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1967

R.M.S. Queen Mary – a Nautical Money Pit

September 13, 2020 by 4g3nd4

The Postcard

A postcard that was printed and published by J. Salmon Ltd. of Sevenoaks.

The card was posted in Surrey on Thursday the 26th. April 1951 to:

Mrs. Elliott,
St. Margaret’s,
254, Carshalton Road,
Sutton,
Surrey.

The message on the divided back was as follows:

"This is a complete contrast
to the usual P.C., but I thought
it would interest you.
What a mighty vessel!
Hope you are enjoying this
lovely weather.
I am so glad that Mr. Elliott is
so much better.
Much love,
J & W".

RMS Queen Mary

The RMS Queen Mary is a retired British ocean liner that sailed primarily on the North Atlantic Ocean from 1936 to 1967 for the Cunard Line (known as Cunard-White Star Line when the vessel entered service) and built by John Brown & Company in Clydebank, Scotland.

The Queen Mary, along with RMS Queen Elizabeth, were built as part of Cunard’s planned two-ship weekly express service between Southampton, Cherbourg and New York. The two ships were a British response to the express superliners built by German, Italian and French companies in the late 1920’s and early 1930’s.

The Queen Mary sailed on her maiden voyage on the 27th. May 1936 and won the Blue Riband that August; she lost the title to SS Normandie in 1937 and recaptured it in 1938, holding it until 1952 when it was taken by the new SS United States.

With the outbreak of the Second World War, she was converted into a troopship and ferried Allied soldiers during the conflict.

Following the war, the Queen Mary was refitted for passenger service, and along with the Queen Elizabeth commenced the two-ship transatlantic passenger service for which they were originally built. The two ships dominated the transatlantic passenger market until the dawn of the jet age in the late 1950’s. By the mid-1960’s, Queen Mary was ageing and was operating at a loss.

After several years of decreased profits for Cunard Line, the Queen Mary was officially retired from service in 1967. She left Southampton for the last time on the 31st. October 1967 and sailed to the port of Long Beach, California, United States, where she remains permanently moored.

The ship serves as a tourist attraction featuring restaurants, a museum and a hotel. The ship is listed on the National Register of Historic Places.

The Queen Mary was featured in the film ‘Assault on a Queen’ (1966) starring Frank Sinatra.

The Construction and Naming of RMS Queen Mary

With Germany launching Bremen and Europa into service, Britain did not want to be left behind in the shipbuilding race. White Star Line began construction of their 80,000-ton Oceanic in 1928, while Cunard planned a 75,000-ton unnamed ship of their own.

Construction of the Queen Mary, then known only as ‘Hull Number 534’, began in December 1930 on the River Clyde by John Brown & Company. Work was halted in December 1931 due to the Great Depression, and Cunard applied to the British Government for a loan to complete 534. The loan was granted, with enough money to complete the unfinished ship, and also to build a running mate, with the intention to provide a two ship weekly service to New York.

One condition of the loan was that Cunard merge with the White Star Line, another struggling British shipping company, which was Cunard’s chief British rival at the time and which had already been forced by the depression to cancel construction of its Oceanic.

Both lines agreed, and the merger was completed on the 10th. May 1934. Work on the Queen Mary resumed immediately and she was launched on the 26th. September 1934. Completion ultimately took ​3 1⁄2 years and cost £3,500,000, then equal to 17.5 million US dollars, and equivalent to $334,459,000 in 2019.

Prior to the ship’s launch, the River Clyde had to be specially deepened to cope with her size.

The ship was named after Mary of Teck, consort of King George V. Until her launch, the name was kept a closely guarded secret. Legend has it that Cunard intended to name the ship Victoria, in keeping with company tradition of giving its ships names ending in "ia". However when company representatives asked the king’s permission to name the ocean liner after Britain’s ‘Greatest Queen’, he said his wife, Mary of Teck, would be delighted. And, so the legend goes, the delegation had no other choice but call the ship the Queen Mary.

Support for the story was provided by Washington Post editor Felix Morley, who sailed as a guest of the Cunard Line on Queen Mary’s 1936 maiden voyage. In his 1979 autobiography, ‘For the Record’, Morley wrote that he was placed at table with Sir Percy Bates, chairman of the Cunard Line. Bates told him the story of the naming of the ship "On condition you won’t print it during my lifetime."

The name had already been given to the Clyde turbine steamer TS Queen Mary, so Cunard made an arrangement with its owners, and this older ship was renamed Queen Mary II.

Queen Mary was fitted with 24 Yarrow boilers in four boiler rooms and four Parsons turbines in two engine rooms. There were four propellers, each turning at 200 RPM. The Queen Mary achieved 32.84 knots on her acceptance trials in early 1936.

From Launching to World War II

In 1934 the new liner was launched by Queen Mary as RMS Queen Mary. On her way down the slipway, Queen Mary was slowed by eighteen drag chains, which checked the liner’s progress into the River Clyde.

When she sailed on her maiden voyage from Southampton on the 27th. May 1936, she was commanded by Sir Edgar Britten, who had been the master-designate for Cunard White Star whilst the ship was under construction at the John Brown shipyard.

The Queen Mary measured 80,774 gross register tons (GRT). Her rival Normandie, which originally grossed 79,280 tonnes, had been modified the preceding winter to increase her size to 83,243 GRT (an enclosed tourist lounge was built on the aft boat deck on the area where the game court was), and therefore reclaimed the title of the world’s largest ocean liner from the Queen Mary, who had only held it for a few weeks.

The Queen Mary sailed at high speed for most of her maiden voyage to New York, until heavy fog forced a reduction of speed on the final day of the crossing, arriving in New York Harbor on the 1st. June 1936.

Queen Mary’s design was criticised for being too traditional, especially when Normandie’s hull was revolutionary with a clipper-shaped, streamlined bow. Except for her cruiser stern, the Queen Mary seemed to be an enlarged version of her Cunard predecessors from the pre–First World War era.

Furthermore, her interior design, while mostly Art Deco, seemed restrained and conservative when compared to the ultramodern French liner. Nevertheless the Queen Mary proved to be more popular than her rival, in terms of passengers carried.

In August 1936, the Queen Mary captured the Blue Riband from Normandie, with average speeds of 30.14 knots (55.82 km/h; 34.68 mph) westbound and 30.63 knots (56.73 km/h; 35.25 mph) eastbound. Normandie was refitted with a new set of propellers in 1937 and reclaimed the honour, but in 1938 Queen Mary took back the Blue Riband in both directions with average speeds of 30.99 knots (57.39 km/h; 35.66 mph) westbound and 31.69 knots (58.69 km/h; 36.47 mph) eastbound, records which stood until lost to the United States in 1952.

