This is a photograph of a model of the Biological Sciences II building, looking at the north-west corner of the building, with Parking Lot #1 on the left side of the image. The building houses numerous laboratories, offices, and other research spaces. Jones & Emmons had previously designed Theater & Dance East and Noble Hall in the "early campus standard" style, with patterned cinnamon colored concrete blocks, covered walkways, and patterned wind-walls. Biological Sciences II references more of the "late campus standard" style, with horizontal re-enforced concrete, prominent vertical utility shafts, and one story covered entryway to the multi-story building.
A. Quincy Jones & Frederick Emmons, architects
University of California, Santa Barbara Campus Building records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
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.
Speech and Dramatic Arts Building -- Theater and Dance Building/Snidecor Hall
A rendering of the building looking south through the plaza towards the lagoon. The building contained a 380 seat theater, speech therapy facilities, and regular classroom and office space. It was originally designed for the emerging fields of broadcasting, mass communication, phonetics, and speech correction. The building received seismic upgrades and an addition in 2007 (Theater and Dance West) by A.C. Martin and Associates. A. Quincy Jones (1913-1979) and Fredrick Emmons (1907-1999) were partners in an architectural firm for almost 20 years. Prior to their partnership, they both worked for well-regarded architects: Jones for Paul Revere Williams in Los Angeles, and Emmons for William Wurster in the San Francisco area. Together they designed many housing tracts and commercial buildings throughout California. At UCSB they also designed the West Campus Family Student Housing (1963), Noble Hall (1959), and Biological Sciences 2 (1969).
A. Quincy Jones and Frederick Emmons, architects
Married Student Housing -- West Campus Housing
A rendering of a design for Married Student Housing (now named West Campus Family Student Housing), at the corner of El Colegio Road and Storke Road. The 250 one- and two- bedroom apartments are grouped into 38 buildings, which are clustered around grassy play areas. A. Quincy Jones (1913-1979) and Fredrick Emmons (1907-1999) were partners in an architectural firm for almost 20 years. Prior to their partnership, they both worked for well-regarded architects: Jones for Paul Revere Williams in Los Angeles, and Emmons for William Wurster in the San Francisco area. Together they designed many housing tracts and commercial buildings throughout California. At UCSB they also designed the Theater and Dance Building/Snidecor Hall (1964), Noble Hall (1959), and Biological Sciences 2 (1969).
SBCAA: unidentified house (Montecito, Calif.)
This house was located on Olive Mill Road in Montecito.
Santa Barbara Community Arts Association records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
A.E. Hanson: Calendar landscaping (Los Angeles, Calif.)
The Harry Calendar garden, in the Windsor Square neighborhood in Los Angeles, was one of Hanson's first landscape architecture commissions. In the images above, the bird house holds a spotlight to highlight the lily pond. The colonial style pergola anchors the far end of the garden with statuary.
A.E. Hanson, landscape architect Frederick Martin, photographer
A. E. Hanson papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara
Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara
A.E. Hanson: Murphy landscaping (Los Angeles, Calif.)
For the Mrs. Dan Murphy garden, Hanson worked with architect Lutah Maria Riggs on the overall design for the landscape. Hanson had worked with Riggs previously on the Johnson estate in Montecito. The garden design was based on an Italian garden, since the Murphy's had two Italian temples reconstructed on the extensive estate grounds.
A.E. Hanson, landscape architect Fredrick Dapprich, photographer Wayne McCall, photographer Lutah Maria Riggs, architect
A. E. Hanson papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
A.E. Hanson: Johnson landscaping (Montecito, Calif.)
For the Kirk Johnson landscaping project, Hanson was introduced to the Johnson's by the architect of the house, George Washington Smith. The 8-acre property already contained many mature oak and cypress trees; Hanson utilized the existing trees to frame different garden 'rooms' and to highlight the natural landscape.
A.E. Hanson, landscape architect George Washington Smith, architect Fredrick Dapprich, photographer Wayne McCall, photographer
A.E. Hanson: Young landscaping (Pasadena, Calif.)
George Washington Smith designed the home for Archibald Young in the Andalusian style. Hanson complimented this style with a similar landscaping, by utilizing various fountains and water features to highlight the design.
A.E. Hanson, landscape architect George Washington Smith, architect
A.E. Hanson: Lloyd landscaping (Beverly Hills, Calif.)
The Harold Lloyd estate, also known as Green Acres, was a 15-acre property with golf course, swimming pool, 900 foot long canoe racing area, handball court, and many additional outbuildings and features. Hanson designed all of the landscape features, and worked with architect Sumner Spaulding on the placement of the Tuscany-style house on the grounds. Harold Lloyd was a very famous actor and producer in the 1920s, but whose fortunes declined over the years; he lived in the house until he died in 1971. The estate was then subdivided into multiple lots and sold off.
A.E. Hanson, landscape architect Sumner Spaulding, architect
A.E. Hanson: Cochran landscaping (Los Angeles, Calif.)
George Cochran, head of Pacific Mutual Life Insurance Company, commissioned Hanson to create a garden on his multi-lot estate between Hobart and Harvard streets in Los Angeles. A long, narrow garden was created, with fully-grown trees brought in to complete the landscape vision.
These two images of Hanson show him at different points in his career. The first one from circa 1927 shows him while he was working on his most famous project, the Harold Lloyd estate. The second image shows Hanson as a well established land developer, circa 1955.
A.E. Hanson: Hanson landscaping (Westlake Village, Calif.)
Hanson designed this landscape for the backyard of his own home in Westlake, Calif. The design shows how a sculpted landscape can fit into a smaller suburban yard.
