Storke Tower-- Student Publications Building
This architectural drawing of the west and south exterior elevations of Storke Tower and parts of the lower plaza. Partially funded by Santa Barbara News Press founder Thomas M. Storke, this is the tallest structure on campus, at 175 feet tall, and is the tallest steel/cement structure in Santa Barbara County. The Brutalist building also houses a 61 bell carillion, which chimes every hour. The base of the tower houses the offices of the radio station and the yearbook.
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.
Cliff May: Cliff May house #4 (Los Angeles, Calif.)
Cliff May house 4, or the Skylight house, illustrates May’s eagerness to experiment, something he was particularly willing to do in the houses he designed for his family. Christian (Chris) Choate and May together designed it, with landscaping by Thomas Church. Choate, a licensed architect, worked in May’s office and became a partner with May in Cliff May Homes, producing prefabricated tract housing. The experimentation in this house clearly came out of their discussions about low-cost housing. The house was unusual, especially for Riviera Ranch, because it did not sprawl but was rectangular and compact in its plan. May and Choate brought the patio inside the dwelling and covered it with a large skylight, about 30 feet by 50 feet, which had a retractable glass cover that was opened and closed by a motor. May collapsed most of the rooms into a single space that could be customized by moving around cabinets on wheels that served as temporary walls.
Cliff May, architect Chris Choate, architect Maynard Parker, photographer
Cliff May papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, Calif. 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.
Cliff May: Lakewood Rancho Estates (Long Beach, Calif.)
In 1950 Cliff May partnered with Chris Choate to form Cliff May Homes to distribute ranch house plans to developers throughout the country. In Long Beach, they partnered with Ross Cortese, who built Lakewood Rancho Estates. Over 17,000 homes in 36 different variations were built in this suburban tract.
Cliff May, architect Chris Choate, architect Pacific Air Industries, photographer
Cliff May: Cliff May Homes Factory Model home (Los Angeles, Calif.)
The idea for Cliff May Homes, a business of selling designs for prefabricated tract houses, was born in 1950 out of discussions between Cliff May and Chris Choate, an architect working in May’s office. May and Choate did field research, visiting other low-cost housing developments throughout California and in Arizona to assess their competition. They named the first prototype of the panel system the “Factory Model” and built it on a plot of land May owned in Sullivan Canyon, above Riviera Ranch. By the end of the day, a group of about ten skilled laborers had assembled the shell of a two-bedroom house using both post-and-beam construction and a system of pre-assembled panels
Cliff May, architect Chris Choate, architect
The house plans for the "Magic Money" ranch houses could vary between two and three bedroom models, as well as with or without two-car detached garage. The emphasis in these plans is on indoor-outdoor living, as exemplified by the large patio areas and lush landscaping.
Cliff May: Norlie Construction tract (Chico, Calif.)
As the Cliff May Homes distribution of prefabricated housing supplies expanded across the nation, the speed with which a house could be constructed was still a major selling point. In this series of photos, a clock is prominently displayed to show how quickly construction progresses at the site.
Cliff May: Cliff May Homes prefabricated house
Cliff May Homes rationallized the building process and used elements of prefabricated building parts to lower costs. This very colorful presentation drawing highlights the attractive exterior of the home.
Cliff May: Cliff May Homes low cost house
This promotional image highlights the suburban nature of the Cliff May Homes tracts, with lush landscaping and ample parking.
Cliff May: Tremaine ranch house (Donadea, Ireland)
This ranch house was designed by California architect Cliff May, with a local architect from Ireland, Donal O'Neill Flanagan. The architects collaborated to design a house for Warren and Katherine Tremaine and their manager of the Loughtown stud farm for horses, John Alexander. Only a portion of the planned house was built, and Alexander lived in the house while managing the horse farm.
Cliff May, architect Donal O'Neill Flanagan, architect
Cliff May: Cliff May house #5 (Brentwood, Calif.)
Cliff May house 5 represents the final stage in his design of the custom ranch house in its scale, large areas of glass, and high ceilings. The large central living space (over 1,600 square feet and 53 feet long) was a combination of living room, dining room, and music room separated by a kitchen from the bedrooms. Enclosed on three sides by the house and carport, the terrace had radiant heating so it could be used for entertaining. Elizabeth Gordon declined to publish this house in House Beautiful, saying that the size, over 7,000 square feet with nine outdoor living areas, was out of scale for her readers. May brought it to House and Garden, where it was published as the first “Hallmark House.” The magazine described how the Mays lived in the house and its innovative features, such as kitchen island counter with sink and a sprinkler system for the skylight.