The Interior of RMS Queen Mary

Among facilities available on board the Queen Mary, the liner featured two indoor swimming pools, beauty salons, libraries and children’s nurseries for all three classes, a music studio and lecture hall, telephone connectivity to anywhere in the world, outdoor paddle tennis courts and dog kennels.

The largest room onboard was the cabin class (first class) main dining room (grand salon), spanning three stories in height and anchored by wide columns. The ship had many air-conditioned public rooms onboard. The cabin-class swimming pool facility spanned over two decks in height.

The Queen Mary was the first ocean liner to be equipped with her own Jewish prayer room – part of a policy to show that British shipping lines avoided the antisemitism evident at that time in Nazi Germany.

The cabin-class main dining room featured a large map of the transatlantic crossing, with twin tracks symbolising the winter/spring route (further south to avoid icebergs) and the summer/autumn route. During each crossing, a motorised model of Queen Mary would indicate the vessel’s progress en route.

As an alternative to the main dining room, Queen Mary featured a separate cabin-class Verandah Grill on the Sun Deck at the upper aft of the ship. The Verandah Grill was an exclusive à la carte restaurant with a capacity of approximately eighty passengers, and was converted to the Starlight Club at night. Also on board was the Observation Bar, an Art Deco-styled lounge with wide ocean views.

Woods from different regions of the British Empire were used in her public rooms and staterooms. Accommodation ranged from fully equipped, luxurious first class staterooms to modest and cramped third-class cabins.

The Queen Mary And World War II

In late August 1939, the Queen Mary was on a return run from New York to Southampton. The international situation led to her being escorted by the battlecruiser HMS Hood. She arrived safely, and set out again for New York on the 1st. September. By the time she arrived, the Second World War had started and she was ordered to remain in port alongside Normandie until further notice.

In March 1940, Queen Mary and Normandie were joined in New York by Queen Mary’s new sister ship the Queen Elizabeth, fresh from her secret dash from Clydebank. The three largest liners in the world sat idle for some time until the Allied commanders decided that all three ships could be used as troopships.

Normandie was destroyed by fire during her troopship conversion. Queen Mary left New York for Sydney, Australia, where she, along with several other liners, was converted into a troopship to carry Australian and New Zealand soldiers to the United Kingdom.

In the Second World War conversion, the Queen Mary’s hull, superstructure, and funnels were painted navy grey. As a result of her new colour, and in combination with her great speed, she became known as the ‘Grey Ghost’.

To protect against magnetic mines, a degaussing coil was fitted around the outside of the hull. Inside, stateroom furniture and decoration were removed and replaced with triple-tiered (fixed) wooden bunks, which were later replaced by ‘standee’ (fold-up) bunks.

A total of 6 miles (10 km) of carpet, 220 cases of china, crystal and silver services, tapestries, and paintings were removed and stored in warehouses for the duration of the war. The woodwork in the staterooms, the cabin-class dining room, and other public areas was covered with leather.

The Queen Mary and Queen Elizabeth were the largest and fastest troopships involved in the war, often carrying as many as 15,000 men in a single voyage, and often travelling out of convoy and without escort. Their high speed and zigzag courses made it virtually impossible for U-boats to catch them.

On the 2nd. October 1942, the Queen Mary accidentally sank one of her escort ships, slicing through the light cruiser HMS Curacoa off the Irish coast with a loss of 239 lives. The Queen Mary was carrying thousands of Americans of the 29th. Infantry Division to join the Allied forces in Europe. Due to the risk of U-boat attacks, Queen Mary was under orders not to stop under any circumstances and steamed onward with a fractured stem.

Some sources claim that hours later, the convoy’s lead escort returned to rescue 99 survivors of Curacoa’s crew of 338, including her captain John W. Boutwood. This claim is refuted by the liner’s then-Staff Captain Harry Grattidge, who records that the Queen Mary’s Captain, Gordon Illingsworth, immediately ordered the accompanying destroyers to look for survivors within moments of the Curacoa’s sinking.

From the 25th.–30th. July 1943, Queen Mary carried 15,740 soldiers and 943 crew (total 16,683), a standing record for the most passengers ever transported on one vessel. During this trip, while 700 miles (1,100 km) from Scotland during a gale, she was suddenly hit broadside by a rogue wave that might have reached a height of 28 metres (92 ft).

Dr. Norval Carter, part of the 110th. Station Hospital on board at the time, wrote in a letter that at one point:

‘The Queen Mary damned near capsized.
One moment the top deck was at its usual
height and then, swoom! Down, over, and
forward she would pitch.’

It was calculated later that the ship had rolled 52 degrees, and would have capsized had she rolled another 3 degrees.

During the war the Queen Mary carried British Prime Minister Winston Churchill across the Atlantic for meetings with fellow Allied forces officials on several occasions. He was listed on the passenger manifest as ‘Colonel Warden’.

The Queen Mary After World War II

After delivering a load of war brides to Canada, Queen Mary made her fastest ever crossing, returning to Southampton in only three days, 22 hours and 42 minutes at an average speed of just under 32 knots (59 km/h).

From September 1946 to July 1947, Queen Mary was refitted for passenger service, adding air conditioning and upgrading her berth configuration to 711 first class (formerly called cabin class), 707 cabin class (formerly tourist class) and 577 tourist class (formerly third class) passengers.

Following refit, the Queen Mary and Queen Elizabeth dominated the transatlantic passenger trade as Cunard White Star’s two-ship weekly express service through the latter half of the 1940’s and well into the 1950’s. They proved highly profitable for Cunard (as the company was renamed in 1947).

On the 1st. January 1949, the Queen Mary ran aground off Cherbourg, France. She was refloated the next day, and returned to service.

In 1958 the first transatlantic flight by a jet began a completely new era of competition for the Cunard Queens. On some voyages, winters especially, Queen Mary sailed into harbour with more crew than passengers, though both she and Queen Elizabeth still averaged over 1,000 passengers per crossing into the middle 1960’s. By 1965, the entire Cunard fleet was operating at a loss.

Hoping to continue financing the Queen Elizabeth 2 which was under construction at Brown’s shipyard, Cunard mortgaged the majority of the fleet. Due to a combination of age, lack of public interest, inefficiency in a new market and the damaging after-effects of the national seamen’s strike, Cunard announced that both Queen Mary and Queen Elizabeth would be retired from service and sold off.

Many offers were submitted, and the bid of $3.45m/£1.2m from Long Beach, California beat the Japanese scrap merchants.

Queen Mary was retired from service in 1967. On the 27th. September, she completed her 1,000th. and last crossing of the North Atlantic, having carried 2,112,000 passengers over 3,792,227 miles (6,102,998 km). Under the command of Captain John Treasure Jones, who had been her captain since 1965, she sailed from Southampton for the last time on the 31st. October with 1,093 passengers and 806 crew.