Gregory Ain: Avenel Homes (Los Angeles, Calif.)
Southern California Architecture California Modern Architecture
This group of small homes set side-by-side perpendicular to the street on a long lot, created a community feel, while walls and patios defined individual space. The houses were designed to be low cost urban housing, with the homeowners (a group of recent WWII veterans) pooling their resources to buy the land and build the development. This type of community at the time was viewed with suspicion of being communist in nature. Ain brought features of higher-end modernist homes into the low cost community housing. Though the space is only 908 square feet, Ain incorporated sliding walls between the living room and master bedroom, and between the two smaller bedrooms to give flexibility in living arrangements. The dining room table was incorporated into the kitchen counter to preserve space. The Federal Housing Authority had to approve the plans, and they denied Ain's design for a half bath, and insisted upon a broom closet instead. The complex is listed on the National Register of Historic Places.
Gregory Ain papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Gregory Ain: Community Homes Inc. (Reseda, Calif.)
The unbuilt Community Homes project, slated for Reseda, Calif,, included a shopping center, school, parkland, and 16 blocks of homes. Ain partnered with Garrett Eckbo, Simon Eisner, and Reginald D. Johnson to design the housing tract. This housing project was controversial due to its focus on community, the Federal Housing Authority refused to approve the plans because it was to be a racially integrated housing tract, and Ain was investigated by the FBI for possible communist sympathies.
Reseda, Calif.; San Fernando Valley, Calif.
Gregory Ain: Dunsmuir Flats (Los Angeles, Calif.)
Dunsmuir Flats is a four unit building, all attached, with each 2-story unit containing 2 bedrooms and 1.5 bathrooms. It is an example of Modern International Style, with a flat roof and horizontal bands of clerestory windows. All of the bedrooms face south, with access to their own private balconies, and the dining room and living rooms open out onto a patio. On the 49 foot wide lot, each unit is stepped back to give a sense of privacy to the patio and balcony areas.
Gregory Ain: Park Planned homes (Altadena, Calif.)
The Park Plannned Homes is a tract of 28 houses in Altadena, designed by Ain with landscape architect Garrett Eckbo. They have elements of an open concept feel, with a modular building design of 12' x 16' modular units that allowed for common finishes, hardware and equipment. The housing tract was built on a slope, so each property was leveled off and is stepped down from the one above. Along with all of the houses having the garage and service area in the front (and a private patio), the retaining walls and landscaping provide privacy for the homeowners.
Ain, Gregory (1908-1988), architect; Garrett Eckbo, landscape architect
Gregory Ain: Mar Vista Tract (Los Angeles, Calif.)
Originally planned as a tract of 100 homes on 60 acres, the Mar Vista Tract built 52 homes. Ain partnered with Joseph Johnson, Alfred Day, and landscape architect Garrett Eckbo to design the housing tract. The houses were turned in different directions, so that the side facing the street gave each house a slightly different look. Ain used sliding doors to create a flexible living arrangement-- one sliding door between bedrooms made two small rooms into one large room, and another sliding door between a bedroom and the living room opened up the space. It is the first post-WWII housing district to receive the Los Angeles Historic Preservation Overlay Zone designation.
Ain, Gregory (1908-1988), architect; Joseph Johnson, architect; Alfred Day, architect; Garrett Eckbo, landscape architect
A rendering of the Chemistry Building, taken from the southern edge of the East Lawn, looking north. This building echoes some of the extended architectural vocabulary of the late campus standard, with patterned concrete block, dentil mouldings under the concrete roof lines, angular arches, and the use of the one-story building to give a more human scale to the larger building. The architectural firm Albert C. Martin and Associates was formed in 1906, and is still managed today by the same family. The firm was one of the most prolific designers of commercial structures in downtown Los Angeles in the mid-twentieth century. Some of their notable buildings include the Los Angeles Department of Water and Power headquarters, ARCO Plaza, and the master plan for Westlake Village. The firm also designed the Woodhouse laboratory at UCSB in 1963.
Albert C. Martin and Associates, architects
Frey House 2 is perched on the side of the mountain, just above the Palm Springs Art Museum. Frey stipulated in his will that the house was to be given to the Art Museum after his death. The house is occasionally open for tours, usually during Palm Springs Modernism Week.
Albert Frey (1903-1998), Architect Julius Shulman, Photographer
Albert Frey papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Frey House 1 was built in 1940, as a small 16x20 rectangle, with corrugated metal walls and roof. In 1948, the living area was expanded, a second pool was installed that was partially indoors (surrounded by curving metal walls), as well as additions to the pool area. In 1953, an upstairs addition was constructed-- based on an observation tower Frey had seen in Mexico-- which contained a bedroom with 8 circular windows to let in air and light.
This section drawing shows the addition of a second floor bedroom, with hanging staircase ascending from the living room. The pool is on the left, partially inside the house. The dining room, with its hanging table, is on the right.
Albert Frey: Frey House 1, portrait with car
In this iconic image, Albert Frey is pictured standing alongside his car, in front of Frey House 1. The unique circular second story with porthole windows was an addition in 1953-1954.
This floor plan shows the original plan for the house, with no separate bedroom, just a sleeping area adjacent to the living room. The large oval next to the dining room table is a large boulder, which is the centerpiece of the house.
This section drawing shows the steep slope of the building site. The carport is on the lowest level, with pool directly above. The house sits farther up the slope, with the large boulder represented by the dotted line on the upper right.
This portrait of Albert Frey later in life was taken in Frey House 2, leaning against the large boulder, overlooking downtown Palm Springs.
