Jimmy’s Oriental Gardens, the last Chinese family-owned and operated business in Santa Barbara’s Chinatown, was a longtime favorite for locals and tourists alike before closing its doors in 2006 with the retirement of operator Tommy Chung. Opened in 1947 by Tommy’s father, Jimmy Yee Chung, Jimmy’s Oriental Gardens had been an important part of the diverse community of people who have lived and worked within the Presidio Neighborhood. In March of 2007, SBTHP purchased Jimmy’s Oriental Gardens from the Chung family. Shortly thereafter the building was purchased by the State of California, becoming a part of El Presidio de Santa Bárbara State Historic Park and a historic resource that will be preserved and protected in perpetuity.
Following the acquisition of Jimmy’s, SBTHP formed a community advisory committee to help guide us in a series of programs related to Santa Barbara’s Asian American history. The group helped SBTHP begin an oral history project focusing on Chinese and Japanese Americans in Santa Barbara. In addition, through its interpretive planning process, the organization developed a concept for a permanent exhibit inside the historic Jimmy’s building, now home to our tenants Three Pickles Deli and The Pickle Room, owned and operated by Clay Lovejoy and family.
Our new display includes a life-size photo mural of Jimmy Chung and his son Bill serving drinks to local patrons at the bar, as well as multiple oral history quotes and photos that help tell the story of the Chung family and the life they created in Santa Barbara’s Presidio Neighborhood. The display includes original artifacts from Jimmy’s Oriental Gardens, as well.
The display is dedicated in memory of Thomas Yee Chung and Robert Harry Lovejoy for their efforts to preserve and restore Jimmy’s Oriental Gardens, an icon of Santa Barbara’s Chinese-American Community. Special thanks to UCSB graduate student Mika Thornburg, Demachkie Design, SBTHP’s dedicated volunteers, our partners at California State Parks and all community donors that made this special project possible.
“Over the past few months we have witnessed tremendous financial distress at cultural organizations across the country, which have been compelled to furlough staff, cancel programs, and reduce operations to make up for revenue shortfalls caused by the pandemic,” said NEH Chairman Jon Parrish Peede. “NEH is pleased to provide $40 million to preserve thousands of jobs at museums, archives, historic sites, and colleges and universities that are vital to our nation’s cultural life and economy.”
SBTHP’s $29,634 grant will fund the second iteration of the new, annual school program, Where We Are From (WWAF). In partnership with Santa Barbara Junior High School and UC Santa Barbara‘s History Department, WWAF is a multi-week, cross-disciplinary, interactive program held at El Presidio de Santa Bárbara State Historic Park that reaches approximately 400 seventh-grade students and their families. The program involves hands-on, multimedia and digital learning activities utilizing the Park’s historical resources and digital learning platforms. The grant will also provide SBTHP with the opportunity to hire four graduate students from UC Santa Barbara’s History Department as project consultants and co-facilitators.
“The knowledge and practice of history is vital to sustaining healthy individuals and communities,” said SBTHP Associate Director of Public Engagement Kevin McGarry. “Where We Are From is the programmatic embodiment of SBTHP’s institutional mission and values. The project highlights and promotes the diversity of Santa Barbara, especially the layered, cultural history of the Presidio Neighborhood. Where We Are From is a student-centered educational experience designed to deepen the connection the participating seventh graders have to their own family stories, as well as our collective past as a multi-cultural community. The hope is that the program will inspire the students to make that first step toward a deeper commitment to shaping a better future for us all. Thank you NEH for recognizing SBTHP and our partners’ commitment to this important goal.”
As SBJHS history teacher Kristin Martinez-Pettit explained, the goal of this program is to “build a sense of community amongst the students as well as stoke their interest in the human story while cultivating their own.” SBJHS’s Principal, Lito M. García, says that the positive effects the program on his students has revealed the “importance of collaborating with a local organization to enhance our students’ understanding of their city, their home.” The NEH CARES grant will also allow SBTHP to adapt the program for new modes of learning designed for remote access. Mr. Garcia explains, “As we have entered new ways of educating our youth beyond the school site the need for access to digital platforms and devices is greater than ever. Where We Are From must continue for several reasons. One, the educational value of research, reading, writing, and speaking. Two, the intrinsic value of knowing more about the community you live in. Three, the need to have access to and the ability to learn remotely.”