After a voyage around Cape Horn, she arrived in Long Beach on the 9th. December. The Queen Elizabeth was withdrawn in 1968, and Queen Elizabeth 2 took over the transatlantic route in 1969.

The Queen Mary at Long Beach

The Queen Mary is permanently moored as a tourist attraction, hotel, museum and event facility in Long Beach. From 1983 to 1993, Howard Hughes’ plane H-4 Hercules was located in a large dome nearby. The dome was later repurposed as a sound stage for film and television. The structure is now used by Carnival Cruise Lines as a ship terminal, as a venue for the Long Beach Derby Gals roller derby team and as an event venue.

Conversion of the Queen Mary

When the Queen Mary was bought by Long Beach, the new owners decided not to preserve her as an ocean liner. It was decided to clear almost every area of the ship below C deck (called R deck after 1950, to lessen passenger confusion, as the restaurants were located on R deck). The clearance was to make way for Jacques Cousteau’s new Living Sea Museum. This increased museum space to 400,000 square feet (37,000 m2).

When the Queen Mary came to Long Beach, the Sun Deck windows were enlarged, and an anti-aircraft gun was placed on display astride the foremast to represent the Second World War days of the liner.

The conversion at Long Beach required removal of all the boiler rooms, the forward engine room, both turbo generator rooms, the ship stabilisers and the water softening plant. The ship’s empty fuel tanks were filled with local mud to keep the ship’s centre of gravity and draft at the correct levels, as these critical factors had been affected by the removal of the various components and structure. Only the aft engine room and ‘shaft alley’, at the stern of the ship, was spared.

During the conversion the funnels were removed, as this area was needed to lift out the scrap materials from the engine and boiler rooms. Workers found that the funnels were significantly degraded, and they were replaced with replicas.

With all of the lower decks nearly gutted, Diners Club, the initial lessee of the ship, converted the remainder of the vessel into a hotel. Diners Club Queen Mary dissolved and vacated the ship in 1970 after their parent company, Diners Club International, was sold, and a change in direction was mandated during the conversion process. Specialty Restaurants, a Los Angeles-based company that focused on theme-based restaurants, took over as master lessee the following year.

This second plan was based on converting most of her first- and second-class cabins on A and B decks into hotel rooms, and converting the main lounges and dining rooms into banquet spaces. On Promenade Deck, the starboard promenade was enclosed to feature an upscale restaurant and café named Lord Nelson’s and Lady Hamilton’s; it was themed in the fashion of early-19th century sailing ships. The famed and elegant Observation Bar was redecorated as a western-themed bar.

The smaller first-class public rooms, such as the Drawing Room, Library, Lecture Room and the Music Studio, were stripped of most of their fittings and converted to commercial use. This markedly expanded retail space on the ship. Two more shopping malls were built on the Sun Deck in separate spaces previously used for first-class cabins and engineers’ quarters.

A post-war feature of the ship, the first-class cinema, was removed for kitchen space for the new Promenade Deck dining venues. The first-class lounge and smoking room were reconfigured and converted into banquet space. The second-class smoking room was subdivided into a wedding chapel and office space.

On the Sun Deck, the elegant Verandah Grill was gutted and converted into a fast-food eatery, while a new upscale dining venue was created directly above it on Sports Deck, in space once used for crew quarters.

The second-class lounges were expanded to the sides of the ship and used for banqueting. On R deck, the first-class dining room was reconfigured and subdivided into two banquet venues, the Royal Salon and the Windsor Room. The second-class dining room was subdivided into kitchen storage and a crew mess hall, while the third-class dining room was initially used as storage and crew space.

Also on R deck, the first-class Turkish bath complex, the 1930’s equivalent to a spa, was removed. The second-class pool was removed and its space initially used for office space, while the first-class swimming pool was open for viewing by hotel guests and visitors.

Because of modern safety codes and the compromised structural soundness of the area directly below, the swimming pool could not be used for swimming after the conversion, although it was filled with water until the late 1980’s. Today the pool can only be seen on guided tours and is in a derelict condition, having never been maintained by the hotel operators. No second-class, third-class or crew cabins remain intact aboard the ship today.

The Queen Mary as a Tourist Attraction

On the 8th. May 1971 the Queen Mary opened her doors to tourists. Initially, only portions of the ship were open to the public as Specialty Restaurants had yet to open its dining venues and PSA had not completed work converting the ship’s original First Class staterooms into the hotel.

As a result, the ship was open only on weekends. On the 11th. December 1971 Jacques Cousteau’s Museum of the Sea opened, with a quarter of the planned exhibits completed. Within the decade, Cousteau’s museum closed due to low ticket sales and the deaths of many of the fish that were housed in the museum.

On 2 November 1972 the PSA Hotel Queen Mary opened its initial 150 guest rooms. Two years later, with all 400 rooms finished, PSA brought in Hyatt Hotels to manage the hotel, which operated from 1974 to 1980 as the Queen Mary Hyatt Hotel.

By 1980, it had become apparent that the existing system was not working. The ship was losing millions each year for the city because the hotel, restaurants and museum were run by three separate concessionaires, while the city owned the vessel and operated guided tours. It was decided that a single operator with more experience in attractions was needed.

Jack Wrather, a local millionaire, had fallen in love with the ship because he and his wife, Bonita Granville, had fond memories of sailing on it numerous times. Wrather signed a 66-year lease with the city of Long Beach to operate the entire property. He oversaw the display of the Spruce Goose, on long-term loan. The immense plane, which had been sitting in a hangar in Long Beach for decades unseen by the public, was installed in a huge geodesic dome adjacent to the liner in 1983, attracting increased attendance.

Jack’s Wrather Port Properties operated the entire attraction after his death in 1984 until 1988, when his holdings were bought by the Walt Disney Company. Wrather had built the Disneyland Hotel in 1955, when Walt Disney had insufficient funds to construct the hotel himself. Disney had been trying to buy the hotel for 30 years. When they finally succeeded, they also acquired the Queen Mary. This was never marketed as a Disney property.

Through the late 1980’s and early 1990’s the Queen Mary struggled financially. Disney pinned their hopes for turning the attraction around on Port Disney, a huge planned resort on the adjacent docks. It was to include an attraction known as DisneySea, a theme park celebrating the world’s oceans. The plans eventually fell through; in 1992 Disney gave up the lease on the ship to focus on building what would become Disney California Adventure Park.

With Disney gone, the Hotel Queen Mary closed on the 30th. September 1992. The owners of the Spruce Goose, the Aero Club of Southern California, sold the plane to the Evergreen Aviation & Space Museum in Oregon. The plane departed on barges on the 2nd. October 1992, leaving the huge dome empty. The Queen Mary tourist attraction remained open for another two months, but on the 31st. December 1992, the Queen Mary closed her doors to tourists and visitors.