The house was built in 1940-1941 as a very small house, only 16x20. Frey added on to the house in 1948 and 1953. The first addition consisted of an additional living/sleeping area and an indoor/outdoor wading pool surrounded by corrugated metal walls and planted with many tropical plants. The 1953 addition was for the unique second floor sleeping area-- a circular room with porthole-style windows and a hanging staircase. Frey also added a curved metal and fiberglass wall surrounding the main pool.
Albert Frey (1903-1998), Architect; Julius Shulman, Photographer
In 1960, Frey sold Frey House 1 to a developer who tore the house down, subdivided the two acre lot, and built a few standard stucco houses on the newly subdivided lots. The developer subsequently went bankrupt.
Frey House 2 is also a small house, perched on a steep slope above Palm Springs. The main feature on the interior of the house is a large boulder, which divides the dining area from the sleeping area. Frey used metal channels on the rock and had the glass walls cut to fit around the rock and seal in the air.
Albert Frey: Kocher-Samson office and apartment (Palm Springs, Calif.)
In 1934, Frey was sent to Palm Springs to design and build an office building, with an apartment above, for Dr. J.J. Kocher, the brother of A. Lawrence Kocher. The building was designed to take advantage of the climate and featured a courtyard between the two offices on the ground floor, and the apartment had a large terrace on the shady north side of the building. The photographs, taken just after construction, show how the building was the only structure in the area, surrounded by sand and sagebrush. Today, the building still stands along busy Palm Canyon drive, surrounded by other businesses and concrete.
Albert Frey, architect A. Lawrence Kocher, architect
Albert Frey: Kocher weekend house (Northport, NY)
Architects A. Lawrence Kocher and Albert Frey worked together in 1933-1934 to design low-cost structures, like the Aluminaire House. Kocher was the managing editor of Architectural Record, faculty at the University of Virginia and Black Mountain College, and responsible for helping bring Walter Gropius to the United States. With this weekend house on Long Island, Kocher and Frey designed the house with a redwood frame, then stretched Marine canvas over the walls. The canvas was sealed and painted, and lined with aluminum for insulation on the inside. The ground level was parking and a playground, the second level was the main living level (with kitchen and large living room which had curtains to separate the space into bedrooms at night), and the top level was for sun bathing and sleeping areas during warm weather. The house was demolished in the 1950s to make way for a new subdivision.
Albert Frey: Lyons house (Palm Springs, Calif.)
The J.A. Lyons house was a large (5 bedroom), sprawling house in the Smoke Tree Ranch development in Palm Springs. With five bedrooms and four bathrooms, the Lyons house was much more grand than some of Frey's other residences.
Albert Frey, architect Clark & Frey, architects
Albert Frey: Clark and Frey office building (Palm Springs, Calif.)
Albert Frey was in partnership with John Porter Clark from 1939 until 1957. This office building was the firm's office on North Palm Canyon Drive in downtown Palm Springs. The unassuming modern two-story building now houses retail stores on its first floor.
Albert Frey, architect Clark and Frey, architects John Porter Clark, architect Bernard Anderson, photographer
Albert Frey: Cree house (Palm Springs, Calif.)
The Raymond Cree house was built on the border of Palm Springs and Cathedral City. Cree was a real estate developer who had originally wanted to build a luxury resort on the site; instead a two bedroom house with pool and valley views was constructed.
Albert Frey, architect Clark, Frey & Chambers, architects
Albert Frey: Desert Museum (Palm Springs, Calif.)
This is an early rendering of the Palm Springs Desert Museum, later renamed the Palm Springs Art Museum, in its earlier location on Tahquitz Drive. Clark & Frey worked with the Williams, Williams, Williams architecture firm, which also included E. Stuart Williams, who designed the current Art Museum building in the 1970s.
Albert Frey, architect Frey & Clark, architects Williams, Williams, Williams, architects
Albert Frey papers, Architecture and Design Collection. Art, Design & Architecture previous hit Museum next hit ; University of California, Santa Barbara.
Architecture and Design Collection. Art, Design & Architecture previous hit Museum next hit ; University of California, Santa Barbara.
Albert Frey: Bel Vista tract housing (Palm Springs, Calif.)
The Bel Vista affordable housing tract was built in 1945 as housing for War workers. The subdivision of 15 homes was designed by Albert Frey and John Porter Clark for the developers Sallie Stevens and Culver Nichols. This was the first subdivision in Palm Springs to feature modern-style houses, and the only Frey housing tract.
Albert Frey, architect John Porter Clark, architect
Albert Frey: Pelletier house (Palm Desert, Calif.)
The Adrian Pelletier house in Palm Desert was built as the town was being developed as a getaway for Hollywood stars. Its location near both the Shadow Mountain Club and Marrakesh Country Club was a very desirable location.
Albert Frey, architect Julius Shulman, photographer Clark, Frey, and Chambers, architects
Albert Frey: Loewy house (Palm Springs, Calif.)
The industrial designer Raymond Loewy commissioned Frey to design a bachelor pad and winter getaway in 1947, in Palm Springs. The small (1100 square feet) house features walls of sliding glass doors opening onto a patio and pool. The outdoor living area contains multiple eating areas, a shaded trellis, and spots for pool-side lounging. As shown in the photos by Julius Shulman, the amoeba-shaped pool even extends under the glass doors and into the living room.
Albert Frey, architect Julius Shulman, photographer
© J. Paul Getty Trust. Getty Research Institute, Los Angeles (2004.R.10) 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.
Albert Frey: Tramway Gas Station (Palm Springs, Calif.)