For the highly competitive NEH CARES grant category, NEH received more than 2,300 eligible applications from cultural organizations requesting more than $370 million in funding for projects between June and December 2020. Approximately 14 percent of the applicants were funded.
Robert L. Ooley, FAIA, is the Santa Barbara County Architect. His office is located in the courthouse with responsibilities that include the oversight and management of any restoration projects and architectural work that occurs at the courthouse. Rodney Baker is past president of the Santa Barbara Courthouse Docent Council and Honorary Trustee of the Courthouse Legacy Foundation. As a volunteer, he coordinates all conservation projects at the courthouse and is involved in the training of prospective courthouse docents.The following article was published in La Campana, Spring 2020.
Grade school civics classes taught everyone that the nation is divided into states, states are divided into counties, and counties into cities. There is only one place in the nation where this is not true, Washington, D.C., which is a state, county, and city; and only one place in California where the city and county are the same, San Francisco. Otherwise, most counties have multiple cities formed within them. The distribution of resources among state, county, and municipalities varies, but generally functions as follows. Counties provide public health care, general law enforcement, courts, district attorney, property assessment, elections, and tax collection. Cities provide municipal services to residences, including: water, sewer, streets, and other general infrastructure. In some cases, cities also offer election services, as is the case in Santa Barbara.
Now, all of this general government business needs to be located somewhere, typically in a city hall, a courthouse, or government administration complex. In the early days of California statehood, the County of Santa Barbara housed these services in a repurposed adobe structure. Since Santa Barbara is the “seat” of Santa Barbara County, both city and county functions occupied the same building for a short time until a city hall was established.
Local government was first housed in the 1841 Aguirre Adobe on East Carrillo Street. While this provided a central location, the building was woefully undersized for government functions from the start.1 Between 1853-54, the Kays Adobe and surrounding land were purchased by Santa Barbara County and the adobe structures were converted to government offices, a courtroom, and a sheriff’s office.2 The Kays Adobe, which was originally a mercantile building, was situated on the land where the current historic courthouse is located. The 1875 Greek Revival Courthouse was designed by Peter J. Barber, a prominent architect of the day, and who served two years as Mayor.3 The adjacent Hall of Records was created by a local master carpenter, Thomas Nixon, in the Richardsonian Romanesque style.
When the County Grand Jury raised the need to replace these buildings, an architectural competition was held in 1919. Several design firms from across the state submitted proposals.4 Many years would pass before the Santa Barbara County Board of Supervisors could proceed with a new courthouse complex. As part of the 1919 architectural design competition, the William Mooser Company placed second. Some seven years later, while recovering from the devastating earthquake of 1925, the County Board of Supervisors selected The Mooser Company to undertake the design and construction of the new Santa Barbara Courthouse. The William Mooser Company was active across the state in the early part of the 20th century designing private residences, commercial buildings, and public structures, including courthouses, hospitals, and juvenile housing facilities.5
The William Mooser Company was based in San Francisco, and up until the mid-1960s it was the oldest architectural/engineering firm in California.6 Three generations of William Moosers led the firm: William Mooser I (1834-1896), William Mooser II (1868-1962), and finally, William Mooser, III (1893-1969).