On the 5th. February 1993, RMS Foundation Inc. signed a five-year lease with the city of Long Beach to act as the operators of the property. The foundation was run by Joseph F. Prevratil, who had managed the attraction for Wrather. On the 26th. February 1993 the tourist attraction re-opened, while the hotel reopened partially on the 5th. March with 125 rooms and the banquet facilities, with the remainder of the rooms coming online on the 30th. April.

In 1995, RMS’s lease was extended to twenty years, while the scope of the lease was reduced to operation of the ship. A new company, Queen’s Seaport Development, Inc. (QSDI), was established in 1995 to control the real estate adjacent to the vessel. In 1998, the city of Long Beach extended the QSDI lease to 66 years.

In 2004, Queen Mary and Stargazer Productions added Tibbies Great American Cabaret to the space previously occupied by the ship’s bank and wireless telegraph room. Stargazer Productions and Queen Mary transformed the space into a working dinner theatre complete with stage, lights, sound and scullery.

In 2005, QSDI sought Chapter 11 protection due to a rent credit dispute with the city. In 2006, the bankruptcy court requested bids from parties interested in taking over the lease from QSDI. The minimum required opening bid was $41M. The operation of the ship, by RMS Foundation, remained independent of the bankruptcy. In summer 2007, Queen Mary’s lease was sold to a group named ‘Save the Queen’, managed by Hostmark Hospitality Group.

They planned to develop the land adjacent to the Queen Mary, and upgrade, renovate and restore the ship. During their management, staterooms were updated with iPod docking stations and flatscreen TVs and the ship’s three funnels and waterline area were repainted their original Cunard Red colour. The portside Promenade Deck’s planking was restored and refinished. Many lifeboats were repaired and patched, and the ship’s kitchens were renovated with new equipment.

In late September 2009, management of Queen Mary was taken over by Delaware North Companies, who planned to continue restoration and renovation of the ship and its property. They were determined to revitalise and enhance the ship as an attraction. But in April 2011, the city of Long Beach was informed that Delaware North was no longer managing Queen Mary.

In 2016 Urban Commons, a real estate company, assumed the lease of the Queen Mary. They revealed plans to extensively renovate the liner over the next year, and to redevelop the adjacent 45 acres of parking with a boutique hotel, restaurants, a marina, an amphitheatre, jogging trails, bike paths and possibly a huge Ferris wheel, all at a cost of up to $250 million.

In July 2017, while making repairs to a bathroom, workers rediscovered the ship’s forward gear room which had once controlled the ships 16-ton anchors. The room was apparently sealed up during the 1960’s conversion and was forgotten for decades.

The Condition of the Queen Mary

In 2017 a report on the ship’s condition was issued. The report noted that not only the hull but also the supports for a raised exhibition area within the ship were corroding, and that the ship’s deteriorating condition left areas such as the engine room vulnerable to flooding. Repairs were estimated at close to $300 million.

In November 2016 the City of Long Beach had put $23 million toward addressing the Queen Mary’s most vital repairs. John Keisler, economic and property development director for Long Beach, said:

"We have a timeline in which the
engineers believe they can complete
those immediate projects. These are
major challenges we can only address
over time; it can’t all be done at once."

Political leaders in Scotland, birthplace of the Queen Mary, called for the then-UK Prime Minister Theresa May to pressure the American government to fund a full repair of the liner in 2017, but this did not happen.

In August 2019, Edward Pribonic, the engineer responsible for inspecting the Queen Mary on behalf of the City of Long Beach, issued a report stating that the ship was in the worst condition he had seen in his 25 years on the job. Pribonic stated that the neglect of the Queen Mary had grown worse under the management of Urban Commons, and concluded that:

"Without an immediate and very significant
infusion of manpower and money, the
condition of the ship will likely soon be
unsalvageable.”

Incidents of recent neglect included the flooding of the Grand Ballroom with sewage after a pipe which was flimsily patched with duct tape burst, significant amounts of standing water in the ship’s bilge, and the peeling of recently applied paint on the ship’s funnels because of the poor way in which it had been applied. The pessimistic conclusion of Pribonic was disputed by city officials, who called the warnings ‘hyperbolic’ and pointed to the "significant" work that has already been undertaken towards repairing the Queen Mary.

The $23 million apportioned for repairs ran out in 2018, with 19 out of the 27 urgent projects identified by a 2015 marine survey completed as of September 2019.

There were significant cost overruns overall, with the cost of fire safety repairs skyrocketing from the original estimate of $200,000, to $5.29 million. Two of the remaining 8 issues identified in 2015 were considered "critical" – this included the removal of the ship’s lifeboats, which had rotted and were in danger of collapsing.

In October 2019, the City of Long Beach warned Urban Commons that the company was failing to uphold its commitment to maintain and repair the Queen Mary, and that it was accordingly in danger of defaulting on its 66-year lease agreement. Urban Commons responded with an updated plan for repairs, including the removal of the lifeboats at a cost of between $5 and $7 million, and new paint work. In December it was announced that the City was reviewing the finances of Urban Commons to determine whether the City of Long Beach had ‘received all revenues owed.’

Queen Mary’s original, professionally manned wireless radio room was removed when the ship was moored in Long Beach. In its place, an amateur radio room was created one deck above the original radio reception room, with some of the discarded original radio equipment used for display purposes. The amateur radio station, with the call sign W6RO (‘Whiskey Six Romeo Oscar’), relies on volunteers from a local amateur radio club. They staff the radio room during most public hours. The radios can also be used by other licensed amateur radio operators.

In honour of his over forty years of dedication to W6RO and Queen Mary, in November 2007 the Queen Mary Wireless Room was renamed as the Nate Brightman Radio Room. This was announced on 28 October 2007, at Brightman’s 90th. birthday party by Joseph Prevratil, former President and CEO of the Queen Mary.

The Ghosts of the Queen Mary

Following Queen Mary’s permanent docking in California, claims were made that the ship was haunted. In 2008, Time magazine included The Queen Mary among its ‘Top 10 Haunted Places’. One of the staterooms is alleged to be haunted by the spirit of a person supposedly murdered there. The Queen Mary Hotel promotes suite room B-340, a former third class cabin, as ‘notoriously haunted’.

The Queen Mary also operates a number of commercial tours that include haunted attraction experiences, such as Dark Harbour, which operates during the Halloween season, the ‘Haunted Encounters Tour’ and ‘Ghosts and Legends’ tour, promoted as featuring ‘terrifying original stories and characters based the ship’s well-known paranormal tales’.

