efforts. During the 1920s, various groups beginning with George Washington Smith and Lutah Maria Riggs in 1923 and, in the wake of the 1925 earthquake, ad hoc design groups like the Community Drafting Room, the Associated Architects of Santa Barbara and the Allied Architectural Association of Los Angeles, produced proposals for the treatment of entire blocks along State Street.6 Varied in detail, these plans demonstrated a common commitment to the principle of the street as a unified whole defined by buildings that created a continuous street frontage and shared the same stylistic sensibility.
“In architectural terms, the Civic Classicism associated with the drive to improve and beautify cities in the early twentieth century drew upon the vocabulary of classical architecture and the principles of Beaux Arts design.”
A word about drawing is in order here. Now in the collection of Art, Design & Architecture Museum at UC Santa Barbara, these wonderful renderings served an important role as tools of communal imagination. They were intended to help the community conceptualize what did not yet exist but could exist. This is, after all, what imagination is: the ability to conceive alternatives to the status quo. Today the array of visualization tools available to communities to help them imagine what does not yet exist but could exist has vastly expanded thanks to the advent of digital software packages and the development of alternatives to conventional zoning such as form-based codes.7 But the role of imagination remains critical if the people who are charged with caring for places like Santa Barbara are to exercise forethought and control over the city’s future instead of merely reacting to the flow of events.
The story of Santa Barbara I have so briefly sketched here is woven from multiple threads: buildings inspired by the Spanish Colonial Revival along with designs rooted in the classical language favored by the City Beautiful Movement. How can reflections on Santa Barbara’s past help us in the present to think about the future of this special place? The answer involves focusing on shared principles rather than different architectural styles. When you distill the experience of Santa Barbara you arrive at a set of principles for good urban design. These principles are not unique to Santa Barbara but have been inflected in unique ways by the particular history of this place. It is possible to identify four key principles.
” When you distill the experience of Santa Barbara you arrive at a set of principles for good urban design. These principles are not unique to Santa Barbara but have been inflected in unique ways by the particular history of this place.”
Urban Design is political. Today politics is often described as a divisive force within society pitting neighbor against neighbor. There is an original, more authentic meaning we need to heed. Politics is the art of living together and promoting the general welfare of the community. Good architecture and sound urban planning promote the general welfare. Community wellbeing is not fully possible without a coherent legible physical framework.
Buildings create the shared public space of a community. They define the civil, commercial and social domains of the community and give visual form to shared values. Buildings can enhance a sense of community. They can also damage a sense of community. When a building that is too massive, too out of character, too dismissive of its neighbors gets built, something more than that street or block is damaged. The sense that citizens have that their concerns and experiences matter is damaged and that is not good for any community.
Landscape and urban spaces exist in a dynamic relationship; they are not separate spheres of experience. Santa Barbara is a vivid example of this truism. The urban forests of Santa Barbara are fascinating. Alameda Plaza, for example, boasts an urban forest that includes 316 trees representing seventy-eight species drawn from six continents. As historic weather patterns change and environmental events alter the landscape, the way we manage the relationship of the environments we build, the parks and gardens we cultivate and the wilderness areas we love to visit will prove critical to the sense of place people seek to preserve in Santa Barbara.
The Past is an important part of the Present. The preservation of historic buildings and spaces contributes to the visual character and cultural identity of any city. The Historic preservation does more than keep the structures and environments of the past available for our education and enjoyment. Encoded in the buildings and environments we preserve, like an urban DNA, are important lessons about place and place-making, lessons tailored to the specific circumstances of Santa Barbara. For example, one of the distinctive features of the urban morphology of Santa Barbara are the paseos or pedestrian passages that penetrate city blocks; James Osborne Craig’s El Paseo (1921-23) and Myron Hunt’s La Arcada (1926) are two of the most famous examples.
It can be challenging to argue that we should learn from the past when a consensus about the past is hard to achieve in the present. As any historian will admit, the past is as messy and complex as the present. Today, the story of Santa Barbara as a New Spain and romantic images of its colonial heritage such as Daniel Sayre Groesbeck’s famous murals in the Courthouse are not accepted as uncritically as they once may have been. There are members of the community who do not share the romantic and idealized version of the past they so often see around them. Recently, scholars and museums have made efforts to build a more nuanced and critical understanding of how the past has been used to celebrate the power of some groups and suppress the stories of others.8 In this context it is important to note that even in the past, there were voices that told more honest and complex stories. Earlier, I mentioned the role of Helen Hunt Jackson’s novel Ramona in creating an interest in California’s Hispanic past. In addition to a story of ill-fated love, Ramona is a scathing indictment of the Americanization of Mexican California and an unsparing portrayal of efforts to drive Native American people off their ancestral lands.
