through selling subscriptions. Further, by August a voter-approved bond provided an additional $1 million solely for improving permanent fixtures in the park. Funding for the California State Building was provided through appropriation bills totaling $450,000 ($ today) signed by Governor Hiram Johnson in both 1911 and 1913. Design Fair officials first sought architect John Galen Howard as their supervisory architect. With Howard unavailable, on January 27, 1911, they chose New York architect Bertram Goodhue in that role, also appointing Irving Gill to assist Goodhue. By September 1911 Gill had resigned and was replaced by Carleton Winslow of Goodhue's office, just as the original landscape architects, the Olmsted Brothers had left and were replaced in their role by fair official Frank P. Allen Jr. Exposition site The exposition's location was selected to be inside the of Balboa Park. For the first few decades of its existence, "City Park" remained mostly open space. The land, lacking trees and covered in native wildflowers, was home to bobcats, rattlesnakes, coyotes, and other wildlife. Numerous proposals, some altruistic, some profit-driven, were brought forward for the development and use of the land during this time. Several buildings including a high school, nursery, and gunpowder magazine were eventually built in the park, prior to the initial 1909 plan proposed by Davidson. During construction in 1910, a contest was held that renamed the park after Vasco Núñez de Balboa, the first European to cross Central America and see the Pacific Ocean. Two north-south canyons — Cabrillo Canyon and Florida Canyon — traverse the park and separate it into three mesas. Cabrillo Canyon (formerly known as Pound Canyon) forms a deep separation between the exposition site and the park entrance from downtown San Diego. The park is essentially rectangular, now bounded by Sixth Avenue to the west, Upas Street to the north, 28th Street to the east, and Russ Boulevard to the south. Spanish Colonial Revival architecture Goodhue and Winslow advocated a design that turned away from the more modest, indigenous, horizontally oriented Pueblo Revival and Mission Revival, towards a more ornate and urban Spanish Baroque. Contrasting with bare walls, rich Mexican and Spanish Churrigueresque decoration would be used, with influences from the Islamic and Persian styles in Moorish Revival architecture. For American world's fairs, this was a novelty. The design was intentionally in contrast to most previous Eastern U.S. and European expositions, which had been done in neoclassical