Sceptical Inquirer writer John Champion has criticized the haunted tours, calling them:

‘A cynical exploitation of the space. Much effort
is put into promoting the ship as a ‘haunted
attraction’, while efforts to explain or preserve
the factual history of the ship are somehow
pushed to the wayside".

‘Day of the Fight’

So what else happened on the day that the card was posted?

Well, on the 26th. April 1951, the film ‘Day of the Fight’ premiered at New York’s Paramount Theatre, on the same program as the film ‘My Forbidden Past’. Frank Sinatra headlined the live stage show that day.

‘Day of the Fight’ is a short American documentary film financed and directed by Stanley Kubrick.

Shot in black-and-white, the film is based on an earlier photo feature he shot for Look magazine in 1949.

‘Day of the Fight’ shows Irish-American middleweight boxer Walter Cartier during the height of his career, on the 17th. April 1950, the day of a fight with middleweight Bobby James.

The film opens with a short section on boxing’s history and then follows Cartier through his day as he prepares for the 10 P.M. bout. Cartier eats breakfast in his West 12th. Street apartment in Greenwich Village, goes to early mass, and eats lunch at his favourite restaurant.

At 4 P.M., he starts preparations for the fight. By 8 P.M., he is waiting in his dressing room at Laurel Gardens in Newark, New Jersey, for the fight to begin. We then see the fight itself, which he wins in a short match.

A year after the fight, Walter Cartier made boxing history by knocking out Joe Rindone in the first forty-seven seconds of a match on the 16th. October 1951. Cartier had played some bit parts in movies before he appeared in ‘Day of the Fight’, and afterwards continued to appear occasionally in movies up until 1971, but he was most successful playing mild-mannered Private Claude Dillingham in the sitcom ‘The Phil Silvers Show’ for the 1955-1956 season.

Alexander Singer was a high school friend of Stanley Kubrick’s (they went to William Howard Taft High School in the Bronx), who acted as assistant director and a cameraman for this film.

Douglas Edwards, who narrated ‘Day of the Fight’ was a veteran radio and television newscaster. At this time, he was the anchor for the first daily television news program, on CBS, which would later be called Douglas Edwards with the News, and then The CBS Evening News. Edwards was replaced by Walter Cronkite in 1962, but remained a noted voice on CBS Radio news programs until he retired in 1988.

Kubrick and Singer used daylight-loading Eyemo cameras that take 100-foot spools of 35mm black-and-white film to shoot the fight, with Kubrick shooting hand-held (often from below) and Singer’s camera on a tripod. The 100-foot reels required constant reloading, and Kubrick did not catch the knock-out punch which ended the bout because he was reloading at the time. Singer did, however.

‘Day of the Fight’ is the first credit on composer Gerald Fried’s resumé. Kubrick did not pay him for his work on the film. Fried told the Guardian in 2018:

"He thought the very fact that my
doing the music for the film got me
into the profession was enough
payment’.

Fried, a childhood friend of Kubrick, later wrote the score for the director’s ‘Paths of Glory’ (1957) and three other films.

Although the original planned buyer of the picture went out of business, Kubrick was able to sell ‘Day of the Fight’ to RKO Pictures for $4,000, making a small profit of $100 above the $3,900 cost of making the film.

Posted by pepandtim on 2020-06-28 07:07:45

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Pedestrian plaza outside Los Angeles World Trade Center, Bunker Hill Towers, and Disney Hall

August 28, 2020 by 4g3nd4

Pedestrian plaza is part of the Calvin S. Hamilton Pedway:

"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…

"The pedways fall within the Downtown Center Business Improvement District, but the organization’s CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20…

—-

Bunker Hill Towers (aka Bunker Hill Apartments aka Bunker Hill Residential Towers):
Built ca. 1966–68.
Architect: Robert Evans Alexander.

www.you-are-here.com/los_angeles/bunker_hill.html
www.essexapartmenthomes.com/apartment/bunker-hill-towers-…
www.yelp.com/biz/bunker-hill-towers-apartments-los-angeles
www.apartmentratings.com/rate/CA-Los-Angeles-Bunker-Hill-…
laforum.org/content/articles/downtown-again-by-peter-zellner

ZIMAS data:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use= "Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.

Assessment:
Assessed Land Val.: $15,262,053
Assessed Improvement Val.: $30,664,155
Last Owner Change: 04/01/98
Last Sale Amount: $18,080,180
…
Year Built: 1968

"The 19-story, Robert Evans Alexander-designed Bunker Hill Towers opened in 1968. After the demolition of 7,310 pre-existing homes and forced relocation of their residents, Bunker Hill Towers became the residence for nearly all of Bunker Hill’s remaining residents. More than a decade would pass before the nearby residential Angelus Plaza and Promenade Towers opened. Long before the redeveloped loft crowd discovered downtown thousands lived in such residences, including Cathay Manor, Little Tokyo Towers, and hardest to ignore, on the streets."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…

Robert Evans Alexander:
rmc.library.cornell.edu/EAD/htmldocs/RMM03087.html
digital.lib.washington.edu/architect/architects/180/
www.modernsandiego.com/RobertAlexander.html
archive.org/details/architectureplan01alex
archive.org/details/architectureplan02alex
articles.latimes.com/1992-12-02/news/mn-1120_1_r-e-alexander
joshtonies.com/?p=79
babel.hathitrust.org/cgi/pt?id=mdp.39015027871386;seq=3;v…

—-

Walt Disney Concert Hall:
111 South Grand Avenue

Project search announced: 1987.
Initial design approved: 1988.
"Final" design approved: 1991.
Ground broken for the garage: 1992.
Hall actually built: 1999–2003.

Architect: Frank Gehry / Gehry Partners, LLP / Frank O. Gehry & Associates (“FOG/A”)
Executive Architect: Dan Dworsky / Dworsky Architects (at least initially, off the project by ’94)
Project Designers: Michael Maltzan (at least initially, left to start his own firm in ’95), Craig Webb (I believe).
Acoustic Design: Yasuhisa Toyota for Nagata Acoustics, with preliminary work by Minoru Nagata
Overall Project Management: Fred Stegeman for Stegeman/Kastner Inc. (initially until ca. ’95, I think)
Project Management w/in Gehry’s Firm: James Glymph (at least initially)
Structural Engineering: CBM Engineering (at least initially)
Garden Design: Melinda Taylor
Woodwork: Columbia Showcase (headed by Joe Patterson)

Software: Catia (by Dassault). (Primary responsibility for pushing for use of this software in Gehry’s office goes to partner James Glymph. During the later construction phase [2001–3], a 4D scheduling modeling system was also used that was developed by CIFE at Stanford and Walt Disney Imagineers, using Catia as its base, I think.)
Software consultants: C-Cubed (ca. 1991–94)