Cliff May, architect Maynard Parker, photographer
Cliff May: Smith speculative house (Bel Air, Calif.)
The Hollywood Citizen-News reported that though the grand speculative house May built for John A. Smith resembled an “ancient ‘dobe ranch house,” the walls were actually hollow tile and filled with plumbing, electricity, and other modern conveniences. On the photographs of this house, May wrote, “Rancho goes moderne.” May saw no conflict between making a house look old (a “rancho”) and filling it with the newest appliances and fixtures (“going moderne”). The same Citizen-News article noted that the 5,000-square-foot house had sold to Mrs. W. H. Lyman Jr. of Beverly Hills for $39,500. The average cost of a new home in the U.S. in 1935 was $3,450.
Cliff May, architect W.P. Woodcock, photographer
Cliff May: Blow house #1 (Los Angeles, Calif.)
Cliff May and John A. Smith formalized their relationship in a contractual partnership to “jointly undertake the construction of dwellings for sale in the vicinity of Los Angeles,” naming May as builder and designer and Smith as financier through his First National Finance Corporation. By the summer of 1937 they were aggressively promoting and publishing their houses, one of which is the first house May designed for Frederick Blow and his wife. Frederick Blow commissioned May, left money in an account for him, and then left for Europe. This house has all the hallmarks of the best of May’s ranch houses. It spreads on the site, encloses outdoor rooms, and looks, with its uneven roof line, as though it grew on the site over decades.
Cliff May, architect William F. Cody, renderer
Cliff May: Hauser house (Borrego Springs, Calif.)
The Hauser house in Borrego Springs is one of Cliff May's earlier custom ranch houses, but it has all of the elements of some of his larger designs. With a U-shaped floor plan, the house has one wing with master bedroom and smaller bedrooms, another wing with service rooms and garage, then the bottom of the U forms the living room and dining room, along with a large patio. With desert heat being an issue, the patio has a canvas 'skyshade' and a covered patio adjacent to the kitchen, which overlooks the pool. Another unique feature is the walled off 'play yard' outside of the children's bedroom-- a separate area from the parents' patio, so that each group can enjoy their separate outdoor space.
Cliff May: Lear house (Los Angeles, Calif.)
In this birds-eye view of the William Lear house in Los Angeles, the sprawling multi-winged house is seen perched on a hill overlooking the city. With a large circular motor court and pool with patio enclosed on all four sides by the house, it has some of the common features for May's custom houses. But as with some of his later custom homes, the scale of the patio and pool are increasingly grand, the motor court is larger, and the scale of the house has grown dramatically over his early ranch houses of the mid-30s.
Cliff May: Philbin house (Woodside, Calif.)
With this house in Woodside, Cliff May showcases the custom style he is known for. With a central enclosed courtyard, patios extending the living spaces, and the single-story, asymmetrical house on a large lot with pool, this rendering fits the custom style. Woodside, a small wealthy suburb of San Francisco, was the site of a few commissions for houses in the late 1950s and early 1960s, as the cost of land rose and the market for large, custom homes also increased.
Cliff May: Trenchard house (La Jolla, Calif.)
In this early hacienda style version of the ranch house, Cliff May creates privacy with a patio that is surrounded by the house and garage on three sides, with a walled-off fourth side, as well as a gated motor court. Each room in the house opens onto the inner courtyard, and the property is shown in the rendering facing out towards the Pacific Ocean. The living room is off-set and protrudes from the corner of the house to take advantage of the view in three directions.
Cliff May: Smith house (La Habra, Calif.)
As one of Cliff May's first large-scale custom ranch houses for his benefactor and business partner John Arnholt Smith, this rendering and floor plan show how grand May's early work could be. The U shaped house was accentuated by the diagonal living room and dining room placement on each corner. Each room opened onto the central courtyard through a covered porch. This large-scale "ranchos de luxe" was a fitting residence for the land and oil financier Smith.
Cliff May: Evans house (Solvang, Calif.)