Frey and Chambers designed the Palm Springs Aerial Tramway station house (the building at the base of the mountain) in 1963. The Tramway Gas Station, at the corner of Tramway Road and Highway 111, was constructed in 1965 with a distinctive hyperbolic paraboloid roof, which gives the building an instantly recognizable appearance. It was used as a gas station until the 1990s, when it was turned into an art gallery. In 2015, the building was placed on the National Register of Historic Places, and was converted to the Palm Springs Visitor Center.
Albert Frey, architect Robson Chambers, architect
Albert Frey: North Shore Beach and Yacht Club (Salton Sea, Calif.)
The Salton Sea was a formerly dry lake bed located southeast of Palm Springs. The area was flooded as part of an effort to irrigate the surrounding area in the early 1900s, and is one of the largest lakes in California. It is also one of the saltiest and most polluted, due to agricultural run-off. During the 1950s, the North Shore area was a very popular vacation spot, and the marina was one of the largest in the state. The Club was in operation until 1984, when it closed after being damaged in a flood. In 2010, the county of Riverside operated the Salton Sea Museum and community center from the main building. It was placed on the National Register of Historic Places in 2015.
Albert Frey: Aluminaire house (Syosset, NY)
The architect A. Lawrence Kocher was asked to design a house for the Architectural League of New York City and the Allied Arts of Industries bi-annual exhibition. Kocher hired Frey to help design a house that used new materials, like steel and glass as a low cost construction alternative. After the exhibition, the house was purchased by architect Wallace Harrison, who moved the house to his property in Syosset, on Long Island in New York. The house remains on the property until 1987, when a new owner decided to demolish the house and build a subdivision. The New York Institute of Technology agreed to dismantle the house and reconstruct it on their campus. Teams of architecture students spend the next six years carefully dismantling the house and re-assembling it at the School of Architecture on the Central Islip campus. In 2012, the campus was closed, the house was transferred to a group called the Aluminaire House Foundation, which dismantled the structure and stored it in a shipping container. In 2015, the container was shipped to Palm Springs and is currently awaiting re-assembly.
Albert Frey: Newton house (Palm Springs, Calif.)
The Harold R. Newton house on Palisades Drive in Palm Springs was a small house perched on the side of a steeply sloping lot. Multiple terraces created a more stable hillside and provided space for an access stairway.
Santa Barbara State Teachers College -- Administration Building
A photograph of a drawing by Alfred Eichler of the Administration Building for the Santa Barbara State Teachers College, formerly the State Normal School. The rendering shows the proposed administration building which housed offices, classrooms, a library, and a theater. Currently, the building is home to the Riviera Theater, and is part of the Santa Barbara International Film Festival.
Alfred Eichler papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Santa Barbara State Teachers College -- Ebbets Hall archway to loggia
A photograph of an arched entrance to the loggia at the western end of Ebbets hall. The photograph was taken soon after construction; un-graded dirt and construction debris can be seen at the base of the stairs.
Santa Barbara State Teachers College -- Ebbets Hall southeast corner
A photograph of the southeast side of the building.
Santa Barbara State Teachers College -- Ebbets Hall northeast entrance
A photograph of the entrance to Ebbets Hall on the northeast corner, facing Alvarado Place. The building was named after Miss Charlotte Ebbets, who was the department head of the Home Economics Department at the college. Ebbets Hall contained classrooms, laboratories, a 'practice house' for home economics classes, a kitchen, and three dining rooms.
Santa Barbara State College -- Industrial Education Unit
This image is a photograph of a rendering of the Industrial Education Unit for the Leadbetter Mesa campus, designed by Alfred Eichler. It was the first building built on the site for the Santa Barbara State College expansion, and was used from the early 1940s until the campus moved to the Goleta Mesa in 1954. It is now part of the Santa Barbara City College, and houses the administration building, the MacDougall Administration Center.
Marine Laboratory-- Marine Science Institute
The beach-side location allows for sea water to be pumped into the building for aquatic experiments, some of which is also distributed to other buildings on campus. Prior to construction of the building, it was noted in the specifications the detrimental effects of sea water on most building materials, and that care should be taken to mitigate the risk of sea water corrosion on the structure. This site was originally used as the water and sewage filtration plant for the Marine Air Base. Wallace Arendt (1917-1975), Glen Mosher (1914-2013?), and Robert Grant (1928-2017) were partners in an architecture firm in Santa Barbara from the mid-1950s until the mid-1970s. They designed many residences in Hope Ranch, Goleta, and Santa Barbara, as well as civic buildings, schools, and commercial buildings. At UCSB, they designed the Marine Science Lab (1964), Music II (1969), UCen I (1966), Library IV (1977), and University House (1964). In the 1980s, the firm changed its name to Grant, Pederson, Phillips and designed the Recreation Center; in the 1990s, the name changed again to Phillips Metsch Sweeney Moore Architects (PMSM) and designed the Psychology East building.
A rendering of the music building addition, on the south side of the original building. This addition includes the former Arts Library and the Lottie Lehman Concert Hall. The design blends the addition seamlessly with the original building: patterned concrete block, hipped roofs, and exterior walkways and courtyard allow for easy integration with the earlier style. Wallace Arendt (1917-1975), Glen Mosher (1914-2013?), and Robert Grant (1928-2017) were partners in an architecture firm in Santa Barbara from the mid-1950s until the mid-1970s. They designed many residences in Hope Ranch, Goleta, and Santa Barbara, as well as civic buildings, schools, and commercial buildings. At UCSB, they designed the Marine Science Lab (1964), Music II (1969), UCen I (1966), Library IV (1977), and University House (1964). In the 1980s, the firm changed its name to Grant, Pederson, Phillips and designed the Recreation Center (1994); in the 1990s, the name changed again to Phillips Metsch Sweeney Moore Architects (PMSM) and designed the Psychology East building (2006).