William Mooser I was San Francisco’s first City Architect. William Mooser II was, at one point, the director of San Francisco’s City Public Works and a key figure in the Federal Public Works Act Administration for the Western United States. He was responsible for the first Building Code in San Francisco. His notable works include the Aquatic Park in San Francisco and Santa Barbara Courthouse. William Mooser III spent most of his college years in Europe studying architecture. He spent significant time in Spain and southern France, absorbing the culture and architecture. He returned to the United States to assist his father with the 1915 Panama-Pacific International Exposition in San Francisco. William Mooser III’s experience in the Andalusian region of Spain was particularly crucial in giving the architects an edge in the 1919 design competition, as the Spanish Colonial Revival Style was becoming very popular in California about this time. Santa Barbara civic leaders wanted the architecture of the new courthouse to reflect this trend and echo the city’s history.7
The effort to design and construct the new courthouse was highly collaborative, and Santa Barbara County leadership and local civic leaders were deeply involved in every aspect of the design process. The initial design of the Santa Barbara Courthouse remained unchanged, from the beginning construction sketch to the final Anacapa Street elevation. Mooser’s drawing of the Anacapa Street elevation represents what the courthouse looks like today, unchanged.
It was the cost of putting this complex together that drove many of the final details. For example, Hall of Records’ stone base (or plinth) is made of sandstone blocks. Then, exterior plaster was applied to the concrete building walls and against the edges of these large stones. When the Service Wing was being constructed the exterior detailing had switched to a method that made it less expensive to construct. The plinth was created using exterior plaster at a thickened depth, then troweled to match the real sandstone on the adjacent Hall of Records. This method continued for the remainder of the complex. Authentic sandstone was only used around significant doors and arches.
The Santa Barbara Courthouse Complex is comprised of four distinct buildings, joined by an arched bridge. The construction sequence was completed, starting with the Hall of Records and ending with the Santa Barbara Street Jail Wing. Each construction phase progressed from foundations to finishes. The Hall of Records shows what the architect had intended with the entire complex in its interior detailing. Only in the Hall of Records is there finished plaster scored with a dense bristle brush to simulate the wood grain in the massive support beams. The ceiling of the Hall of Records, like that of the Mural Room, Law Library, and the two original courtrooms, has been completed with intricate shapes and figures executed in a method referred to as “Dutch metal,” a technique that combines copper and zinc to simulate gold leaf applications. The symbols, images, and shapes that make up the design harken from the heraldic days of medieval times.
The general design of the Hall of Records is that of an outdoor courtyard. A space that one might stumble upon while navigating a narrow passage in Spain that explodes into a sunlit courtyard, surrounded by quaint shops. This approach explains why there is a fifty-foot diameter skylight that floods the interior space of the Hall of Records with light. The Hall of Records is narrower than the adjacent Service Wing by seven feet, most notable on the garden side of the building. This is because the original stone jail was located nearby and was still being used while the new Courthouse was under construction. This reality required that the Hall of Records be reduced in width to allow the old jail to remain functional for a time.
The adjacent building, the Service Wing, is much less adorned in its interior detailing. This space is much like the backside of Hearst Castle; unfinished and rather pedestrian. Originally designed to house a community history gallery on the ground floor and an office for the District Attorney on the third floor, the gallery was never completed. Instead, a floor was inserted during construction to provide more office space. To the careful viewer, one will notice that the three large windows to the left of the Spirit of the Ocean Fountain reveal a floor line about a third up from the window sills. The County Architect’s office was once located in the space (the first window) above the Spirit of the Ocean Fountain. The babbling water of the fountain could be heard during the day. The wrought-iron grilles that shroud the opening of the three windows of this façade from the street appear to be sloppily made. If one looks closely, it is clear that none of the vertical or horizontal iron bars align. They appear randomly placed. One may also observe this irregularity in other ironwork around the complex.
Another strange detail is the balcony on this elevation. Balconies are usually accessible by a door or a pair of doors. This is not so in the Santa Barbara Courthouse. Many of the balconies that one can see on the building, like that on the Anacapa Street side of the Service Wing, Garden side of the Figueroa Wing, or the large balcony over the entry on Figueroa Street, require climbing steps up and then a climb out of a window. A great example of this are the windows in the Law Library on the second floor of the Figueroa Wing (while access to the balcony outside the windows is prohibited, visitors can view the windows and balconies).