Client: A seven-member architectural search committee was set up by the Music Center in 1987 and chaired by Richard Koshalek, with Daniel Commins as acoustic advisor. In 1989, the twelve-member Walt Disney Concert Hall Committee was formally established and thereupon headed by Frederick M. Nicholas on a volunteer basis until about 1995. The land ("Parcel K") was owned by Los Angeles County and the County was represented in negotiations by attorney Richard S. Volpert, at least from 1989 to 1995. Sally Reed was CAO of the county for much of this period until 1995, but I’m not sure how directly involved she was with this project. The Philharmonic was initially represented by Ernest Fleischmann, managing director, with input from Esa-Pekka Salonen, the music director. (In 2001, Debra Borda became the new head at the Philharmonic, Esa-Pekka Salonen remained music director.) Lillian Disney represented herself and her family as the single largest private donor until her death in 1998, with Diane Disney Miller also on the committee and serving as its vice-chair at one point. Sharon Disney Lund was also involved in the negotiations until her death in 1993. They also acted through the family attorney, Ron Gother. From 1995 to 1997, Harry Hufford served as volunteer full-time CEO of the committee, with Suzanne Marx his vice-president for development, and a mandate to save the project and recapitalize it. At various points, other committee members included Stuart Ketchum, James A. Thomas, and Ronald J. Arnault. Mayor Riordan was also heavily involved. Riordan brought in Eli Broad to help finance the completion. In 1996, Andrea Van De Kamp became the new chair of the Music Center. (Sheldon G. Stanfill was president of the Music Center in the early 1990s.) In 1997, a new oversight committee was formed, with Eli Broad and Diane Disney Miller as chief guiding members. In 1998, William Siart, a member of the oversight committee, became chair of the main committee (the legal entity at the center of this confusion).

Financial auditing/oversight: Hines Interests (beginning in ’94, with Bruce Frey heading this work).

Owner: The County of Los Angeles, with the facility operated by a nonprofit under a Master Lease Agreement. (I believe this is an accurate summary of the situation, but I am not fully certain. The agreement is complicated and I believe it involves a sublease back to the County that obliges it to provide building and grounds maintenance, and then another subsublease to the organization that runs programming, which has subleases to the Philharmonic and the Music Center. So if I’ve made a muddle of that, I apologize.)

Major Donors: Lilian Disney, Eli Broad, The Disney Corporation, Ron Burkle, The Ralphs/Food4Less Foundation, Wells Fargo, Bank of America, The Times Mirror Foundation, Richard Riordan, Roy E. Disney (specifically for REDCAT), Pacific Bell Foundation, and Deloitte & Touche. (The County also provided significant funds to the parking garage.)

Seats 2,265.

Current home of the Los Angeles Philharmonic.

Features an organ with 72 stops, 109 ranks, and 6,125 pipes, co-designed by Frank Gehry and Manuel Rosales, with assistance from Kevin Gilchrist, and built by Caspar Glatter-Götz, with engineering assistance from Heinz Kremnitzer. Early in the process, a special committee was formed (with Cherry Rhodes, Robert Anderson, and Michael Barone serving)—just for finding the right organ designer, settling on Manuel Rosales in 1990. Michael Barone also served as a consultant during the final design process.
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf

"In 1982, the family company, Retlaw Enterprises, sold the rights to Walt Disney’s name and likeness to the Walt Disney Co. for $47 million. That money was put aside for an unspecified charitable gift. . . . In 1987, Music Center then-Chairman F. Daniel Frost, who had been Walt Disney’s tax attorney, presented Lillian Disney with Los Angeles Times articles detailing the Music Center’s desire for a new concert hall. Disney readily agreed to donate her funds. At the time, Frost was the son-in-law of Music Center founder Dorothy Chandler and was a board member of Times Mirror, parent company of The Times. He has since divorced and has left the Times Mirror board."
articles.latimes.com/1995-02-27/news/mn-36686_1_disney-hall (’95)

The 1987/88 idea to use Parcel K for a new Philharmonic was not without significant opposition, including that out the outgoing CAO of the county, Jim Hankla, and architect Barton Myers, who both proposed that the new concert hall be built on the L.A. mall:
articles.latimes.com/1987-02-22/local/me-5387_1_music-cen…

"Lillian Disney made an initial gift of $50 million in 1987 to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney’s devotion to the arts and to the city. . . . Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family’s contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today’s dollars). . . . The walls and ceiling of the hall are finished with Douglas-fir while the floor is finished with oak. The Hall’s reverberation time is approximately 2.2 seconds unoccupied and 2.0 seconds occupied."
en.wikipedia.org/wiki/Walt_Disney_Concert_Hall

It is worth pointing out that the final building hardly resembles the competition designs and models from the invited design competition in 1988 and substantially deviated from the 1991 designs and models in several key areas such as cladding and landscaping.

By the end, the design process apparently included over 30,000 drawings and models.
www.mediabistro.com/unbeige/disney-hall-turns-a-corner_b1653

From an initial field of ca. 80 entrants, then winnowed to a list of 25, the other three finalists in 1988 were Gottfried Böhm, Hans Hollein, and James Stirling.

From 1990 to 1991, the project faced a lawsuit brought by a group called A Local and Regional Monitor, represented by Sabrina Schiller, which alleged that there had not been a sufficient review of environmental and traffic impacts. Gary Justice, Pamela Schmidt, and Helen Parker represented the project and defeated the lawsuit and appeal.
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…

Another set of delays in 1990 came from a newer demand from the county that the site incorporate a hotel, in order to raise further revenue in the form of hotel taxes. Gemtel was to be the hotel developer and they were to bring in Ritz Carlton as operator. This was scrapped in 1991 when Ritz Carlton refused to agree to hire unionized labor and/or take on a living wage rule (the exact disagreement is somewhat unclear to me).

The 1991 models and other mock-ups premiered at the Fifth International Exhibition of Architecture at the Venice Biennale in 1991 to great acclaim, before being submitted for approval.

