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History of the Pellissier Building / Wiltern
Vision, faith in the future of Los Angeles and commitment to an ideal have been the inspiration for all those involved in creating the Pellissier Building/Wiltern Theater. Today we recognize this green terra-cotta Art Deco building as a major city landmark. For us it exemplifies the beauty and opulence of the Art Deco style. When it was built in 1929-31, it marked the beginning of the change in Los Angeles from a city with one central urban core to one with many commercial centers. It marked also the genesis of the change in Wilshire Boulevard from a residential street to a busy commercial one.
The Pellissier/Wiltern was conceived by Henry de Roulet, a man who had great faith in the future of Los Angeles. It was designed by architect Stiles O. Clements of Morgan, Walls & Clements, the city's oldest architectural firm, and it was saved from destruction 50 years later by a man of vision, Wayne Ratkovich. But before this landmark existed, another man with faith in the future of the city made possible its eventual construction. That man was Germain Pellissier, an immigrant from the village of Ancelle in the French Alps.
Arriving in San Francisco in 1867 at the age of 17, Pellissier soon relocated to Southern California. He was convinced, all appearances to the contrary, that Los Angeles would one day be a great city. Pellissier became a successful businessman with large real estate holdings. In 1882 he paid $3,200 to the Southern Pacific Railroad for 140 acres located four miles west of Los Angeles. A portion of this land would eventually be developed with the Pellissier Building/Wiltern Theater, but at that time it was useable only for grazing livestock. By 1883, Pellissier was raising Merino sheep on this dusty tract, which is bounded today by Wilshire Boulevard on the north, San Marino Street on the south, Normandie Avenue on the east and Western Avenue on the west.
In 1885, Pellissier retired from sheep ranching and turned to other business ventures. Although no longer a working ranch, Pellissier maintained the property and eventually built a house there that became a favored residence. After Pellissier died in 1908, his family continued to live at the ranch and his daughter Marie Louise raised her son, Henry de Roulet, there.
In 1913, portions of the Pellissier ranch were subdivided into a development called Pellissier Square as the city began to grow south and west. Following in his grandfather's footsteps, de Roulet was involved in many business ventures and by 1926 was a successful real estate developer.
In 1926, de Roulet subdivided more of the ranch. By that date, Wilshire Boulevard was well established as an important residential street. As de Roulet developed Pellissier Square, he kept one eye on the future and left the southeast corner of Wilshire Boulevard and Western Avenue vacant, except for his small real estate office. That intersection had been described as the busiest in the world, an assertion that proved useful in marketing his 1929 development concept for the corner.
In that year, de Roulet decided to build an office building and theater at the corner of Wilshire and Western. Begun at the start of the Great Depression, the Pellissier Building/Wiltern Theater was constructed as an act of faith in the future of the city, and it confirmed that Germain Pellissier's vision of the future Los Angeles had been correct.
De Roulet hired Stiles O. Clements, a partner in Morgan, Walls & Clements, to design the office building. Clements was an architect of great talent and versatility who was adept at many styles. Among his hundreds of designs are the black and gold Richfield Building (1928-30; demolished in 1968), the Assyrian Revival-style Samson Tyre Company (1929) and the Churrigueresque Chapman Park Studio and Market (1928-29).
With designs for the Pellissier Building progressing, de Roulet engaged the services of Ecole Nationale des Beaux Arts-trained architect G. Albert Lansburgh, a premier American theater designer, to develop the plan for the interior of the theater. What resulted from the creative energies of Clements and Lansburgh is one of the nation's finest Art Deco buildings.
Clements designed a 12-story steel-reinforced concrete office tower sited dramatically on a diagonal to the corner of Wilshire Boulevard and Western Avenue. The theater marquee and entrance face the corner, and the tower entrance is located on Wilshire Boulevard. Flanking the central tower and theater are two, two-story wings designed to house retail shops. The exterior is clad in blue-green terra-cotta tile, created by the Gladding McBean Company. Gladding McBean developed the unusual color at de Roulet's request and it became known as Pellissier green. Renting the tower offices were dentists and other professionals, and in the street level spaces were a variety of retail businesses. Warner Brothers leased the theater, which was known as their Western Theater.
Built in an era when pedestrians were as common as motorists, this building appealed to both. The tower, which rose to the city-imposed height limit of the day, seemed taller than it was because of the bands of small vertical windows that pierced the façade and swept the eye upward. The large street-level display windows and bands of subtly designed scallops, zigzags and chevrons were striking enough to hold the attention of the pedestrian, and the shimmering color was bright enough to beckon to the motorist several miles away. The second-story display windows in the Wilshire Boulevard wing were designed to attract the attention of passersby as they rode atop the double-deck open-air buses that then traveled Wilshire Boulevard.
The theater entrance was marked by a sheet metal and neon marquee, richly decorated on the underside with a plaster relief sunburst. The movie-goer approached the ticket booth on colorful terrazzo paving and entered the lobby foyer through carved, mahogany doors.