The Santa Barbara Courthouse’s Grand Arch is one of the most captivating features of the building. It provides an iconic marker in navigating around the complex. “Meet me at the arch honey” can often be heard during the day as a multitude of tourists descend upon the courthouse during operating hours. The Main Court Wing, comprised of the Anacapa hallway and Figueroa hallway, provides space for Superior Court and Court support operations. These portions of the building also house the primary historical spaces: Mural Room, Second Floor Lobby, two Original Courtrooms, and the Law Library. These spaces are among the most ornate and detailed of all the areas in the Santa Barbara Courthouse Complex. The Hall of Records completes the five primary spaces on the site. Remember the precise detailing in the Hall of Records discussed above? The beam detailing in the remainder of the building is much different. The detailing had to be simpler for the project to stay within budget, which we all know did not happen.
The superstructure is comprised of steel “I” beams encased in concrete. The wood formwork to hold the concrete while it sets were sandblasted before being erected. Once the wet concrete was poured into the formwork, it took on the texture of the wood formwork. When the concrete was painted brown, it was difficult to determine if it was wood or concrete. This construction trick helped to reduce costs and speed up the work. There are very few wood elements in the framing and construction of the Santa Barbara Courthouse. In the main lobby, by the U.S Forest Service Topographic Map, there are small wood beams, painted with various colors and shapes, mounted on the ceiling. These are only there for aesthetics. This same detail is used throughout the building along the main second-floor hallways. The distinct rafter tails, elements just under the roofline, are also wood, and again are only to complete the aesthetics of the roof detail. They are in no way structural or supportive to the Courthouse roof. Another interesting fact that even most locals do not know is that there is a bell in a small tower at the very corner of the building, near Anacapa and Figueroa Streets. This bell was relocated to this spot from the first fire station in Santa Barbara. This bell can still be rung, but the method to do so cannot be disclosed here.
The fourth building of the complex is the Jail Wing; this is the portion of the building facing Santa Barbara Street. In the authorization of the Courthouse Complex, the Jail Wing was initially eliminated from the project due to cost. However, Leo Preisker, Chair of the Board of Supervisors for the better part of twenty years, gave the contractor the green light to construct the Jail Wing, arguing that the presence of prisoners necessitated the construction of a jail. The Jail Wing also housed the Sheriff’s operations. Most of the prison cells remain and are mostly used for records storage. While there is very little ornamentation on the inside of the Jail Wing, there are a few painted elements in the Sheriff Civil Office. This wing was the original location of the County Sheriff’s Office, and since the office served the entire County, painted on the beams are the seals of each city in the county at the time the building was constructed. The majority of ornate detailing is on the exterior of the Jail Wing. A common misconception about the Jail Wing is that many believe the stone turret located high up on the Santa Barbara Street elevation is accessible. It is not accessible at all; it is purely an architectural castle feature, and designed to invoke defensive notions of medieval times.
The local community has been involved in the Courthouse since the very beginning. It was well before the earthquake that many in the community had become deeply involved in how the city was to evolve. The planning of streets, planting trees, and organization of public spaces. The notion that a collective community heritage was being erased with each new project prompted this involvement. The events surrounding the 1925 earthquake only gave a sense of urgency and immediacy to this civic engagement, which soared to its height during this time. It was through the establishment of the Community Drafting Room and design review boards, pressed by historic preservation advocates like Pearl Chase, that led to what is seen throughout the Santa Barbara community today, especially downtown. Countless thousands have fond memories of Fiestas, concerts, Earth Day celebrations, community galas and myriad weddings; many taking place at the Santa Barbara Courthouse. This history of community use underscores the fact that the Santa Barbara Courthouse is more than just a civic building where justice is dispensed, and vital records are kept. Over the years, community members have involved themselves in what happens at the Santa Barbara Courthouse, beginning with the oldest organization, called the Courthouse Docent Council. The Docent Council is now in its 40th year with over eighty trained tour guides who offer their knowledge of the property twice daily for free.