A rendering of the original University Center design. The UCen is situated with a view over the lagoon and towards the ocean, south of, and between the Music Building and the Arts Building. The UCen has had multiple additions and alterations, though the original concrete block piers can still be seen lining the lower patio, and the hipped tile roof over the center portion of the building is also intact. Wallace Arendt (1917-1975), Glen Mosher (1914-2013?), and Robert Grant (1928-2017) were partners in an architecture firm in Santa Barbara from the mid-1950s until the mid-1970s. They designed many residences in Hope Ranch, Goleta, and Santa Barbara, as well as civic buildings, schools, and commercial buildings. At UCSB, they designed the Marine Science Lab (1964), Music II (1969), UCen I (1966), Library IV (1977), and University House (1964). In the 1980s, the firm changed its name to Grant, Pederson, Phillips and designed the Recreation Center; in the 1990s, the name changed again to Phillips Metsch Sweeney Moore Architects (PMSM) and designed the Psychology East building.
The on-campus home for the Chancellor and his/her family, the University House is located at the edge of the lagoon, close to the original residence halls. With an enclosed courtyard, wide roof overhangs, and a patio with a view of the lagoon, the University House exemplifies the indoor/outdoor living possibilities on campus. The adjacent Centennial House is used for events.
Trousdale Quintet Brochure (Beverly Hills, Calif.)
This brochure is for the Assistance League of Southern California's benefit showing of the "Trousdale Quintet," a set of 5 estate homes by the Trousdale Development Company in Los Angeles, California. This brochure features four homes located on Carla Ridge and one on Clinton Place in Beverly Hills, California. Architects William R. Stevenson, A. Quincy Jones, Rex Lotery, Richard L. Dorman, Edward H. Fickett, along with several interior designers, are credited for their work on the Trousdale Estate homes.
Assistance League of Southern California; Trousdale Development Company
Rex Lotery papers, Architecture and Design Collection. Art, Design, & Architecture Museum; University of California, Santa Barbara.
Architecture and Design Collection. Art, Design, & Architecture Museum; University of California, Santa Barbara.
Barton Myers: Citadel Theatre (Edmonton, Alb.)
The Citadel Theatre complex was designed around a pedestrian mall, with the 700-seat proscenium theater, the 300-seat experimental theater, and the 250-seat cinema/lecture hall all having lobbies which opened onto the central pedestrian mall.
Barton Myers, architect A.J. Diamond and Barton Myers Architects R.L. Wilkin, architect John Fulker, photographer
Barton Myers papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Barton Myers: Housing University Building (Edmonton, Alb.)
Myers designed the Housing University Building (HUB) at the University of Alberta, in Edmonton, Alberta, Canada. The HUB is a 957-foot-long galleria with retail shops, day care center, recreation facilities, and student housing on the upper floors of the 4-story building. It was designed as a student center for cold climates, so that students did not need to walk outside in the winter.
Barton Myers, architect A.J. Diamond and Barton Myers Architects R.L. Wilkin, architect
Barton Myers: Dundas-Sherbourne (Toronto, Ont.), Vacant Lottery site plan
"Vacant Lottery" was a special issue of Design Quarterly magazine which was co-written by Barton Myers and George Baird in 1978. The graphics show the existing buildings in dark blue, new construction in light blue, outside space is orange, and other existing buildings not part of the project are dark grey. For Dundas-Sherbourne, Myers and Diamond added infill housing (the light blue rectangles in the above image) behind the existing housing (dark blue) in order to add density without changing the character of the neighborhood.
Barton Myers, architect A.J. Diamond and Barton Myers Architects
Barton Myers: Wolf house (Toronto, Ont.), drawing
For this early house on a steeply sloping lot, Myers used pilings to raise the house and create space for a patio or eventual addition.
Barton Myers, architect A.J. Diamond and Barton Myers Architects, architects
Barton Myers: Wolf house (Toronto, Ont.) photographs
Barton Myers, architect A.J. Diamond and Barton Myers Architects, architects John Fulker, photographer
Barton Myers: York Square (Toronto, Ont.)
The York Square project, in the Yorkville Village neighborhood of Toronto, was an urban infill development which revitalized old commercial buildings in an established neighborhood into a new space for restaurants and cafes to coalesce around a new courtyard space.. Myers and Diamond repurposed existing buildings to maintain the neighborhood style, while adding graphics and a new facade to the newly renovated building complex.
Barton Myers: Myers house (Toronto, Ont.)
Barton Myers designed and built his first residence for himself at 19 Berryman in Toronto. At the time he was partners in the firm A.J. Diamond and Barton Myers Architects. The house was an infill project on a narrow vacant lot. Myers designed the house around an enclosed courtyard. The two-story house utilized natural light from the skylight and windows at the front and back.
Barton Myers, architect A.J. Diamond and Barton Myers, architects Ian Samson, photographer
Barton Myers: Ontario Medical Association building (Ontario, Canada)
The building, at 240 St. George Street in Toronto, was designed to be the office space for the Ontario Medical Association. The building now houses the Consulate General of the People's Republic of China.
Barton Myers, architect A.J. Diamond and Barton Myers, architects
Barton Myers: Dundas-Sherbourne (Toronto, Canada)
The Dundas-Shelbourne project was an infill housing scheme undertaken by the City of Toronto's Non-Profit Housing Corporation. Instead of tearing down existing housing stock to build high-rise towers, Myers and Diamond designed 5- to 7-story medium-rise infill housing, sited on the back half of the existing housing units. This allowed the neighborhood to retain old housing stock, while adding new units.