I began this article by trying to explain why the story of Santa Barbara is of such interest to students of architecture and urban design. But Santa Barbara has a future as well as a past, a future filled with challenges as well as opportunities. In addition to changing environmental conditions such as sea-level rise, the city faces a mandate to add over 3000 new units of housing by 2023.9 Today architects and planners have an impressive set of visualization tools that can support exercises in what earlier I called communal imagination. What, for example, would lower and upper State Street look like under different development scenarios? What are the discernable impacts of three versus four story buildings in different parts of town? How do townhouses alter the character of residential streets? How do different strategies for building resilient neighborhoods affect established living patterns? A city thrives when its citizens can imagine a desirable future, understand the urban DNA of their city, and apply the principles of good urban design to making informed choices from among a variety of options. Architects, environmentalists and planners will continue to follow developments here because Santa Barbara has been teaching lessons to people who care about cities for more than a century.
1. Dennis Doordan, Twentieth Century Architecture (London: Laurence King, 2001).
2. Harold Kirker, California’s Architectural Frontier: Style and Tradition in the Nineteenth Century (San Marino: Huntington Library, I960). David Gebhard, Santa Barbara: The Creation of a New Spain in America (Santa Barbara: University Art Museum, UCSB, 1982).
3. Helen Hunt Jackson, Ramona (Boston: Little, Brown and Co, 1884).
4. David Gebhard “The Spanish Colonial Revival in Southern California (1895-1930)” Journal of the Society of Architectural Historians, vol. 26, no.2 (May 1967): 147.
5. Daniel Burnham and Edward Bennett, Plan of Chicago (Chicago: The Commercial Club, 1909).
6. Gebhard, Santa Barbara: The Creation of a New Spain in America: 21
7. For an excellent introduction to form-based codes see: Daniel Parolek, Karen Parolek and Paul Crawford, Form-Based Codes: A Guide for Planners, Urban Designers, Municipalities and Developers (Hoboken, NJ: Wiley & Dons, 2008).
8. See for example: Wendy Kaplan and Staci Steinberger, Found In Translation: Design in California and Mexico, 1915-1985 (Los Angeles: Los Angeles County Museum of Art, 2017).
9. Joshua Molina, “To Meet State Mandates, SB Must Build 3,083 New Housing Units by 2023,” Noozhawk April 7, 2019.
On June 8, 2019 the Santa Barbara Trust for Historic Preservation (SBTHP) hosted a Japanese film crew from NHK Broadcasting Center in Tokyo at El Presidio de Santa Barbara State Historic Park. The crew is making a documentary film about Jukichi Oguri, a Japanese boatman who was lost at sea for 484 days before being picked up by the British ship Forester and brought to Rancho Refugio to convalesce. Oguri’s drift, according to the filmmakers, remains the longest in history to be survived. You can read more about this incredible story here.
The filmmakers brought in Japanese actor Hiroyuki Ikeuchi to narrate the film and help the audience imagine Oguri’s experiences. We met the crew in the Presidio Research Center for an interview with Executive Director Anne Petersen about life in the Santa Barbara area around 1815. The team asked questions about the Spanish colonization of California, restrictions on trade and foreign vessels, and Rancho Refugio.
historical interview, the crew met with SBTHP Board President Debby Aceves, a
descendant of José Francisco Ortega, first comandante of El Presidio
de Santa Barbara and the founding owner of Rancho Refugio. During Oguri’s visit,
Francisco’s son José María Ortega was likely in residence and in control, as José
Francisco died in 1798. Aceves and Ikeuchi had an informative conversation
during which Aceves showed the actor her genealogy chart, and her descent from
Ortega. She described the ranching economy that supported the Ortega family and
others during the mid-nineteenth century. At the end of their conversation,
Ikeuchi noted that it is interesting that Jukicki found Ortega 200 years ago,
and now here he was talking with a descendant today, also in Santa Barbara. Aceves
remarked that even though he and his crew today live an ocean away, maybe we
aren’t really all that far apart because they were able to find connection
today through this amazing story.
At SBTHP we believe that the knowledge and practice of history is vital to sustaining healthy individuals, communities and the nation. Our experience with this film crew and exploration of the incredible story of Jukichi Oguri demonstrate that connecting with each other and exploring our own past can produce a sense of common ground across geographic and language barriers, and across time itself. After their visit in Santa Barbara, the crew planned to travel to Sitka Alaska, to film at locations where Jikichi was taken on an otter trading vessel, before being brought back home to Japan. Adrift Across the Pacific will air in September 2019 on NHK Broadcasting.
Anne Petersen is the executive director of the Santa Barbara Trust for Historic Preservation
On Thursday, May 2, 2019 the Santa Barbara Trust for Historic Preservation partnered with Downtown Santa Barbara to welcome the Dos Pueblos High School (DPHS) Concert Band for a special 1st Thursday evening of live music under the stars in the Casa de la Guerra courtyard. The DPHS Concert Band includes high school students from various musical backgrounds, who learn a broad range of musical styles to enrich their musical repertoire. The DPHS Concert Band is under the direction of Mr. Dan Garske.
The band played three dynamic sets and attracted 1st
Thursday goers as well as many walking and driving by between 5-8pm. The broad-ranging
set list included a mix of theme songs from Star Wars. This special, free 1st
Thursday event began the band’s fundraising campaign to cover costs to send the
students to perform at Carnegie Hall in spring 2020.
