Kimo Theater
421 Central Ave., Albuquerque, NMThe movie palace represents a notable American architectural phenomenon, "some of the richest and most extravagantly romantic architecture this country has ever produced," in the words of Ada Louise Huxtable, architectural critic for the New York Times. The Kimo Theater, built in 1926-27 is a notable regional example of theater architecture which embodies architectural traditions of New Mexico and the art and culture of the American Indian of the Southwest.
At the turn of the century there was not one building devoted to cinematographic use in the country. By the 1920's movie madness was sweeping the world and the design of movie theaters became a unique specialty. Two schools of thought developed in theater design. The "atmospheric" school advocated the creation of a completely artificial environment, in the words of George Rapp, "a shrine to democracy where there are no privileged patrons." The "hard top" school used Neo-classical forms. The design of the Kimo does not adhere strictly to either concept and the result is a romanticized regional style of architecture. In 1925 Oreste Bachechi, a prominent and successful member of the Italian community in Albuquerque and owner of the Pastime Theater, made plans to build a new movie palace. Bachechi went to Hollywood to find a architect for the new theater which he planned to build at the corner of Fifth and Central. He met Carl Boller, senior partner of Boller Brothers, AIA, whose brother Robert maintained an office in Kansas City. The firm had designed several theaters and they were considered "Theatrical Architects." When Boller first came to Albuquerque to inspect the site he thought the location was too far out of town, but with subsequent trips his enthusiasm for the project grew. He traveled all over New Mexico, visiting Indian pueblos and reservations, and gathering a wealth of design material. Pablo Abeita, well-known governor of the Pueblo of Isleta, and founder of the All-Pueblo Indian Council, suggested the name for the theater to Boller: Kimo, meaning "king of its kind."
After months of research Boller showed Bachechi a watercolor rendering of the interior concept proposed for the Kimo. This rendering is included in Ben M. Hall's The Remaining Seats. Longhorn skulls bordered the proscenium and were used elsewhere as light fixtures. Indian blankets took the place of the usual tapestries. The sun, bird and swastika, symbols meaning Life, Freedom and Happiness, were repeated throughout the theater. The Indian motifs and ceremonial masks used so extensively were painted in symbolic colors of the Southwest. The design was certainly appropriate for the locale.
Oreste Bachechi was very pleased with Boller's concept for the theater and the details of the building were then worked out. Boller contracted with George Williamson of Albuquerque to oversee construction as associate architect. The firm of Robert E. McKee was hired for the construction. In a little over a year, at a cost of $150,000, including $18,000 for the elaborate organ, the Ki Mo was completed.
The theater opened on September 19, 1927. Two thousand people jammed the theater. Albuquerque Mayor Clyde Tingley, who later became governor of New Mexico, U.S. Senator Sam G. Bratton, former Governor Arthur T. Hannett and Indian leaders from Tesuque, Cochiti and Isleta Pueblos and the Navajo Reservation attended the opening. The program featured sixty Indian dancers, Indian singers and a film, Patsy Ruth Miller and Glen Tyron in "Painting the Town."
The same year the Kimo opened, Warner Brothers introduced the "talkies." Acoustically, the theater presented no major problems and, with relatively few changes, the theater enjoyed a long and prosperous life. With the decline of downtown Albuquerque and changes in theater operations and audiences, the Kimo, like theaters all over the country, could no longer be operated profitably. It closed in 1968 but was later reopened once for a season of musical theater productions and again for a rock music concert in 1972.
The City of Albuquerque is now considering the purchase of the Kimo for restoration as a theater and as the nucleus of a center for the performing arts. It is a fine example of regional theater architecture which incorporates New Mexico's architectural and cultural heritage in its rich and elaborate ornamentation.
At the turn of the century there was not one building devoted to cinematographic use in the country. By the 1920's movie madness was sweeping the world and the design of movie theaters became a unique specialty. Two schools of thought developed in theater design. The "atmospheric" school advocated the creation of a completely artificial environment, in the words of George Rapp, "a shrine to democracy where there are no privileged patrons." The "hard top" school used Neo-classical forms. The design of the Kimo does not adhere strictly to either concept and the result is a romanticized regional style of architecture. In 1925 Oreste Bachechi, a prominent and successful member of the Italian community in Albuquerque and owner of the Pastime Theater, made plans to build a new movie palace. Bachechi went to Hollywood to find a architect for the new theater which he planned to build at the corner of Fifth and Central. He met Carl Boller, senior partner of Boller Brothers, AIA, whose brother Robert maintained an office in Kansas City. The firm had designed several theaters and they were considered "Theatrical Architects." When Boller first came to Albuquerque to inspect the site he thought the location was too far out of town, but with subsequent trips his enthusiasm for the project grew. He traveled all over New Mexico, visiting Indian pueblos and reservations, and gathering a wealth of design material. Pablo Abeita, well-known governor of the Pueblo of Isleta, and founder of the All-Pueblo Indian Council, suggested the name for the theater to Boller: Kimo, meaning "king of its kind."
After months of research Boller showed Bachechi a watercolor rendering of the interior concept proposed for the Kimo. This rendering is included in Ben M. Hall's The Remaining Seats. Longhorn skulls bordered the proscenium and were used elsewhere as light fixtures. Indian blankets took the place of the usual tapestries. The sun, bird and swastika, symbols meaning Life, Freedom and Happiness, were repeated throughout the theater. The Indian motifs and ceremonial masks used so extensively were painted in symbolic colors of the Southwest. The design was certainly appropriate for the locale.
Oreste Bachechi was very pleased with Boller's concept for the theater and the details of the building were then worked out. Boller contracted with George Williamson of Albuquerque to oversee construction as associate architect. The firm of Robert E. McKee was hired for the construction. In a little over a year, at a cost of $150,000, including $18,000 for the elaborate organ, the Ki Mo was completed.
