Leeýs design still puts the box office and sign with its canvas marquee at the sidewalk. They are connected to the entrance by a canvas canopy on poles. The porthole window and the pylon jutting up from the corner of the building are the only references to the Streamline Moderne style.
Probably hoping to get a larger commission than just a theatre, Lee produced this perspective sketch of his concept for a theatre integrated with a bank and a retail store. The Los Angeles suburb of Lakewood was a post-war phenomenon, when thousands of houses were built in record time, creating an entirely new community. Lakewood needed everything for its shopping center, banks, stores and of course a motion picture theatre.
This later rendering was far more streamlined than the earlier version, with curving walls, porthole openings and prow-like pylons. The airplane flying overhead reinforces the streamlined imagery.
The typical proscenium arch has been dispensed with, although it is still indicated by the swags of the valance and the curtain before the screen. Decoration is minimal, concentrated solely on the curved portion of the side walls flanking the screen.
Abstract metal sculptures evoking a pineapple ornament the side walls. Their reflective surfaces and the wavy reflective stripes behind them give a touch of elegance of Regency Moderne to the otherwise utilitarian auditorium.
Sleek banquettes upholstered in a striped fabric are set into the walls of the foyer. An overhanging cornice creates the opportunity to conceal indirect lighting and reduces the space to a human scale. A narrow screen pierced by square, framed cut-outs is located at the end of the banquette, enhancing a sense of enclosure.
As the theatre was a re-use of an earlier building, Lee had little opportunity for interior structural changes. For the foyer, Lee chose modern, rectangular lines. Paneled auditorium doors and the simplified Greek key design painted on the upper wall add interest..
Lakewood's shopping center in the foreground is surrounded by vacant fields. The houses of the new community are going up in the background. An older village, Quincy, at lower left, will soon be surrounded by the new town. Two blocks at left center are marked as designated for a "City College."
This night photo of the marquee with its neon strips and interior illuminated sign was taken as a publicity photo for Bevelite, the manufacturer of the removable letters used to spell out the names of the show and the stars on the marquee.
Lee's design was adapted to remodel the old Town Hall on the site. The pylon with its scalloped sides and the marquee are the only design elements on the exterior.
Perhaps Lee's most utilitarian design, the Loma is essentially a large box set in a parking lot. This is a bare bones building constructed during wartime, probably to serve soldiers stationed in San Diego, one of the biggest military garrisons on the West Coast. Architectural details are virtually non-existent.
Here Lee works with rectangles and flat surfaces. The space is grandiose. The ceiling opening may indicate a large indirect lighting scheme or an opening to a mezzanine above.
Low vaulted spaces and a high-ceilinged space with exposed rafters create the atmosphere of Old Mexico in this space to be used for eating, drinking, and entertainment.
The side exit doors of the auditorium are embellished with heavy Baroque ornament, while the wall above is finished in wood veneer set in a pattern of squares. An elaborate sculpture of a horse riding on waves flanks the proscenium.
The concept shows a large sculpture, possibly a fountain (perhaps a version of the fountain in the Chapultepec Theatre), set in the curved space of the low-ceilinged foyer. A circular opening in the ceiling reveals the mezzanine above. Doors to the a
The concept shows a large sculpture, possibly a fountain (perhaps a version of the fountain in the Chapultepec Theatre), set in the curved space of the low-ceilinged foyer. A circular opening in the ceiling reveals the mezzanine above. Doors to the a
The monumental space is focused on the larger than life-size figure sculpture, probably intended to be a fountain, flanked by curved walls decorated with abstract designs drawn from abstract art of the early twentieth century. Perhaps a study for the Chapultepec Theatre foyer sculpture.
The auditorium clearly includes a stage, providing the opportunity for live performances to be integrated into the eveningýs entertainment. Gigantic wave-like forms decorate the side wall.
Porthole windows accent the foyer wall decorated with giant mythological figures that appear to represent both European and ancient Mexican traditions.
Lee did a number of renderings for theatres to be built in Mexico City in the 1940s. At least two, perhaps three, were actually built. Because they included restaurants and other entertainment areas besides the motion picture theatre they were grander than most of his designs in the United States. This rendering depicts a grand foyer with a mezzanine and gigantic pylons anchoring the staircases at both sides
Lee proposes a dramatic succession of spaces. A two-story curvilinear arch drawn from Spanish Baroque forms frames the entrance to a grand foyer embellished with Spanish Baroque designs in relief. A broad staircase beneath a dramatically curved opening leads from the grand foyer into a one-story foyer area.
Lee uses circular and spiral forms to create a grand semi-circular staircase to the mezzanine level. Pylons decorated with wave, shell and spiral designs support the mezzanine level above. A ceiling lamp composed of layers of circles accents the foyer ceiling.
This view show the integration of the two previous restaurant areas, the larger high-ceilinged space in the foreground. An orchestra plays for dancing within one of the vaulted areas, while couples dance on the dance floor in the foreground.
Large-scale ceiling trusses, French doors leading to an outdoor dining space and dramatic hanging banners create a theatrical effect for this restaurant area which also features a dance floor.
Another version of the scheme (See 40716) depicts an elaborate cosmological vision of planets, moon, and stars above the auditorium exit doors and a fierce warrior on horseback framing the proscenium.
The auditorium interior reveals Lee's use of the inexpensive Quonset hut truss system, also used in the Puente Theatre (51101-51110) and the Garmar Theatre ((30301-30305) from the same period. In the immediate post-war period the system was used to build housing, commercial and factory buildings to satisfy the pent-up demand for new construction.
The finished theatre conforms closely to the design of the night-time rendering. The box office and sign focus attention on the corner. The use of artificial brick cladding was fashionable for both commercial and residential building of the period. (See also the Garmar Theatre in Montebello 30301-30305 for similar treatment of the exterior.
Lee's design for the candy counter incorporated the Streamline Moderne curves initially planned for the exterior. Glass, shiny stainless steel fixtures, curved blond wood veneers and downlights in the ceiling all contribute to the effect.
Transparent glass walls facing the sidewalk and the lobby integrate the shop with the activity going on outside. The display counter and its cabinets and drawers are sleek and cleanly designed, as are the curving lunch counter and its simple chairs. The traditional forms of the glass chandelier lend a touch of historicist elegance to the otherwise stark interior.
The focal point of the foyer is the mural at the auditorium entrance. The peoples and the flags of the countries of the Americas are ranged around a map of the continents. Even fruits and pets are included. It is clear that the theatre intended to attract Miamiýs Latin American community as well as English speakers.
The larger than life-size sculpture of hunter with a bow and his dog is sleek and heroic, in the style of Prometheus at Rockefeller Center or the work of Carl Milles.(40819,40819)