Inside the theater, Lansburgh developed a complex design using sweeping curves and large open spaces. As a counterpoint to the large flowing spaces, he used intricate, richly textured decorative surfaces to catch the eye and fire the imagination. Adorning the interior were metallic leaf designs, decorative plaster and tile work and colorful murals. The murals were designed by Anthony B. Heinsbergen and were executed under his supervision by Heinsbergen Decorating Company staff. The richness of the Art Deco design and its coloristic opulence make the Wiltern a crowning achievement in the development of the movie palace.
In addition to the extravagant interior design and a movie screen, the theater housed a working stage and the largest theater pipe organ ever built by the Kimball Company. Below the main level were dressing rooms for performers, restrooms and a child care/nursery center for patrons' convenience. The balcony area offered lounge space and more restrooms. Furnishings were Art Deco style chairs and divans covered in white leather, which were designed by Kem Weber for Barker Brothers.
The Pellissier Building and the theater were constructed in 1929-31, and on the evening of October 7, 1931, crowds jammed the streets to watch celebrities arrive for the opening of the theater. The first film shown there was "Alexander Hamilton," starring George Arliss. Highlighting the glittering festivities at Warner Brother's Western Theater were klieg lights and a brass band. A temporary "Bridge of Stars" decorated with lights and flowers spanned Wilshire Boulevard for the use of arriving luminaries.
Although the office tower flourished, the theater closed within a year of opening. The theater's initial failure may have been caused by a neighborhood population that was thought to be insufficient to support its 2,344 seats.
The theater reopened in the mid-1930s and was operated by 20th Century Fox and independent exhibitors as the Wil-Tern Theater. This new name was a congregate of the street names that crossed at the intersection in front of the theater. In time Wil-Tern became Wiltern.
In 1956, the Pellissier-de Roulet family sold the building and theater to the Franklin Life Insurance Company of Springfield, Illinois. Under the new ownership the building remained virtually intact. However, the original "Pellissier Building" sign was replaced with the words "Franklin Life Building," and the nearly original sheet metal and neon marquee was removed. Many years later, the Wiltern was leased to Pacific Theaters. They operated it until late 1979, when the theater closed.
In 1973, the building received its first official recognition. On May 16 of that year, the building and the theater were designated City of Los Angeles Historic-Cultural Monument 118.
Saving The Pellissier / Wiltern
As early as the mid-1970s, preservationists were aware that the building might be threatened. It had been for sale since 1970 and the theater was losing business. Concern for the Pellissier/Wiltern was a catalyst in the organization of the Los Angeles Conservancy. And since its founding in 1978, the Conservancy has been actively involved in the efforts to save it.
One of the first steps taken to save the building was its 1977 nomination to the National Register of Historic Places. Prepared by theater historian and Conservancy board member John Miller, the nomination was accepted and the landmark building was placed on the National Register February 23, 1979.
Although placement on the Register and designation as a city historic landmark indicated that a building is worthy of preservation, these listings in themselves do not protect a building from inappropriate alterations or demolition. Knowing this, preservationists were deeply concerned when, in early 1979, the owner stepped up its marketing efforts. The situation became critical in March, 1979, when a demolition permit application was filed. Since the building had not sold, the market view was that a vacant parcel of land on the corner of Wilshire and Western would be more saleable.
The Los Angeles Conservancy was convinced that preservation of the building was economically viable by combining a renovation of the Pellissier Building and the theater with a new mixed-use development on the remainder of the site. Hoping to interest a developer in such a plan, the Conservancy asked the City of Los Angeles' Cultural Heritage Board and the Department of Building and Safety to follow the city-adopted guidelines pertaining to city-designated landmarks and delay demolition the allowable 180 days. The Cultural Heritage Board granted the Conservancy's request, urging the owner and the preservationists to work together to find a solution.
In August, 1979, public interest in the structure was awakened by an American Film Institute program celebrating film palaces. The Wiltern was filled to capacity by an enthusiastic crowd who never knew, or had forgotten, its decorative splendor. In September, 1979, the Conservancy requested that the Cultural Heritage Board extend the stay of demolition for a second and final period of 180 days because a preservation solution seemed possible. With the extension granted, the building was out of danger until March 8, 1980.
In November, 1979, the Conservancy received a Consultant Service Grant from the National Trust for Historic Preservation to fund a feasibility study on alternatives to demolition. Upon completion in 1980, the study was used to help inform potential buyers about the economic and aesthetic benefits of preserving the building.
Early in January, 1980, Rick Newberger founded the "Citizens' Committee to Save the Wiltern," with support from the Conservancy. The committee protested to Los Angeles City Council the lessee's removal of its personal property from the theater, which included original lighting fixtures, seats and the pipe organ. The committee also convinced then Los Angeles City Council President John Ferraro, in whose district the landmark is located, to support the preservation effort. The committee organized a massive public rally at the Wiltern attended by hundreds of people and covered widely by the media. Ferraro endorsed and addressed this rally and worked with the committee and the Conservancy to find a way to prevent the impending demolition. Ferraro's support proved to be vital to the ultimate success of the preservation efforts.