The Evans house and property in the Rancho Alisal golf community just outside of Solvang, Calif., in the Santa Ynez valley, is a good example of the Cliff May custom ranch style. A large lot, motor court with covered garage/carport, indoor/outdoor patios, and a semi-enclosed pool with a shaded roof with skylights are all signature custom features in this house.
The Cliff May archive contains many personal and professional portraits and publicity images of Cliff May. The second image was published in House and Garden in February 1957 and shows Cliff May, daughter Marilyn, son-in-law Lawrence Philips, grandchildren, wife Jean, daughters Melany and Hillary, and son Mike. Images of May’s family occasionally illustrated articles about his houses and ranch house living.
Cliff May: May house #1 (San Diego, Calif.)
For Cliff May's first house for himself and his wife, Jean Lichty, he designed a house which surrounds a courtyard in an asymmetrical fashion. Cliff May house 1 is a modest hacienda house in the Talmadge Park neighborhood and the first of five houses May designed for himself and his family. After building the house and moving in, May opened it for public visits and advertised it for sale.
Cliff May 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
Cliff May: Lindstrom house (San Diego, Calif.)
Cliff May built his first speculative house in Talmadge Park in 1931, and his second in 1933, bought by Captain William Lindstrom. The Lindstrom house and furniture cost $7,710.42 to build. The $1,636.65 profit was split evenly between Cliff May and the contractor O. U. (Oliver Ulysses) Miracle.
Cliff May: O'Leary house (San Diego, Calif.)
Cliff May’s future father-in-law, Roy C. Lichty, gave May a lot in the Talmadge Park subdivision, where Lichty was general manager, and financed his first speculative house, which May designed and built in 1931–1932 with the help of master carpenter William F. Hale. The house sold to Colonel Arthur O’Leary, who also purchased the Mission-style furniture that May had built and placed in the house to help sell it.
Cliff May: Horton development (La Jolla, Calif.)
Hiram and Violetta Lee Horton built four of the six speculative houses May designed for them on Hillside Drive in La Jolla, a seaside community in northern San Diego. Violetta Horton also commissioned May to build the Sweetwater Women’s clubhouse in nearby Bonita. Where May had the chance to work on a corner lot or to orchestrate a number of dwellings together, he was less constrained by the need to separate the porch and court from the sight of neighbors, and began to find more varied ways to organize the house plans. Once out on more spacious exurban sites, May varied the shape and orientation of the courtyard with splayed and open plans.
Cliff May: May house #2 (Los Angeles, Calif.)
His second house for his family, Cliff May house 2, was built in Mandeville Canyon. This area of west Los Angeles would remain the epicenter of May’s work and life for the rest of his long career. The wings of Cliff May house 2 enclose the outdoor living space. The street façade is straightforwardly modest and gives no hint of the expansiveness of the courtyard side.
Cliff May: Riviera Ranch photographs (Los Angeles, Calif.)
May evoked the mystique of California’s past and the proximity to the Riviera Country Club’s polo field to market his houses, as seen in his ideas to promote his Riviera Ranch development. He named his model house the “Urban Ranch.” Though Riviera Ranch now sits in the middle of west Los Angeles, surrounded by houses and bordered by busy Sunset Boulevard, these images from 1938 show how rural and undeveloped the area was when May began construction.
Cliff May: Riviera Ranch drawings (Los Angeles, Calif.)
These unbuilt entrance gates indicate May’s vision for Riviera Ranch as a secluded world. The imagined landscaping is a fanciful mixture of cacti and palm trees. The building on the left is an architectural office with drafting and reception rooms. Cliff May did eventually build an office for himself here in 1949, at 13151 Sunset Boulevard, though of a different design.
Cliff May: May house #3 (Los Angeles, Calif.)
When the house was built in 1938–1939, the interior was connected to the outdoors visually through windows facing a sun terrace. In 1949, May changed some of those windows to glass doors. He also added heating under the concrete floor of the outdoor area adjacent to the living and dining rooms, as well as a sunken fire pit just outside the heated area. These changes allowed the sun terrace to be used for activities in the living and dining rooms. Though the pool was seen in the early plans, it wasn’t built until 1956.
Cliff May: Lomita Square housing tract (Wilmington, Calif.)
This wartime emergency housing tract was Cliff May's first development to use production-line and prefabrication of materials to construct a large number of houses in a short amount of time. Originally planned with developer John A. Smith and his First National Finance Corporation, on land owned by Smith near San Pedro Bay, this tract was not built.