These mock-ups for the models were designed using Catia, "a 3D modeler made for the aerospace industry by Dassault, a French software company associated with IBM."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

"At one point, someone estimated that the project had over 90 consultants."
www.economist.com/node/86629 (’97)

During the first phase of the project, "a consortium of General Contracting firms, (Peck Jones, Turner Construction, and Obayashi) were selected to form the building entity, Concert Hall Builders." Yet I am not sure who the final constructing firms were.
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

In 1994, the cost estimate skyrocketed by $50 million and the project was put on hold pending auditing and financial review by Hines.
"According to committee budgets, some of the biggest increases in construction and material costs were in the steel framing, $8.6 million more than originally thought; in wood purchases and millwork, up $7 million, partly because of a decision to add interior wood; and in drywalling and plaster, up $4.9 million. ‘The drywall designed for this hall has curves and movement that don’t have any comparison to anything else that’s been built in this city,’ Nicholas said. ‘The people who were bidding the drywall had never seen anything like it, hadn’t had any experience with it. So they put a lot of contingencies in it and they bid it very, very high. A bright spot is the purchasing, cutting and installation of the exterior Italian limestone–a process Gehry has closely supervised. Bids on that stonework are reported to be $325,000 below its original $22.6-million estimate.’"
articles.latimes.com/1994-08-27/news/mn-31646_1_disney-ha…

As described above, a major shake-up of operations occurred ca. 1995.
"Dworsky indicated, as a matter of tracking what happened to whom, it is quite simple, of all the major original participants (i.e. architects, engineers, builders, and project managers), no one survived except FOGA."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf

The garden, initially a major feature of the design brief, has all but disappeared. It is supposedly partially on the roof? I have no idea. I never much noticed a garden during any of my visits to Disney Hall, although I didn’t mind the landscaping I did notice. In any case, Melinda Taylor was a fairly late addition to the project.

"She came in after a number of other designers, including Philadelphia landscape architect Laurie Olin and Nancy Goslee Powers, who did the Norton Simon Museum’s garden, had come and gone on the job."
articles.latimes.com/2002/mar/21/news/lv-disney21

“‘Wow! Did I do that? Holy shit! Did I do that?’ Sometimes you look at it that way,” Gehry says, taking in the flowing ribbons of steel at street level and then gazing up at the luffing “mainsails” at the center of the building—forms which seem to defy engineering, and which were conceived by Gehry as squiggly lines on a piece of paper more than 16 years ago. . . . Gehry, probably the most famous architect in the world right now, and arguably the most important and influential, is a modest figure in a profession known for its massive egos."
www.vanityfair.com/culture/features/2003/09/disney-concer… (2003)

"If Gehry lived in Idaho, we would see snowmobiles in his designs; he is an architect stuck in a feedback loop with his surroundings. As it is, he lives by the Pacific and owns a sailboat, and so it is seagoing vessels we see in his buildings: the boat-shaped main gallery of the Guggenheim Bilbao, the concert hall in Disney. ‘When I started Disney Hall,’ says Gehry, ‘I saw a show at the Toledo Museum in Ohio called In Praise of Ships in the Sea, and I got really excited about these shapes. I saw them in the wood ceiling I was already doing, and I brought them in.’ A metaphor took hold of Gehry: A concert was a journey, the hall would be a boat, the steel forms that shot into the air over L.A. its sails."
www.lamag.com/features/2003/10/12/how-disney-hall-redeeme… (quote on page 5)

For a student’s perspective on the use of nautical forms, see: couplarchideas.wordpress.com/2012/11/28/similarity-betwee…

books.google.com/books?id=WWl29hn0C9gC&lpg=PA72&v…
www.latimes.com/news/local/cl-ca-uroussoff19oct19,0,64916… (Ouroussoff, 2003)
www.nytimes.com/2003/10/23/arts/architecture-review-a-moo… (Muschamp, 2003)
www.slate.com/articles/arts/architecture/2003/10/epic_arc… (Hawthorne, 2003)
www.npr.org/templates/story/story.php?storyId=1264860 (Stamberg, 2003)
www.thedailybeast.com/newsweek/2003/08/17/a-mighty-monume… (McGuigan, 2003)
www.latimes.com/entertainment/news/arts/cl-et-swed1jul01,… (Swed, 2003)
www.businessweek.com/stories/2003-10-05/frank-gehrys-high… (Palmieri, 2003)
www.nybooks.com/articles/archives/2003/oct/23/victory-at-… (Filler, 2003, paywall)
www.riprense.com/Silverstunt.htm (contrarian view, ca. 2003)
articles.latimes.com/2003/oct/25/entertainment/et-fisher25 (blurb round-up, 2003)
books.google.com/books?id=c2Kwa-EZR2IC&lpg=PA106&… (photo of opening night, 2003)
articles.latimes.com/1988-04-29/news/vw-2468_1_concert-hall (1988)
articles.latimes.com/1991-09-05/local/me-2333_1_walt-disn… (Isenberg, ’91)
articles.latimes.com/1991-09-15/realestate/re-3191_1_disn… (’91)
www.nytimes.com/1992/12/13/arts/architecture-view-gehry-s… (Muschamp, ’92)
articles.latimes.com/1992-11-22/magazine/tm-2024_1_disney… (’92)
articles.latimes.com/1994-11-03/news/mn-58297_1_concert-hall (1994)
books.google.com/books?id=rF0EAAAAMBAJ&pg=PT72&lp… (’96, scroll back a page or two for the start of the article titled "Why L.A. Hates Frank Gehry")
www.newyorker.com/archive/1997/07/07/1997_07_07_038_TNY_C… (’97)
www.laphil.com/philpedia/about-walt-disney-concert-hall
www.laphil.com
www.aia.org/cities/los-angeles/all-stories/disneyconcerth…
www.arcspace.com/features/gehry-partners-llp/walt-disney-…
www.laweekly.com/2003-10-30/music/organomics/ (on the organ, 2003)
www.latimes.com/entertainment/news/arts/la-et-disneyhall6… (Swed, 2008)
illumin.usc.edu/177/
interactive.wttw.com/tenbuildings/walt-disney-concert-hall
en.wikiarquitectura.com/index.php/Walt_Disney_Concert_Hall
www.nbm.org/exhibitions-collections/exhibitions/symphony-…
www.johnmartin.com/publications/Disney%20Concert%20Hall/D…
books.google.com/books?id=CooTi-asobIC&lpg=PA48&o…

Frank Gehry:
www.foga.com
en.wikipedia.org/wiki/Frank_Gehry
www.gehrytechnologies.com
www.getty.edu/pacificstandardtime/explore-the-era/people/…
www.getty.edu/pacificstandardtime/explore-the-era/archive…
www.latimesmagazine.com/2008/10/frank-gehry-annie-gilbar….
www.kcet.org/arts/artbound/counties/los-angeles/frank-geh… (Frances Anderton)
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
www.youtube.com/watch?v=zQ-Kf3sJfok (ca. 5 minutes)
www.youtube.com/watch?v=fRjnoNkaJUs (+1 hour long talk with Frank Gehry and others about him and the Los Angeles arts community)

Catia:
www.3ds.com/products/catia/
en.wikipedia.org/wiki/CATIA
worldcadaccess.typepad.com/blog/2012/05/whats-the-price-o…
www.mcadcentral.com/catia-software-development/
www.caddigest.com/subjects/aec/select/022304_day_gehry.htm

4D modeling:
cife.stanford.edu/sites/default/files/WP064.pdf

James Glymph:
Was a partner at Gehry’s firm for 19 years (ca. 1989–2008) and was founding CEO of Gehry Technologies.