Barton Myers: Bekins house (Montecito, Calif.)
For the Bekins house in the Toro Canyon area of Montecito, Myers utilized the same type of steel construction he used in his own nearby house. Myers worked with landscape architects Arcadia Studios to preserve some of the landscape features originally placed on the site by Lockwood de Forest, a noted local Santa Barbara landscape architect.
Barton Myers, architect Barton Myers Associates, architects
Barton Myers: U.S Pavilion for the World Expo in Seville (Seville, Spain)
For the United States Pavillion at the Universal Exposition of Seville (Expo 92) competition, Myers created a series of buildings connected by courtyards, with theaters, exhibition space, and a water wall, all capped by three 'shade sails' to provide vertical interest and relief from the sun. Myers design was not the winner of the competition, so this design was never built.
Barton Myers, architect Barton Myers Associates, architects Arquitectura Langdon, architects
Barton Myers: A Grand Avenue proposal (Los Angeles, Calif.)
In 1980, the Los Angeles Community Redevelopment Agency was planning to demolish the Bunker Hill area of the city and organized a competition for a team of architects to design a new urban center. A Grand Avenue proposal was created by developer Robert Maguire and led by Barton Myers Associates and the Urban Innovations Group. Barton Myers and Edgardo Contini designed a mixed-use development with housing, shops, hotels, parks, and offices. Myers designed two residential towers, both containing ample outdoor space for residents. The plan was to integrate the new development into the surrounding area, bridging the older neighborhood to the east with the newer areas of the downtown core. Their plan did not win the competition, but was widely admired by architects and the public.
Barton Myers, architect Barton Myers Associates, architects Carlos Diniz, renderer Maguire Partners, developers
Barton Myers: Indian Paintbrush offices (Santa Monica, Calif.)
The Indian Paintbrush production company building is an example of adaptive re-use of a previously under-utilized brick building into modern office space. Myers designed a one-story office complex with a partial second-story, and a rooftop deck.
Barton Myers, architect Barton Myers Associates, architects Ciro Coelho. photographer
Barton Myers: Myers house (Montecito, Calif.)
Myers personal home in the Toro Canyon area of Montecito, sits on 38 acres of canyon land which backs up to the Los Padres National Forest. The house was designed so that if a wildfire were to threaten the structure, the metal walls would provide sufficient protection from fire.
Barton Myers, architect Barton Myers Associates, architects Grant Mudford, photographer
Barton Myers: Griffin's Restaurant (Toronto, Canada)
Myers designed an open and airy restaurant within the structure of an old warehouse building in downtown Toronto.
Barton Myers, architect Barton Myers Associates, architects Ian Samson, photographer
Barton Myers: Art Gallery of Ontario (Toronto, Ont.)
Myers renovated and expanded the Art Gallery-- renovating the existing 190,000 square feet of museum and adding another 100,000 square feet. The renovations included the re-working of buildings dating back to 1817, and to connect the various new and old spaces to each other with courtyards, sculpture gardens, and the use of mass and voids. Myers created a sculpture garden in the midst of the expanded buildings, to be utilized as a site for dining, exhibition openings, concerts, and other events. The expanded Art Gallery is one of the largest museums in North America.
Barton Myers, architect Barton Myers Associates, architects KMPB, associates
Barton Myers: Don Watt Studio (Toronto, Ontario)
Don Watt was the founder of The Watt Group, a retail branding and design consultancy business. Myers designed the Studio building with an interior atrium which included trees.
Barton Myers, architect Barton Myers Associates, architects Patricia Layman Bazelon, photographer
Barton Myers: Seagram Museum (Waterloo, Ont.)
For the Seagram Museum, Myers used the original nineteenth-century barrel warehouse, which had held up to 6000 barrels of whiskey, as part of the exhibition space. He also used wood beams from the warehouse to clad the new structures. At the time of the construction of the Museum, the distillery was still in use by the Seagram company. Unfortunately, the museum closed in 1997 and the building has since been turned into office space.
Barton Myers, architect Barton Myers Associates, architects Timothy Hursley, photographer
Barton Myers: Cerritos Center for the Performing Arts (Cerritos, Calif.)
The Cerritos Center for the Performing Arts was the initial phase of building for the Cerritos Town Center development. The arts center was a grouping of buildings designed for theater performances, meetings, receptions, and other gatherings. The main focus is the theater, which was designed by Myers to have five different configurations, which could be changed based on the type of performance. The buildings were carefully massed to work with the surroundings-- a hotel complex, shopping center, and freeways.
Barton Myers, architect Barton Myers Associates, architects Timothy Street-Porter, photographer
Barton Myers: Phoenix Municipal Government Center (Phoenix, Ariz.)
The design competition for the civic center of Phoenix placed the main municipal buildings at the center of the city; the Myers plan incorporates the main arteries into how the architecture works with the surrounding area. The low-rise buildings were joined together by a series of walkways, parks, courts, and an aqueduct. The reddish-brown and pink sandstone wall color connected the building and the city to the desert.
Barton Myers: New Jersey Performing Arts Center (Newark, NJ)
With the New Jersey Performing Arts Center (NJ PAC), Myers created a multi-building center with theaters, conference rooms, and restaurants to connect existing parts of Newark (a Military Park and the Passaic River) with each other and the new venue. The theaters included the 2700-seat Prudential hall and the 500-seat Victoria Theater. The complex was designed to be an urban revitalization project for downtown Newark.