May designed these unbuilt minimum houses, a large set of model plans for low-cost ranch houses, for Sunset magazine. May’s strategy was to create garden-oriented, two-wing plans. The entrance was indirect and understated. Thin partitions defined the interior spaces. The houses were oriented away from street lines and toward an interior open space, and the rear facades were punctuated by terraces, porches, or courts.
In 1947, Good Housekeeping magazine published May’s design of a small ranch house for a 60 x 120- foot lot, with the tag line, “Five rooms indoors—five outdoors.” The article boasts that the house is only 42 feet wide and “[t]here is no front or back—the house is livable on all sides.” Illustrated with a photograph of a model and a plan, the writer describes the modernity of the house: “Our ranch spreads out for light, air and view...Its design shows early Spanish influence, but in plan and flexibility it is thoroughly modern.” A sketch plan, with landscaping by Douglas Baylis, was offered to readers for 10 cents. The compact L-shaped plan would form the basis of May’s work for precut houses and housing developments in the mid-1950s.
Cliff May: Postwar Demonstration house (Los Angeles, Calif.)
The plan that evolved into May’s widely publicized Pace Setter house for House Beautiful was first designed by May during the war as a Postwar Demonstration house, in anticipation of an expanding upper middle-class housing market. He wanted to build the Postwar Demonstration house (he also called it the “After the War house”) in a planned community of luxury homes called Woodacres. This was a parcel of land north of San Vicente Boulevard near the extension of 14th Street in Santa Monica that he and John A. Smith had purchased around 1940.
Cliff May: Woodacres demonstration house (Los Angeles, Calif.)
May worked on his postwar demonstration model home intended for the Woodacres development, with Elizabeth Gordon, the editor of House Beautiful, who designed these interiors. This model was to be a U- shaped plan. Rooms were to be arranged around a patio area that, in one of the renderings, is taken up by a lagoon-like body of water that provided a spectacular view from the lanai or open-sided porch and its associated corridor, as well as from the living room. The site, as depicted in the rendering, was lushly and tropically landscaped. Letters between May and Smith in the archive indicate that the land on which they planned to build Woodacres was in fact not so attractive and was in need of clearing.
Cliff May: "Pace-Setter" model house (Brentwood, Calif.)
May first took the plans for his postwar demonstration house to Sunset, asking the magazine to sponsor the building of the house. When Sunset declined, House Beautiful agreed to partner with May on the house. First National Finance Corporation financed the construction in Riviera Ranch and Elizabeth Gordon and her staff designed the colorful interiors with furniture and fixtures supplied by advertisers. This model house was opened as the first House Beautiful Pace Setter house, promoted by two months of public tours, a cover shot and accompanying lavish spread in the magazine’s February 1948 issue. Gordon published a new Pace Setter house annually until the mid-1960s to spotlight ideal modern villas for the suburban middle-class.
Stone, David J. house 1905 Vicksburg Lubbock, TX architectural drawings
In this 1905 house in Texas, Cliff May creates privacy with an enclosed patio surrounded on three sides by the house and one side with a roofed porch. With the patio as the center of the house, windows surround the patio, and the house extends diagonally outward from two different corners of the residence, allowing for a view in many directions.
Curlett & Beelman: Eastern Columbia, Broadway elevation
This exterior elevation of the Broadway side of the building displays the detailed calculations involved in designing and constructing a building of this size and complexity of exterior details. The exterior stonework is not specified for each window bay, but shown once or twice, then noted to repeat.
Curlett & Beelman records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Curlett & Beelman: Eastern Columbia, Ninth Street elevation
This view of the Ninth Street side of the building shows the second entrance to the lobby, just to the right of the Delivery entrance ramp. This ramp was a motorized vehicle entrance to the two-level basement, which was a delivery access point and parking for the building's tenants. The horizontal lines of the street-level shop windows indicate movement, while the vertical lines and patterns of the upper floors highlight the size and volume of the building.
Curlett & Beelman: Eastern Columbia, western elevation
With other tall buildings flanking the Eastern Columbia building along the west and north sides, the detailed exterior elevations were not needed along the entire face of the side. In this western elevation, only the first three bays are noted as needing to be finished with terra cotta tiles and gold accents, whereas the rest of the side was a plain wall.