Community Involvement and the Making of a Landmark
The Courthouse Legacy Foundation and the Bisno Schall Clock Gallery Foundation are the newest non-profit organizations to join the effort to preserve the complex and its historic elements. The creation of the Santa Barbara Courthouse Legacy Foundation occurred in 2004; this 501(c)3 non-profit is focused on executing conservation projects at the Santa Barbara Courthouse that keep it in shape for all to enjoy. Some of their work is known already, including: the recreation of the Spirit of the Ocean Fountain, the restoration of the Main Arch Ceiling in association with the Pearl Chase Society, conservation of the Mural Room, and the current effort to conserve the stone on the Main Arch. The Bisno Schall Clock Gallery Foundation is focused on the care of the Seth Thomas Tower Clock, located in the Observation Tower.
The Courthouse Complex was first recognized as a place of historical importance in 1981 when the property was placed on the National Register of Historic Places. In 1982, the property was designated a City of Santa Barbara Historic Landmark, and in 2003, the property was designated a California State Historic Landmark. It took the better part of six months to document and verify the facts required to complete the necessary forms for designation as a California State Historic Landmark. Once this work had been completed, completion of the National Parks Service nomination forms required much less time. A year of working the nomination through with both State and National architectural historians produced a document wherein which all the facts were vetted, and the nomination could proceed to public hearings and Nomination Sub-Committee review. The Santa Barbara Courthouse was named a National Historic Landmark in 2005. The benefits of being a designated historic landmark include access to grant funding only available to State or National Historic Landmarks and greater protections against changes that impact the historic fabric of the complex.
Over the previous twenty years, several conservation projects have been completed, from the restoration of the flagpole to the conservation of the central archway facing Anacapa Street. There is not enough space to talk about all of the projects, so a few highlights will have to do for now.
The flagpoles, located near the corner of Anapamu and Santa Barbara Streets, are comprised of two masts from sailing ships: the bottom pole from the U.S. Naval Frigate, USS Congress (1841), and the top pole from a vessel of unknown origin, but thought to be a Spanish cutter. The two masts were connected by a hound’s ring and Crow’s Nest from which men could view across the oceans for land or foe. The upper, much lighter mast was held in place against the bottom mast by a locking block fit into a wedge keyhole. The hound’s ring stabilized the upper mast against the bottom mast and forces of wind on the sails.
The flagpole was removed, and once the two poles were safely on the ground, a close inspection revealed that the crow’s nest anchors had completely rusted away—nothing held the nest in place but the dense layers of paint. The flagpoles were restored, including arranging for local Boy and Girl Scouts to repaint each pole. The Scout helpers each earned a community service patch for their efforts. The finished flagpole was dedicated on Flag Day in 2001 by the California Historic Preservation Officer, Milford Wayne Donaldson, FAIA.
Main Arch Ceiling
It is incredible that thousands of visitors pass through the Main Arch and never look up. Work had to be done to conserve the imagery on the ceiling of the Main Arch. Understanding what we needed to do, how to get it done, and who could help us get this critical work done were the first steps of the project. It was the Pearl Chase Society that stepped up and said, “We can’t let this ceiling go without restoration— not on our beat.” So, for the next seven weeks, the County Architect spent weekends up on a scissors lift tracing all of the graphics, carefully mapping them to a photograph of the ceiling. In 2008, the paint restoration of the main arch ceiling was finished and can now be viewed by all visitors who walk under the main arch of the Santa Barbara Courthouse.
The Mural Room
The Mural Room, originally The Assembly Room of the County Board of Supervisors, is one of the most visited rooms in the entire building. The room is detailed with wood, fabric, tile, leather, textiles, and wrought iron. The ceiling is a highly decoratively-painted, Dutch- metal replica of the ceiling in Sicily’s Cattedrale di Monreale (Cathedral of Monreale). Many of the artistic elements found in this cathedral can be found in the Santa Barbara Courthouse. This can be attributed to two facts: the architect William Mooser III spent considerable time in Spain, and the painter, John Smeraldi, came from the Monreale area in Italy. The conservation work was prompted by a fire in the building that led to a greater understanding of the real condition of the mural and its underlying supporting structures. After a successful fundraising effort and ten weeks of work, the conservation project was completed, which included museum lighting that highlights the paintings and ceiling.