Barton Myers: Stratford Festival Theater (Stratford, Ont.)
The alterations and addition to the theatre building faced the river and a public park, therefore the modifications were made with public access and views in mind.
Barton Myers: Earl Bales Outdoor Theatre (Toronto, Ontario)
This 1500-seat theater is modeled on Greek and Roman theaters. It overlooks a ravine, which provides a natural backdrop to the stage performances. The Earl Bales Outdoor Theater is now called the Barry Zukerman Amphitheater in Earl Bales Park.
Barton Myers: Ghent Square (Norfolk, Vir.)
Ghent Square was a project for the Norfolk Redevelopment and Housing Authority. Myers designed townhomes for the northeast quadrant of the square-- the development was sited around a central green space.
Barton Myers: Yorkville Library (Toronto, Canada)
The Yorkville Branch Library in Toronto was originally designed in 1907 by architect Robert McCallum, the city architect, as part of a Carnegie library grant. Myers added on to the original Beaux Arts style building, with an addition to the back of the building.
Barton Myers: Portland Performing Arts Center (Portland, Ore.)
The Portland Performing Arts Center was designed in association with BOOR/A and ELS Design Group. Myers designed two theaters, the 900-seat Newmark Theatre and the 360-seat Dolores Winningstad Theater, as well as offices, ticketing area, and support spaces. The Spectral Light dome by artist James Carpenter sits above the lobby of the building. Myers also renovated and converted a 1927 theater into a 2750-seat concert hall. All of the theaters were designed to be versatile in their varied uses-- from intimate theater to large concert hall.
This portrait of Barton Myers was taken early in his career in Toronto, Canada outside the residence he designed for himself and his family.
This interior drawing is one of Barton Myers' early student projects. Myers went to the University of Pennsylvania School of Architecture and studied under Louis Kahn. He graduated in 1964.
Barton Myers: Moses Myers house (Norfolk, Vir.)
The Moses Myers House is a historic house museum in Norfolk, Virginia. Barton Myers' ancestors built the house in 1792 and maintained the house through the years.
Lucile Lloyd: Rotunda, Los Angeles Central Library (Los Angeles, Calif.)
Photograph showing a view of the Los Angeles Central Library rotunda
Bertram Goodhue, architect; Dean Cornwell and Julian Garnsey, muralists; Mott Studios, photographer
Lucile Lloyd papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Carleton Winslow: Los Angeles Central Library (Los Angeles, Calif.)
The Los Angeles Central Library was one of Bertram Goodhue's final projects, which he was working on when he died in 1924. Winslow took over and finished the project in 1926. The early Art Deco building featured Egyptian friezes and inscriptions on the exterior, as well as large murals and metalwork on the interior. The building was threatened with demolition in the 1960s, but a large public outcry saved the building. It was expanded in 1983, and is a Los Angeles Historic-Cultural Landmark, and on the National Register of Historic Places.
Carleton Winslow, architect Bertram Goodhue, architect Mott Studios, photographer Lee Lawrie, sculptor
Carleton Monroe Winslow Sr. papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Carleton Winslow: Chapman Park Hotel (Los Angeles, Calif.)
Winslow altered the Chapman Park Hotel and Bungalows, which were located on Wilshire Boulevard, in 1936. The hotel had been in business since the early 1900s, and Winslow added details to make the walled garden with bungalow cottages feel more like a Mexican village with white stucco walls and red tile roofs. The Hotel was located along the rapidly expanding Wilshire Boulevard, near the Ambassador Hotel, Bullocks Wilshire department store, and the Brown Derby restaurant. The hotel was demolished in the 1960s to make way for an office building.
Carleton Winslow, architect Mott Studios, photographer Loomis and Fisher, photographer
Carleton Winslow: Panama-California Exposition (San Diego, Calif.)
The Panama-California Exposition opened in 1915 in Balboa Park, San Diego, as a celebration of the opening and of the Panama Canal a few years prior. The Expo originally picked architect John Galen Howard to design the site, but due to his unavailability, Bertram Goodhue was chosen, along with local architect Irving Gill. Carleton Winslow was working in the Goodhue office in New York, and was called out to replace Gill in 1911. The Spanish Colonial Revival and Churrigueresque style buildings designed by Goodhue and Winslow set the architectural style for the exposition. While some of the structures built for the Expo were designed to be temporary, others were to be permanent and are still in use today in Balboa Park.
Carleton Winslow, architect Bertram Goodhue, architect Harold Taylor, photographer
Carleton Winslow: Bliss house (Montecito, Calif.)
The Bliss house was one of Winslow's largest private commissions. The 80 room mansion for William and Anna Dorinda Bliss, at the corner of Olive Mill and Hot Springs Roads in Montecito, was to be their summer residence. The 45 acre estate, named Casa Dorinda, contained the main house, servant's quarters, garages, various outbuildings, and extensive gardens. The Bliss' were quite wealthy and they hosted many large parties, including for European royalty. After Anna Bliss died in 1935, her daughter inherited the property and allowed the Navy to use it as a hospital during World War Two. It subsequently became a boarding school, then in the 1970s, a retirement communnity.
Carleton Winslow: Santa Barbara Museum of Natural History (Santa Barbara, Calif.)
The Santa Barbara Museum of Natural History was designed in a Spanish Colonial Revival style and built along the banks of Mission Creek, just a few blocks from the Santa Barbara Mission. Winslow designed a series of buildings interconnected with covered walkways, courtyards, decorative fountains, and red tile roofs.
Carleton Winslow: Valley Club (Montecito, Calif.)