Curlett & Beelman: Eastern Columbia, north elevation
The north elevation of the building also abutted another tall building at the time of construction, so the detailed terra cotta workmanship along the north side only extends for two window bays before a plain blank wall is indicated on the plans. However, on this view, the set-backs on the floors just below the clock tower are indicated with additional gold details. Lines along the side of the drawing denote the height in feet and inches for each of the floors and the clock tower. The total height of the building is 235 feet, well above the 150-foot limit imposed on buildings by the City of Los Angeles.
Curlett & Beelman: Eastern Columbia, clock tower
This sheet of drawings shows the clock tower face, section view of the tower, as well as the structural supports. The top of the building, with the word EASTERN emblazoned on all four sides along with the clock and its' distinctive blue and gold colors, have showcased the building as a landmark on the downtown Los Angeles skyline. The clock had been inoperative for many years prior to the renovation of the building into loft apartments. In 2005, the clock was ceremonially re-started to celebrate the 75th anniversary of the building. As part of the condominium conversion, a pool and spa were added to the roof-- with views of the famous clock and sign.
Curlett & Beelman: Eastern Columbia, details
This sheet of very specific upper-floor terra cotta details highlights the specific measurements and design decorations used on both the tenth floor specifically, and on the upper floors in general. The sheet contains details, sections, and elevations for specific corners, spandrels, and window details.
Curlett & Beelman: Eastern Columbia, floor plans
The first floor plan and basement plans shown on this sheet are the basic construction plans. The owner, Eastern Columbia Outfitting Company used their own designers to complete the interiors beyond what was outlined here. The first floor plan shows the delivery entrance on 9th Street, with a turn-table for delivery vehicles to be turned around and face forward to return to the street. The basement plan shows the build-out for men's and women's restrooms and locker rooms, as well as stariwells, elevators, and other mechanical and electrical equipment.
A rendering of the Psychology Building, looking towards the southeast, from the area at the south end of the Library. This was the first permanent home for the Psychology Department, and was designed as a research facility. The building was also a significant expansion in laboratory space, due to the addition of graduate programs in experimental psychology. The architecture firm of Douglas Honnold (1901-1974) and John Rex (1909-2003) was active as a partnership in the 1950s and 1960s in Los Angeles. They designed many residences and commercial buildings in the LA area, including the Architectural Product’s Research House and the Valley Plaza Tower. They also designed North Hall (1960) at UCSB.
Edla Muir: Brawerman house (Los Angeles, Calif.)
This large house, for Richard S. Brawerman and his wife, is located in the Brentwood Park area of Los Angeles, near Mandeville Canyon. Muir performed extensive alterations to the house: adding a carport, pool cabana, service wing, main bedroom wing, and reconfiguring the living areas of the house.
Edla Muir, architect Julius Shulman, photographer
Edla Muir papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Edla Muir: Hall house (Los Angeles, Calif.)
The Zola Hall house in Mandeville Canyon was designed for the recently divorced mother with two small children. The low-slung, single-story house was designed to harmonize with the natural surroundings of the canyon. With redwood walls inside and out, as well as stained concrete floors, it was built to be low maintenance and easy to clean.
Edla Muir, architect Maynard Parker, photographer
Edla Muir: Gould house (Brentwood, Calif.)
This small house in Mandeville Canyon for George A. Gould is a typical traditional house for the area. Muir was still working in the office of John Byers, but he was nearing retirement and she was taking on more commissions on her own.
Edla Muir: Ilsley house (Los Angeles, Calif.)
Philip Ilsley was the president of Paddock Pool Company, and a repeat client. He commissioned four houses and two commercial buildings from Muir. For this project, the house was placed along a long private driveway, sited lower than Mullholland Drive to enjoy the view of the valley.
Edla Muir: Stoessel house (Santa Monica, Calif.)
This house on La Mesa Drive in Santa Monica, was originally designed by John Byers and Edla Muir in 1925. Muir performed alterations to the house for James Stoessel, including adding a new garage, turning the existing garage into a family room, and adding a gallery.
Edla Muir: Sedgwick workshop designs (Los Angeles, Calif.)
This home in West Los Angeles for Edward Sedgwick and his family was originally designed by John Byers in 1939. Muir added alterations to the living room, and presented options for a backyard workshop in this image.