The Spirit of the Ocean Fountain
The Spirit of the Ocean Fountain, so named because of Santa Barbara’s association with the sea, was carved in situ by Ettore Cadorin, who emigrated from Italy. The subjects of this piece are based upon local teenage models who happened to be brother and sister. The piece, while it looks like one large block of sandstone, is actually five stones. As each block was stacked upon the other, lead shims were placed to level and precisely position the blocks. The composition of the blocks begins with the base blocks, those that express the lower torso, legs, and fish head. There is a left and right block with a vertical seam at the mid-point of the fish head. The next block is what we call the “people block.” This is the block that expresses the upper torso and chest of the male and female figure. The remaining blocks make up seaweed and corn stalks either side of the “people” block.
The carving method used is referred to as “pointing,” and is a process of using a framed pointing needle to transfer the shape being carved from the model to the full-sized blocks. Reference points are created on each, the model and then the full-sized permanent piece that is maintained until the piece is nearing completion. Only then can these reference points be removed, and the final work is completed. When visiting the Courthouse, take binoculars to view the Spirit of the Ocean Fountain and look for small dimples on the surface of the stone, most noticeable on the face, arms, and legs. Look closely, because those dimples can be mistaken for pits in the stone. These dimples are the transferred points from the model to the stone and represent where the carver removed the excess stone to achieve the shape being created. The dimples remain as part of the artist’s execution of the piece. The original “people” block is stored in the basement of the Santa Barbara Courthouse, in hopes of displaying it in the building at some point in the future.
The sculpture had to be replaced because sandstone is not a very durable material, and naturally weathers faster than other materials. In the case of Spirit of the Ocean Fountain, this deterioration was accelerated by the application of waterproofing in the 1960s when there was an effort to protect the piece from the elements. This only served to entrap the moisture and contributed to the failure of the stone from the inside out. Porous stone needs to breathe to stay dry. While the piece looked okay to the casual viewer, the surface of the stone is the only part that remained mainly because of the painted-on waterproofing that glued the sandstone particles together. It was much like an ice cream cone with chocolate frozen on top. Once the ice cream begins to melt, all you have is the hardened chocolate shell. As part of the restoration of the piece, methods were included to ensure that the piece could evaporate moisture more effectively.
1. Patricia Gebhard and Kathryn Masson, Santa Barbara County Courthouse (Santa Barbara: Daniel & Daniel, 2001), 15.
3. Peter J. Barber collection, 1871-1909, BANC MSS 2002/200, Box 1, Bancroft Library, Berkeley, California.
4. Superior Court Grand Jury Records, Santa Barbara Courthouse Court, Clerk’s Office.
5. Ray McDevitt, Courthouses of California (Berkeley, California: Heyday Books, 2001), 364.
6. Robert L. Ooley, FAIA, “The William Mooser Company: Bridging the Generations” (Conference Session Presentation, California Preservation Foundation, San Francisco, 2004).
On Sunday May 31, the Santa Barbara Chapter of Black Lives Matter and Juneteenth Santa Barbara issued a list of demands for action that included in part:
We demand protection and preservation of Black landmarks.
The demands identified specific buildings to be designated as historic resources including St. Paul’s AME Church at 502 Olive Street. Why is this request and this building so important?
The way a community decides to designate places as historic can affect its long-term historical memory. In addition to recognizing those who built it, designating a building and thereby assisting with its preservation helps define who we are as a community. Historic buildings remind us of our moments of triumph, help us remember and grieve our tragedies, and help document the daily life of our diverse residents and the institutions they built.
There had been an African Methodist Episcopal church on the site of 502 Olive Street since 1906, when it was the only structure on the entire block, and Olive Street was known as Canal Street. It was built by the local African American congregation to serve as a house of worship for its members.