On March 11, 1980, a second demolition permit application was filed. However, the city did not issue the permit because the application was incomplete pending the payment of certain fees and the preparation of an Environmental Impact Report. The development of such a report can take several months, and because of the complexity of issues involved in this case, the city estimated that the process would take until sometime in mid-1981. During the delay, a preservation-minded buyer emerged.
The Wiltern of Today
In early 1981, Ratkovich, Bowers & Perez, Inc. and Bronco, Ltd., developers who had successfully renovated the James Oviatt Building on South Olive Street in downtown Los Angeles, purchased the building for $6.3 million. Wayne Ratkovich, principal in Ratkovich, Bowers & Perez, Inc. (RBP), recognized the potential of the Pellissier/Wiltern long before his firm acquired it. Once purchased, RBP's plan was to renovate the existing building and develop a mixed-use concept for the remainder of the site.
The next step was to renovate the Pellissier Building office tower. Rossetti Associates took charge of this task, and the office space in the 12-story tower was brought up to current plumbing, electrical and mechanical code standards. In addition, air-conditioning was installed.
The tower's original 200 to 300-square-foot offices were too small to be efficient for today's needs. So, each floor was gutted to provide single floor spaces that are between 3,580 and 4,130 square feet each. However, Henry de Roulet's paneled, second-floor office, which included hidden bath and kitchen spaces, was retained.
Also retained were the original marble Art Deco elevator lobby, the original light fixtures and lobby and elevator doors. The green terra-cotta exterior was hand cleaned and repaired, and, where tiles required color touch-ups, they were painted to match the original glaze. Reinforced fiberglass replacement parts were fabricated for damaged sheet metal originals. The office tower renovation was completed in March, 1983 at a cost of approximately $5 million.
While work was under way on the office tower, plans were progressing for the renovation of the theater and the adjacent street level retail space by the architectural firm of Levin & Associates of Los Angeles, assisted by Shephardson/Winner Theater Consultants of St. Louis.
The theater interior was the most complex renovation problem encountered. Although some of the murals, plaster work, walls and ceilings had been damaged, the theater was in otherwise good condition before the renovation work began. Renovation of all interior surfaces was a priority. Decorative elements located at eye level and those that are focal points in the foyer, lobby rotunda and auditorium were cleaned and restored. All other finishes were cleaned, repaired and renovated as their condition and location dictated. Conducting the restoration of the original Heinsbergen murals was A.T. Heinsbergen & Company, under the supervision of Anthony T. Heinsbergen, son of the late designer.
A new element in the color scheme was introduced to contemporize the interior design. Rose and burgundy replaced the orange of the original design scheme, and a new carpet with a curvilinear design in shades of forest green, rose and burgundy was chosen to replace the original, which had an orange geometric pattern. Several walls have been lightened to shades of rose.
Where possible, the original mahogany doors were stripped, refinished and reinstalled. The original hardware was cleaned and reused and where missing, recast. Many of the original lighting fixtures were recovered and restored to the theater, including the central rotunda chandelier. When the original lighting could not be recovered, new fixtures that are appropriate were substituted. Three types of theater seats, including vintage Art Deco seats salvaged from the Paramount Theater in Portland, Oregon, were restored, recovered and installed to replace the lost originals.
Also involved in the theater renovation were numerous health and safety code issues, including the installation of new electrical and plumbing systems, a new transformer vault and compliance with current handicapped access and fire codes. Shear walls were added to the ends of the balcony to comply with city seismic-safety requirements. The stage and orchestra pit were enlarged, and lighting and sound equipment were upgraded. A new box office with one exterior and two interior service windows was constructed inside a portion of the Western Avenue retail space. Auditorium seating and restrooms for the handicapped were created, as were facilities for the sale of refreshments. Performers' dressing rooms were enlarged and modernized and new bath areas and a kitchen were added for their use. In addition, an elevator to the stage from the dressing rooms provides access for handicapped performers.
With the completion of the $4.8 million theater renovation, the Wiltern Theatre officially opened to the public on May 1, 1985. The premier performance, a benefit for the Los Angeles Conservancy and the National Trust of Historic Preservation, featured the Alvin Ailey American Dance Theater. Celebrating this important occasion were all who helped bring about the preservation of the building, those who worked so hard on its renovation, those citizens who have supported and followed its progress and those who will enjoy this spectacular Art Deco performing arts center for years to come.
Following a rich history of performances and events, a $2 million "face-lift" led to The Wiltern's Grand Re-Opening on October 15, 2002, featuring a rousing performance by the versatile rock legend Bob Dylan. Formerly an all-seated venue, the theatre had its 1,200-orchestra seats removed and now features a five-tiered floor that slants upward from the stage, thereby accommodating a standing-room-only configuration. The balcony still offers a thousand seats, and the flexible new arrangement allows for seats to be brought in for more intimate performances. The venue's new capacity is roughly 2,300, depending on how the floor is set up. Formerly a great place to catch more sedate acts, the Wiltern's new design makes it one of "LA's coolest venues to check out performers of any type of music" says AOL's City Guide.
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