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                  <text>Irving J. Gill (1870-1936): Simplicity and Reform</text>
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                  <text>Born near Syracuse, New York, Irving Gill (1870-1936) was descended from Quakers and grew up in a family with ties to the building trades; his father was a carpenter and a farmer. Gill trained in architecture through an apprenticeship with architect Ellis K. Hall in Syracuse and, based on Hall’s recommendation, moved to Chicago in 1890 to work for architect Joseph L. Silsbee. By 1891, however, Gill was in the office of Dankmar Adler and Louis Sullivan. Frank Lloyd Wright (who had earlier worked for Silsbee) was working for Sullivan at this time and later claimed that Gill worked under his guidance. The Adler and Sullivan office was engaged with the Transportation Building for the World’s Columbian Exposition of 1893. This early modern design was one of the few buildings not in the classical style for which the fair became known and highly influential, and it is likely that Gill may have worked on this project during his brief tenure in the office. &#13;
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Reportedly because of ill health, Gill moved to San Diego in 1893. There he entered a short-lived partnership with Joseph Falkenham, then established in 1896 an office with William Sterling Hebbard, which lasted until 1906. In the following years Gill worked alone, though he collaborated with architect Frank Mead on a few projects between 1906-1907. Gill's nephew, Louis Gill joined the office in 1911 and became a partner around 1914. Gill increasingly spent time in the Los Angles area, doing work in Torrance and Los Angeles through the 1920s, with Louis Gill managing the San Diego office, until their partnership ended. In the late 1920s, Gill designed several projects, many unrealized, in collaboration with San Diego architect John Siebert.&#13;
&#13;
Gill published several essays during his lifetime, in which he argued for a simple and authentic architecture, famously writing, “[a]ny deviation from simplicity results in a loss of dignity.” Many of his projects show his social concerns for the poor and working men and women, as in his houses for working men and single women, and his designs for the Rancho Barona Indian resettlement village in Lakeside, California.</text>
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&#13;
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&#13;
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                <text>Alice Lee (a San Diego socialite and second cousin of Theodore Roosevelt’s first wife) and Katherine Teats commissioned two distinct house groups from Gill. In 1905 Gill designed a house for Lee and Teats on Seventh Avenue, with adjacent rental houses, all in the Prairie style, on land purchased from George Marston, another client who built a significant house nearby, currently a museum and historic landmark. &#13;
Hazel Waterman, then working in Gill’s office, did the drawings. The landscape was by Kate Sessions. &#13;
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In this series of drawings of graphite and gouache on board for the Nelson Barker house, the white planes of the house and garden walls stand out against the faintly-sketched backdrop.</text>
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                <text>The Dodge house was located on Kings Road, just north of the future site of Schindler’s own 1921 house. Considered Gill’s masterpiece, the design was widely praised for, as historian Leland Roth wrote," revealing a functional asymmetry whose ornament was derived solely from the studied geometry of the sharp openings in plain walls." The house was bulldozed, after a long preservation effort, on February 9, 1970. The shock of that loss helped launch the Los Angeles Conservancy, founded in 1978.&#13;
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&#13;
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&#13;
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&#13;
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                <text>Gill designed approximately eight cottages for parcels of land he purchased in San Diego. There is little documentation for these, but all or most of the houses seem to have been built on Albatross, Front, Robinson Mews, and Hawthorne streets.Gill proudly wrote to his father that he built his small houses, “so as to work out some new ideas I had for a cheap, semi-fireproof cottage for working men’s families. They have been a great success and I am building several others of similar construction.” &#13;
&#13;
Gill and his nephew Louis lived at 3719 Albatross in 1912. Lloyd Wright and his brother John lived in another of the cottages, down the lane. Gill reused the plan of his Cleveland Heights house in his preliminary design for the Bella Vista Terrace cottages, several years later.  </text>
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Gill’s fascination with concrete as an inexpensive, fireproof building material prompted his intensive experiments with concrete formulations, using the bags of sand, water jug, scales, and other instruments for testing concrete mixtures.&#13;
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&#13;
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&#13;
The Horatio West and Lewis Courts are among the best examples of Gill’s intentions and compositional strategies. Richard Neutra was sufficiently intrigued when he first saw Gill’s buildings in 1925 that he included Horatio West, and several other Gill buildings,in his 1930 book, Amerika. </text>
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&#13;
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&#13;
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&#13;
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                  <text>Born near Syracuse, New York, Irving Gill (1870-1936) was descended from Quakers and grew up in a family with ties to the building trades; his father was a carpenter and a farmer. Gill trained in architecture through an apprenticeship with architect Ellis K. Hall in Syracuse and, based on Hall’s recommendation, moved to Chicago in 1890 to work for architect Joseph L. Silsbee. By 1891, however, Gill was in the office of Dankmar Adler and Louis Sullivan. Frank Lloyd Wright (who had earlier worked for Silsbee) was working for Sullivan at this time and later claimed that Gill worked under his guidance. The Adler and Sullivan office was engaged with the Transportation Building for the World’s Columbian Exposition of 1893. This early modern design was one of the few buildings not in the classical style for which the fair became known and highly influential, and it is likely that Gill may have worked on this project during his brief tenure in the office. &#13;
&#13;
Reportedly because of ill health, Gill moved to San Diego in 1893. There he entered a short-lived partnership with Joseph Falkenham, then established in 1896 an office with William Sterling Hebbard, which lasted until 1906. In the following years Gill worked alone, though he collaborated with architect Frank Mead on a few projects between 1906-1907. Gill's nephew, Louis Gill joined the office in 1911 and became a partner around 1914. Gill increasingly spent time in the Los Angles area, doing work in Torrance and Los Angeles through the 1920s, with Louis Gill managing the San Diego office, until their partnership ended. In the late 1920s, Gill designed several projects, many unrealized, in collaboration with San Diego architect John Siebert.&#13;
&#13;
Gill published several essays during his lifetime, in which he argued for a simple and authentic architecture, famously writing, “[a]ny deviation from simplicity results in a loss of dignity.” Many of his projects show his social concerns for the poor and working men and women, as in his houses for working men and single women, and his designs for the Rancho Barona Indian resettlement village in Lakeside, California.</text>
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                  <text>Irving John Gill papers, Architecture and Design Collection. Art, Design &amp; Architecture Museum, University of California, Santa Barbara</text>
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                  <text>circa 1893- circa 1936</text>
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                  <text>Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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                  <text>San Diego, Calif.; Los Angeles, Calif.</text>
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                <text>Hebbard and Gill designed an English cottage for Wangenheim, a civic leader, owner of a grocery store business, and the father-in-law of Melville Klauber, another Gill client. San Diego was a small town and Hebbard and Gill worked with most of its prominent citizens, reflecting the significance of the firm in the late 19th and early 20th centuries.</text>
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