The Valley Club is a golf course originally designed by renown course designers Alister MacKenzie and Robert Hunter and the American Golf Course Construction Company. The main club building featured a main dining room, men's and women's lounges, as well as locker rooms, and support facilities for the kitchen and staff. It is still used today as a premier golf and country club.
This grouping of portraits shows the serious nature of Winslow.
A rendering of Campbell Hall, looking northeast towards the main entrance. East Hall (now Phelps Hall) is off to the right and behind. Campbell Hall was named in honor of John and Ina Therese Campbell, founders of the Santa Barbara Campus Scholarship fund. According to UCSB Library materials, the construction of Campbell Hall was made possible by the sale and lease of the Mesa and Riviera campuses. The 860 seat theater is the largest venue on campus and is the site for large lecture classes, concerts, and public events (through Arts and Lectures series). Prior to Campbell Hall's construction in 1961, the largest performance venue on campus was a Marine Base era "movie house." In justifying a new building, the committee cited: "the flat floor makes viewing excruciatingly uncomfortable... the discomfort of the metal folding chairs destroys attention after thirty minutes... the structure would not pass present building codes-- in fact, firemen must be physically present at all performances."
Charles Luckman Associates, executive architects
A view of the two eight-story tower residence hall complex. The hall was designed to hold 400 male students in double occupancy rooms, but is now co-ed and a mixture of double and triple occupancy rooms. The single level building connects the two towers and provides an area for lounges, fitness rooms, and laundry facilities. This Charles Luckman Associates design echoes some of the earlier campus vocabulary like the patterned concrete block, dentil moulding, and hipped roof on the one-story section.
Engineering Building -- Harold Frank Hall
A rendering of the south side of the building, from the current location of the Bren School, looking north. This building housed the newly formed College of Engineering, which included electrical, mechanical, chemical, and computer engineering departments. The use of patterned concrete block, along with moldings and the angular arches over each window are representative of the "later campus standard" or extended architectural vocabulary of Charles Luckman Associates, campus architects from 1958 until 1968. The building now houses the offices of the Computer Science and Electrical and Computer Engineering departments, as well as administrative offices.
A rendering of the view from the southeast, towards the northwest, with the lagoon off to the far left side. Designed by Charles Luckman, the building utilizes some of the design motifs of the earlier campus buildings, and combines some of the later vertical elements into the towers. The one-story entrance gives a sense of humanness to the scale of the towers.
This long range plan was produced by executive architect Charles Luckman Associates. It shows a very concentrated build-up of academic buildings and residence halls, as well as expansion along El Collegio Road. The extension of Highway 217 along the north side of campus, along with the addition of more Married Student Housing and the concentration of fraternities and sororities on campus are main differences with earlier plans. With large parking lots outlining the periphery, the interior of the campus remains easily reachable on foot.
A photograph of a model of San Rafael Hall. The placement of San Rafael Hall on the western edge of the campus, adjacent to Isla Vista, shows the expansion of the on-campus housing beyond the original residence hall cluster. The Carrillo Dining Commons was built (also by Charles Luckman Associates, 1967) adjacent to San Rafael. This residence hall was designed to have small clusters of students living in buildings designed to create small communities, each small section with their own study lounge and bathroom facilities. San Rafael was also designed as the first co-educational residence hall, with separate wings of the buildings for men and women. In addition to a new dining commons, recreational facilities were planned for the lagoon 'island' which included baseball, football, and soccer fields.
This photograph of a model of Broida Hall shows a view from the south, with Webb Hall and the Woodhouse Laboratory in the foreground. In addition to classroom and office space, Broida also has two lecture halls. As one of the later works of Charles Luckman Associates at UCSB, the architectural vocabulary highlights the horizontal lines, re-enforced concrete, and overhanging sunshades on the windows as part of the "late campus standard" architectural style.
In this 1968 version of the long range development plan, the campus footprint expanded to include the Storke Campus area along El Colegio and Los Carneros Road, and the West Campus area around Coal Oil Point and the Devereux Slough.
This early plan from Charles Luckman Associates shows a greater density of buildings in the central campus core, with multiple buildings surrounding the central and north quadrangles. Physical and Biological Science buildings are grouped on the east side of campus, along with the Social Sciences. The Humanities, Arts, and Music are in the center of the area, with "Professional Schools" near the western edge, closer to Isla Vista. Large parking lots are scattered throughout campus, though the central area is free from roads and vehicles.
A birds eye rendering of the Faculty Club, with the Theater and Dance building in the background. The front of the building slopes downwards towards the edge of the lagoon. MLTW/Moore Turnbull Architects were the executive architects, and Charles Luckman Associates were the consulting architects, since that firm was still overseeing the master campus plan.
Charles Moore and William Turnbull, Jr., architects
Charles Moore and Urban Innovations Group drawings and model, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
This is an early pen on heavy paper drawing of scheme for the Faculty Club. The roofline, massing, and collonades are all very different from the building that was eventually built.
The original library building, built in 1952, was part of the original Soule and Murphy master plan for the UCSB campus. It was designed by Chester Carjola, a leading Santa Barbara architect who worked closely with Soule and Murphy on the campus plans. Donald C. Davidson, University Librarian from 1947-1977, also played a large role in creating the library. As a member of the campus building committee, he worked with the various architects to design the buildings to fit the needs of the growing university. The library's low tiled roof, patterned brick, and light colored walls reflect both the traditional Spanish influence and modernist materials. Originally built at a cost of just over one million dollars, the Library was state-of-the-art at the time of construction. Open stacks, group and individual study tables, typing room, audio/visual rooms, classrooms, patios, and sun decks made the Library design cutting edge for the time.