The theater opened on September 19, 1927. Two thousand people jammed the theater. Albuquerque Mayor Clyde Tingley, who later became governor of New Mexico, U.S. Senator Sam G. Bratton, former Governor Arthur T. Hannett and Indian leaders from Tesuque, Cochiti and Isleta Pueblos and the Navajo Reservation attended the opening. The program featured sixty Indian dancers, Indian singers and a film, Patsy Ruth Miller and Glen Tyron in "Painting the Town."
The same year the Kimo opened, Warner Brothers introduced the "talkies." Acoustically, the theater presented no major problems and, with relatively few changes, the theater enjoyed a long and prosperous life. With the decline of downtown Albuquerque and changes in theater operations and audiences, the Kimo, like theaters all over the country, could no longer be operated profitably. It closed in 1968 but was later reopened once for a season of musical theater productions and again for a rock music concert in 1972.
The City of Albuquerque is now considering the purchase of the Kimo for restoration as a theater and as the nucleus of a center for the performing arts. It is a fine example of regional theater architecture which incorporates New Mexico's architectural and cultural heritage in its rich and elaborate ornamentation.
Bibliography
Albuquerque Journal, September 19, 1927. Bohme, T.G. "A History of the Italian American in New Mexico," unpublished doctoral dissertation, University of New Mexico, 1958. Dunn, Dorothy American Indian Painting of the Southwest and plains Areas. Albuquerque, 1968.
Art; Entertainment/recreation; Architecture
Listed in National Register of Historic Places in 1977.
About National Register Listings
The National Register of Historic Places is the official list of the Nation’s historic places worthy of preservation. Authorized by the National Historic Preservation Act of 1966, the National Park Service’s National Register of Historic Places is part of a national program to coordinate and support public and private efforts to identify, evaluate, and protect America’s historic and archeological resources.
Loading...
The state has a diverse population, with a significant number of Hispanic, Native American, and Anglo residents. The Spanish language and Hispanic culture have had a profound impact on the state's history and traditions.
About Bernalillo County
Bernalillo County Timeline
Bernalillo County, located in the central part of the U.S. state of New Mexico, has a rich and diverse history that dates back thousands of years. The area was originally inhabited by Native American tribes, including the Tiwa and Tanoan people, who lived off the land and established settlements along the Rio Grande.
In 1540, Spanish explorer Francisco Vásquez de Coronado led an expedition into what is now Bernalillo County. The Spanish established several missions and settlements in the region, including the Alameda Mission and the village of Alburquerque (later renamed Albuquerque). These early settlements laid the foundation for the region's future development.
During the 19th century, Bernalillo County experienced significant growth with the arrival of American pioneers and traders. The region became an important trading post along the historic Santa Fe Trail, further connecting it to the expanding western frontier. In 1851, Bernalillo County was officially established as one of the original nine counties in the newly formed New Mexico Territory.
Bernalillo County played a significant role during the Mexican-American War and the American Civil War. It served as a strategic location for both sides, as the Rio Grande acted as a natural barrier. The county saw battles, skirmishes, and military engagements, leaving a lasting impact on the region.
In the 20th century, Bernalillo County continued to grow and develop, becoming an important center for government, commerce, and culture in New Mexico. Today, the county is home to the vibrant city of Albuquerque, which is the state's largest city and the cultural, economic, and political hub of the region. Bernalillo County's rich history can be seen through its diverse architectural styles, cultural traditions, and landmarks that reflect the people who have called this area home throughout the centuries.
In 1540, Spanish explorer Francisco Vásquez de Coronado led an expedition into what is now Bernalillo County. The Spanish established several missions and settlements in the region, including the Alameda Mission and the village of Alburquerque (later renamed Albuquerque). These early settlements laid the foundation for the region's future development.
During the 19th century, Bernalillo County experienced significant growth with the arrival of American pioneers and traders. The region became an important trading post along the historic Santa Fe Trail, further connecting it to the expanding western frontier. In 1851, Bernalillo County was officially established as one of the original nine counties in the newly formed New Mexico Territory.
Bernalillo County played a significant role during the Mexican-American War and the American Civil War. It served as a strategic location for both sides, as the Rio Grande acted as a natural barrier. The county saw battles, skirmishes, and military engagements, leaving a lasting impact on the region.
In the 20th century, Bernalillo County continued to grow and develop, becoming an important center for government, commerce, and culture in New Mexico. Today, the county is home to the vibrant city of Albuquerque, which is the state's largest city and the cultural, economic, and political hub of the region. Bernalillo County's rich history can be seen through its diverse architectural styles, cultural traditions, and landmarks that reflect the people who have called this area home throughout the centuries.
Bernalillo County Timeline
This timeline provides a concise overview of the key events in the history of Bernalillo County, New Mexico.
- 1692: Bernalillo County established as part of New Spain's Santa Ana Pueblo land grant.
- 1821: Mexico gains independence from Spain, and Bernalillo County becomes part of the Republic of Mexico.
- 1848: Bernalillo County is ceded to the United States as part of the Treaty of Guadalupe Hidalgo, ending the Mexican-American War.
- 1852: Bernalillo County officially organized as a county within the New Mexico Territory.
- 1880: Completion of the Atchison, Topeka and Santa Fe Railway line through Bernalillo County stimulates growth and development in the region.
- 1902: The county seat is moved from Albuquerque to nearby Los Ranchos.
- 1930: The county seat is moved back to Albuquerque due to the city's rapid growth and importance.
- 1960s: Bernalillo County experiences significant population growth as a result of urbanization and suburban development.
- 2000s: Bernalillo County implements various initiatives to promote economic development, community engagement, and sustainable growth.