"In the 1980s, he worked with LMN Architects in downtown Seattle, heading the team that designed the San Diego Convention Center."
www.aiaseattle.org/KBD/about_glymph.htm

www.laiserin.com/laiserinlive/speakers/glymph.php
www.miamialum.org/s/916/interior-3-col.aspx?sid=916&g… (scroll down to "Edges Torn Open")
archrecord.construction.com/innovation/1_TechBriefs/0310G…
businessmodelalchemist.com/blog/2010/09/on-business-model… (scroll down for video)

Dan Dworksy:
I feel the need to point out that though Dan Dworsky is currently rather maligned within the Los Angeles architectural community, especially for his involvement in this project, he’s directly responsible for my favorite Bunker Hill buildings, the Angelus Plaza senior housing complex, as well as the very decent Figueroa Courtyard. The vision of a revived Bunker Hill with more than just tall glass boxes of office space owes a great deal to his efforts over the years.
digital.lib.washington.edu/architect/architects/273/
en.wikipedia.org/wiki/Dan_Dworsky
sma.sciarc.edu/subclip/takeyama-minourou-and-daniel-dwors…

Michael Maltzan:
A rising star in the California architectural scene, recently garnering praise and awards for his New Carver Apartments for the Skid Row Housing Trust. A building that provides transitional housing for the recently formerly homeless, it’s one I don’t like for a number of nit-picky reasons, but whose social conscience I credit. One of his most prominent commissions was for another performance hall—Mashouf Performing Arts Center for SF State. My favorite of his works is the Billy Wilder Theatre at the Hammer, which is a great size for films they screen and makes me think every time that I’ve snuck inside a fancy, sexy lipstick holder from the late 1980s: hot pink, sleek black, kiss kiss. I also think he did a wonderful job with MoMA QNS, the temporary (and more fun) home of MoMA while the main building was being revamped during the early 2000s.

"Michael Maltzan established his independent practice in Los Angeles in 1995. After graduating from the Rhode Island School of Design (1985) and Harvard’s Graduate School of Design (1988), he worked briefly in Boston for Schwartz/Silver Architects and then for Machado and Silvetti Associates. . . Then in 1988, Maltzan moved to California, where he joined the office of Frank Gehry. . . In Gehry’s office, Maltzan worked on the initial design stages of the acclaimed Walt Disney Concert Hall (1988–2004) for Los Angeles and was project designer for the tautly elegant Vontz Center for Molecular Studies (1993–1999) at the University of Cincinnati."
www.mmaltzan.com/essays/essay-alternate-ground/
www.mmaltzan.com
www.mmaltzan.com/profile/michael-maltzan/
www.arcspace.com/features/michael-maltzan-architecture/
www.arcspace.com/the-architects-studio/michael-maltzan-sk…
places.designobserver.com/feature/no-more-play/26888/

Yasuhisa Toyota:
en.wikipedia.org/wiki/Yasuhisa_Toyota
live.stanford.edu/bingconcerthall/files/ch-na.pdf
www.time.com/time/magazine/article/0,9171,543822,00.html
www.nagata.co.jp/e_index.html
en.wikipedia.org/wiki/Nagata_Acoustics

Craig Webb:
Senior partner (currently?) at Gehry Partners and the main designer assigned to Disney Hall after Michael Maltzan left the firm.

Before joining Gehry, Webb worked at Albert C. Martin & Associates and Barton Myers Associates.

"The 125-employee office is structured like a pyramid, with Gehry delegating creative work to two principal architects: Webb and Edwin Chan, who oversee design and direct project teams. . . . And while Bilbao was the defining project for Chan, Disney Hall belongs to Webb. ‘There’s a lot of him in there,’ says Gehry. . . . ‘They’re different personalities,’ says Gehry. ‘When Craig makes stuff, it’s more real. Edwin is more outgoing with people,’ he continues. ‘He seems to enjoy dealing with clients, the personal stuff. It’s different than how Craig does it. He is a little shy or reticent, not as gregarious. He gets a little fussy sometimes. Like everybody else, he gets insecure.’ . . . Gehry describes the younger architect as intuitive, with good communication and analytical skills and what he calls excellent ‘hand-eye coordination’ — the ability to see, explore and realize Gehry’s ideas. ‘He can play with me on that level.’"
articles.latimes.com/2003/sep/17/entertainment/et-roug17

Manuel Rosales:
en.wikipedia.org/wiki/Manuel_Rosales_(organ_builder)

Caspar Glatter-Götz:
www.gg-organs.com
www.gg-organs.com/eng/projects/disney.htm
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf
books.google.com/books?id=cgDJaeFFUPoC&lpg=PA225&…

Melinda Taylor:
Landscape designer, married to Craig Webb. This seems to have been her single largest project, although she has also worked on smaller projects and private gardens in Los Angeles.
www.melindataylor.com
articles.latimes.com/2002/mar/21/news/lv-disney21

Frederick M. Nicholas:
"Frederick M. Nicholas, an attorney licensed to practice law in the State of California since 1952, is a specialist in Real Estate Development and Leases. He is President of The Hapsmith Company, a Real Estate Development Firm with major interests in Northern and Southern California."
www.frederickmnicholas.com
www.frederickmnicholas.com/400_images/wdchpdfs/1993%20fal…
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…

Frederick Stegeman (d. 2009):
www.s-and-k.com/about/index.html

Harry Hufford:
"Hufford served as the chief administrator for Los Angeles County from 1974 to 1985 and worked as interim chief administrative officer in Ventura County from December 1999 to [2001]."
articles.latimes.com/2001/may/13/local/me-62999

"As CAO, Hufford was responsible for preparation and presentation of the County budget to the Board of Supervisors; administrative supervision of County departments; and management studies."
ceo.lacounty.gov/pdf/bio/hlh.pdf

Prior to being named acting CAO in 1974, Hufford had spent almost his entire career, with some interruptions, working in the staff of the CAO office, beginning initially in 1953.

He also served as an administrative officer at Gibson Dunn, and as a past president of the Music Center.

In 2001, he won the Earl Warren Public Service Award.
In 2003, there was a settlement in a sexual harassment suit against him.

articles.latimes.com/2003/apr/23/local/me-hufford23
articles.latimes.com/keyword/harry-hufford

—-

A discussion on the 1979 Bunker Hill CRA competition and Gehry’s participation in that. Most of the proposed projects mentioned did not get built:
www.youtube.com/watch?v=9rUrkUi2GKM

Posted by jann_on on 2009-09-03 05:37:21

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