This portrait was taken of Muir in 1935, soon after she passed her licensing exam to become a licensed architect. She had worked in the John Byers office for seven years and was eligible to take the exam through the apprenticeship track, as opposed to going to architecture school and receiving a degree. Muir continued to work with Byers until 1942; she was in charge of all designs and the office, including other draftspeople and architects.
Edward Killingsworth: Boca Beach Club (Boca Raton, Fla.)
The Boca Beach Club was a luxury resort in Boca Raton, Florida, perched on a piece of land surrounded by the Atlantic Ocean and the Intercoastal waterway. The hotel featured 212 rooms, 147 oceanfront cabanas, 5 lounges, and two restaurants on site.
Edward Killilngsworth, architect Julius Shulman, photographer
Edward A. Killingsworth papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara
Killingsworth, Edward A. (1917-2004): Case Study House #25
Case Study House #25, also known as the Edward Frank house, was built in the Naples area of Long Beach, Calif., and sited on a narrow lot, facing a canal. The main entrance to the house is on the canal side and enters into an enclosed, two story courtyard, with all of the rooms facing the courtyard have glass walls. This gives the rooms in the narrow house a feeling of expansiveness, due to the glass walls and filtered sunlight from the courtyard., but on the narrow city lot, this design also provides needed privacy.
Edward Killingsworth, Architect Julius Shulman, Photographer
Killingsworth, Edward A. (1917-2004): Case Study House Triad #23
The Case Study House Triad (#23) was designed by Edward Killingsworth, of Killingsworth, Brady, and Smith, as part of a larger never-built planned community in La Jolla, Calif. House A was sited across the street and downhill from Houses B and C, which face each other across a shared driveway and motor court. Each house is sited so that it takes advantage of the view either towards the distant Pacific Ocean or inwards to a garden or pool. Each house in the Triad is different from the other two, though for economy and simplicity of building, the same materials were used in all three houses to varying degrees. The three houses were all built in 1960, and all three still exist today, though House B has been remodeled beyond recognition.
Edward Killingsworth: Hilton Kahala (Honolulu, HI)
The Kahala Hilton was one of Killingsworth's first luxury hotels. With 300 rooms and suites, all air conditioned, surrounded on three sides by golf courses and direct beach access, the hotel featured state of the art luxury amenities. The ten story building, with two rectangular wings, was set on its own private man-made lagoon, and catered to an upscale clientele. The location was key to the sense of exclusivity-- the hotel was located away from the main tourist areas and contained no convention facilities, which gave the property a more intimate appeal.
Edward Killingsworth, architect Julius Shulman, photographer
Edward Killingsworth: Princess Reforma Hotel (Mexico City, Mexico)
The Princess Reforma hotel was an unbuilt design that reached the stage of having a scale model built and photographed by renown architectural photographer Julius Shulman. The hotel was to feature a tall, thin tower to house the majority of the hotel rooms, with lower buildings including parking and conference services. The street-level interface included a large drop-off area and entrance/exit to the lower levels of the parking garage.
Edward Killingsworth: Halekulani Hotel (Honolulu, HI)
The Halekulani Hotel's name means "House Befitting Heaven" in the native Hawaiian language of the people of the Waikiki beach area. The location for the hotel had been the site of various guest accommodations and hotels since the early 1900s. The 453 room hotel built by Killingsworth featured a beach side location, multiple restaurants, pools, suites, and other amenities.
Edward Killlingsworth: Mauna Lani Bay Hotel (Big Island, Hawaii)
The Mauna Lani Bay Hotel on the Big Island of Hawaii was designed to be one of the top luxury resort hotels in the world. The 345 room hotel also contained separate bungalows designed by the firm, which were each 4000 square feet in size and were adjacent to the main hotel, but contained separate private pools, a spa, and ocean views. The main hotel complex featured a tropical atrium with extensive indoor and outdoor water features, multiple restaurants, and luxury amenities.
© 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.
Edward Killingsworth: Hilton Inn (El Paso, Tex.)
In one of his earliest projects for the Hilton Hotel chain, this airport hotel in El Paso utilized many of the hallmarks of Killingsworth's style. The six interconnected low-slung, two story buildings had walls of glass in the lobby, with a wide overhang to shelter the front of the hotel from the Texas sun, and all buildings were grouped around a central courtyard with pool. The 150 guest rooms were part of a complex which included gift shops, meeting rooms, and a drive-up check-in window.