Admission to the Casa de la Guerra museum was free during the program and the evening provided another opportunity for a special after hours showing of our temporary exhibit; The Anna S. C. Blake Manual Training School: The Remarkable Antecedent of UC Santa Barbara. The Blake exhibit was on loan from the UC Santa Barbara Library and displayed at Casa de la Guerra through May 31, 2019.
One of SBTHP’s core values is to provide a welcoming and accessible gathering place for Santa Barbarans and all who visit our community. Through our collaboration with Downtown Santa Barbara and Dos Pueblos High School we were able to welcome many new faces to the Presidio Neighborhood. We look forward to partnering with the DPHS music programs again in the future.
Kevin McGarry is the Associate Director for Public Engagement at SBTHP.
It was likely for an occasion that has fixed in your memory. One spent celebrating one of life’s important rituals, perhaps a beautiful wedding ceremony with your loved ones, or to participate in the joyful sounds of a concert. Dating back to the late-18th century, the Presidio Chapel served as a central meeting place and place of worship for the first European settlers of Santa Barbara.
The doors are an iconic feature of El Presidio SHP, but after 34 years of use the doors are in need of major repairs due to the deterioration of the wood. More recently, one door has had to be propped up with modern hardware just to keep it up in place – illustrating the need for a permanent solution.
With your help, we can fund fabrication of two new custom-milled doors, hand-forged nails and door hardware, and the re-installation of the existing hand-forged lock. The total cost to replace the doors and hardware is $15,000 and we hope to complete the project this year.
Please consider a donation to restore the entrance doors to the Presidio Chapel so that Santa Barbarans, Californians, and visitors from all over the world can continue to enjoy this special place.
To discuss these complex issues, we invited the community’s foremost minds in historic preservation, architecture, local government, and real estate for a one-day symposium at the historic Alhecama Theatre at El Presidio de Santa Bárbara State Historic Park. The symposium topic is a wonderful complement to our mission to inspire preservation advocacy throughout Santa Barbara County in order to create a more vibrant community.
On Thursday, June 6, SBTHP hosted a 1st Thursday program with our partners, showcasing some of the State Street archive drawings produced by renowned architects in the mid-1920s. This collection of ten historic, color renderings provided by the UCSB Art, Design, & Architecture Museum were mounted on the walls of the Alhecama Theatre. Guests were not only invited to view the collection but were also encouraged to enjoy a glass of wine from Grassini Family Vineyards and converse about the future of Santa Barbara’s development. Free to symposium ticketholders as well as the general public, this special 1st Thursday event was a great success and set the stage for the dialogue to be had at the symposium scheduled for the following day.
On Friday June 7, over 100 community members gathered in the Alhecama Theatre to enjoy a series of lectures and panel discussions about the past and future of Santa Barbara. Highlights included a lecture on traditional urbanism by Dennis Doordan, professor emeritus at the University of Notre Dame and a history of planning in Santa Barbara by former mayor and current Planning Commissioner Sheila Lodge. Panel discussions about the city’s historical context, architectural resources, and future development rounded out the sessions.
At the mid-point of the day participants broke into groups for guided walking tours of the Presidio Neighborhood and State Street let by Anthony Grumbine and Serena McClintock of Harrison Design, and Nicole Hernandez, the architectural historian for the City of Santa Barbara. Following the tours, symposium guests enjoyed lunch catered by Rudy’s Presidio Restaurant at the historic Casa de la Guerra courtyard. This allowed for candid discussions about Santa Barbara’s past, present, and future in a fitting historic environment. The symposium was followed on June 8 by an architectural paint-out at the Santa Barbara County Courthouse.
The past and future development of Santa Barbara can produce high emotions and a spectrum of opinions. We are proud that our partners helped bring together a diverse group of stakeholders for a congenial and open-minded conversation about our shared commitment to the community. We are grateful for the many local businesses and organizations who supported the event. You can find them listed here.
If you missed the display of State Street archive drawings at 1st Thursday, you can view them at Casa de la Guerra through the end of August.
Kevin McGarry is the associate director for public engagement and Anne Petersen is the executive director at the Santa Barbara Trust for Historic Preservation.
In 2017 the Santa Barbara Chapter of the Colonial Dames of America formed a partnership with the Santa Barbara Trust for Historic Preservation (SBTHP), and the organization serves as its service project. Each chapter of CDA must undertake a service project in support of historic preservation, or partner with an organization that undertakes such work. We are proud that our Santa Barbara chapter, one of the newest chapters in the organization, made such a strong call of support for this project, ensuring that the Cota-Knox house received this special recognition.
The Cota -Knox House (1871), located in El Presidio de Santa Barbara State Historic Park, is one of Santa Barbara’s earliest brick buildings. Its appearance today barely resembles its appearance at the time of construction due to changes wrought by the 1925 earthquake and various owners. SBTHP is completing the planning process for the restoration which will involve a new roof, seismic retrofit and facade reconstruction. We look forward to debuting the beautifully painted rendering of the completed project very soon! To learn more about the Cota-Knox House and how you can support its restoration, click here.
Anne Petersen is the Executive Director for the Santa Barbara Trust for Historic Preservation.
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