By 1930, the Church, possibly a newer building constructed after the 1925 earthquake, had taken on the form we recognize today—a larger and more substantial building with an attached dwelling.
In 1990, St. Paul’s AME Church was added to the City’s list of potential Historical Resources and assigned the note: “potential Landmark status.” A City landmark is the highest level of designation offered by the City. Today, in response to the demands of local activists, we sent a letter to the Historic Landmarks Commission requesting that this building be added to the agenda of the next Designation Subcommittee for consideration for landmark status. This important African American resource has held its ground and served its community for over 100 years, and deserves recognition for the history it represents, in addition to its beautiful architecture. The time to designate it is now.
Is this the only building deserving of recognition? Not by a long shot. We have much more work to do. The field of historic preservation and museums have not always been at the forefront of diversity, equity and inclusion. We need to improve, and we begin by looking inward. Our organizational values include “Promote the diversity of cultures that comprise(d) the Presidio Neighborhood.” Today we extend those values outward into our City, County and beyond. We stand with those who are striving, fighting, and praying for equity and justice in our country in the face of persistent racism. As an organization we will continue improve our service to the community of Santa Barbara and to lift up its complex, sometimes disheartening, and often heroic stories until all the voices, past and present, are able to be heard.
Our colleagues at the Smithsonian Institution’s National Museum of African American History and Culture have created a new digital resource, Talking about Race. We will use this resource internally, and we share it here as it may be of interest to you as well.
The project to lovingly restore the Santa Barbara Presidio Chapel doors is complete. The process entailed the fabrication of new doors, mounted on new pivot hinges on a new threshold, and the restoration of the existing lock hardware. In November 2019, recently-elected SBTHP Board member Joe Handerhan and his team from Channel Coast Corporation began the project by measuring and drawing the existing doors, hardware, and molding profiles to create shop drawings to manufacture the replacement doors.
Once the 1985 doors were documented, carpenter Teo Ellinwood began ripping and planing lumber to assemble the door panels. The door frames were fit together using mortise and tenon joinery. The molding profiles of the old doors were used to cut custom router blades so that the raised detail of the door panels were a perfect match! More than sixty eight-inch-long hand-forged nails made by Santa Barbara Forge were used to fasten the door panels to the frames. With the door panels finished it was time to start the installation. Each nail had to be driven through a pre-drilled pilot hole, heated with a torch, bent over at the tip, heated with a torch again, then bent over the back of the frame.
In order to install the new doors, the existing threshold needed to be replaced so that new pivot hinges could be installed. The original threshold was rotting and could no longer support the weight of the doors, each weighing more than one hundred and fifty pounds. Once the threshold was replaced, the new doors were delivered to the site and sandblasted to raise the grain in the wood to match the weathered wood surrounding the entrance to the chapel. Juan Ramirez arrived onsite to help Teo fit the new doors onto the new pivot hinges and to help remove the original hardware from the old doors.
It was a delicate dance replacing the threshold and the doors, all the while leaving the chapel open to visitors and being able to lock it securely each evening. Once the new doors were hung, painter Luis Castro (the stain master) began applying a custom stain to the new doors. The stain is made by adding ground iron oxide pigment to a mixture of turpentine and linseed oil. Luis has been mixing this special stain for projects at El Presidio SHP for more than ten years.
With the doors mounted and stained, it was then time to install the original lock hardware. On February 10, 2020 the new lock hardware was installed using custom hand-forged nails made by horseshoer Larry Sell of Sierra Forge Farrier Service. That afternoon the new chapel doors were locked with the original hardware for the first time. SBTHP and California State Parks are extremely grateful to the John and Beverly Stauffer Foundation and all the individual contributions that made this project possible. Hopefully these doors will welcome celebrations of life, marriage, and community for many generations to come.
Michael H. Imwalle is the Associate Executive Director for Cultural Resources at SBTHP.
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.
Written by Kevin McGarry
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