Edward Killingsworth, architect Photographic Associates, photographers
Killingsworth, Edward A. (1917-2004): Case Study House #26
This un-built Case Study House #26 is also known as the Nugent Pavillion, for the original client who had chosen a site overlooking the ocean near San Diego, Calif. The house was to be built using prefabricated construction system, designed by the client, William Nugent, who was an engineer. The house was to be partially surrounded by water, in the form of a reflecting pool, and an interior courtyard garden was to be roofed in plastic. This house, while part of the CSH program, was not featured in Arts & Architecture Magazine.
Killingsworth, Edward A. (1917-2004): Case Study Apartments #2
This is the second Case Study Apartment project, and it was never built. Killingsworth designed the 10 unit apartment complex to be a mix of four standard two bedroom apartments and six 'studio' two bedroom apartments which were two stories tall, and arranged in townhouse style. Both types of apartments were to be approximately 1300 square feet in size and each had a private courtyard entrance. This grouping allowed for garages to face the back of the property, a large swimming pool in the center of the complex, and a courtyard facing the main street.
Edward Killingsworth: Phoenician Hotel (Phoenix, Ariz.)
The Phoenician Resort, at the base of Camelback Mountain just outside of Phoenix, was designed as a very high end luxury hotel and spa. It initially had 604 rooms, 132 casitas, 9 Steinway grand pianos, and exterior tropical landscaping designed by plant specialists from the island of Tonga. By the early 1980s, the architecture practice had evolved into the firm Killingsworth, Stricker, Lindgren, Wilson and Associates. As a main component of their work, the firm designed large-scale, high-end luxury resorts throughout the world.
Edward Killingsworth: Marriott Airport Hotel (Long Beach, Calif.)
The firm Killingsworth, Stricker, Lindgren, Wilson & Associates designed and built many high-end luxury hotels throughout the world during the 1980s. This Marriott was built close to their home office in Long Beach. It was also conveniently located next to the Long Beach Airport, with abundant parking, conference facilities, an outdoor pool and other water features, along with restaurants and other luxury amenities.
Edward Killingsworth: Del Ray Hotel (San Diego, Calif.)
The Del Ray Hotel / Apartments / Shopping center complex in San Diego, was one of Killingsworth's first multi-family dwelling projects. It was designed to provide for all of the necessities in one location. With a large outdoor pool area, landscaped lawn, and covered parking, the complex was a self-contained community, set well back from the surrounding streets. This un-built development was a precursor to the mixed-use retail/residential buildings of today.
The Killingsworth collection contains many photographs of Edward Killingsworth at job sites, ground breaking ceremonies, and discussing projects with groups of people.
Edward Killingsworth: Hilton Jakarta (Jakarta, Indonesia)
The Jakarta Hilton was built using indigenous craftspeople to add traditional cultural elements to the design of the hotel. The 14 story hotel included 406 rooms, with long-term rental cottages also available on the 32 acre hotel property. The hotel resort also included multiple swimming pools, shopping center, ballroom and meeting areas, restaurants, and many different options for outdoor recreation. A re-created Balinese village along the shores of a man-made lagoon on the property featured different architectural designs from various facets of Indonesian culture. The hotel was such a success that Killingsworth was asked to design an additional 200 room hotel on the property in 1984, and another sixteen-story, 200 room addition in 1991. With these additions, the Hilton Hotel Jakarta became Killlingsworths' largest hotel complex of his career.
SBCAA: unidentified house (Santa Barbara, Calif.)
This Demonstration House for the Better Homes Committee was located on East Cota Street in Santa Barbara.
Santa Barbara Community Arts Association records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Almost immediately after the first library building was built in 1952, plans for an addition were being drawn up. And within a year of completing Library II, planning began in 1962 for Library III, which was completed in 1967. The growth of the library mirrors the expansion of the university's academic vision. In 1952, only Bachelor's degrees were issued, by 1961 Master's degrees, and by 1967 there was a need for a research library capable of fulfilling the research needs of PhD's. This building signals a shift away from the Pereira & Luckman campus plan towards a more eclectic style. The color of the vertical columns references the campus style, but the size and scale dwarf the surrounding 2-story buildings. The architectural firm Frost & Greer (also known as Cooke, Frost & Greer) designed the library's 8-story tower to hold an expanding number of books, as well as personal study carrels for faculty and graduate students.
George Washington Smith: Bryce house (Hope Ranch, Santa Barbara, Calif.)
The unincorporated community of Hope Ranch was developed in the early 1920s by the Santa Barbara Estates Inc. company, which was owned by Harold Chase, and Peter Bryce was one of the main stakeholders. Bryce was also one of the early residents, with this house designed by GW Smith in 1925, and built in 1926-1927. The property, a 12000 square foot house on 52 acres of oceanfront land, was also known as "Florestal" due to the Bryce's being avid horticulturalists.
George Washington Smith papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
George Washington Smith: Douglas house (Montecito, Calif.)
The Malcolm Douglas house on Sycamore Canyon Road in Montecito was completed in 1929, and is also known as Los Suenos ("The Dreams"). Douglas, a New York doctor, and his wife, Rachel Peabody Douglas, had Smith design a house to showcase the view of the Pacific Ocean and Channel Islands, with a long curving driveway and many landscape features including a pool and lily pond.
George Washington Smith, architect Lutah Maria Riggs, architect and renderer
Montecito, Calif.; Santa Barbara, Calif.
George Washington Smith: Gallagher house (Montecito, Calif.)
The Wesley Gallagher house was a Smith commission just prior to his death in 1930. The Smith files contain these sketches and drawings (most done in Riggs' hand) for preliminary elevations for the house. The Riggs files contain the actual working drawings used for construction of the house.
George Washington Smith: Lobero Theater (Santa Barbara, Calif.)
The Lobero Theater on Canon Perdido and Anacapa Streets in downtown Santa Barbara, got its start in the 1870s as a vaudeville house. By the early 1920s, it had fallen into disrepair and Smith was asked to design and build a new theater in the Spanish Colonial style he was best known for. With it's white stucco walls and red tile roof, the theater was a pre-cursor to the architectural style that has dominated downtown Santa Barbara since the earthquake of 1925. Smith's associate, Lutah Maria Riggs, was one of the first women to receive her architectural license in the state of California, and she worked for Smith until his death in 1930. She was a skilled renderer, and many of Smiths' works were rendered by Riggs.
George Washington Smith, architect Lutah Maria Riggs, renderer
George Washington Smith: Maverick house (San Antonio, Tex.)
This house for Robert VanWyck Maverick was one of only two houses Smith built in Texas. It was considered one of the best examples of a courtyard-centered house at the time of its construction. The plan for the house was U-shaped, with a fourth wall enclosing the courtyard. The bedrooms were along one wing, the kitchen and service areas the other, and the main living area connected the two wings. As with many of Smith's houses, the Maverick files contain many preliminary sketches and elevations, along with renderings by Riggs.
George Washington Smith: Jackling house (Woodside, Calif.)
This large Spanish Colonial Revival mansion in the small town of Woodside was built for copper mining magnate Daniel Cowan Jackling and his family. The 17,000 square foot house sat on a 194 acre parcel of land. The property was subdivided and all but 6 acres was sold off in the late 1950s. The house was purchased by Apple co-founder Steve Jobs in 1984; in 2007 he petitioned to have the home razed so he could build a smaller house. After lengthy legal appeals, the house was destroyed in 2011.
George Washington Smith: Dietrich house (Montecito, Calif.)
George Washington Smith was commissioned by Alfred Dietrich, an heir to an oil manufacturing fortune who also owned a railroad line, to design servants quarters and a garage for his property on Park Lane. This smaller house was built prior to the large main house for Dietrich, who secured Addison Mizner to be the architect for the main portion of the estate. These drawings and renderings are for a three bedroom, three bathroom house, with two car garage, and living quarters for chauffeur.
George Washington Smith: Steedman house (Montecito, Calif.)
George Fox Steedman was a manufacturing executive from St. Louis who commissioned Smith to work with him on designing and constructing Casa del Herrero (House of the Blacksmith) on East Valley Road in Montecito. They created a house and gardens (designed by Ralph Stevens) on eleven acres, along with associated servants quarters, garages, and gardeners cottages. The estate was designed in the Andalusian style of Spanish Colonial Revial, with white stucco walls, small windows with wrought iron grilles and red tile roofs.
George Washington Smith, architect Lutah Maria Riggs, renderer and architect
George Washington Smith: Gavit addition (Montecito, Calif.)
The E. Palmer Gavit residence was originally built in 1919 by Reginald Johnson; Smith designed an addition to the main house, as well as outbuildings. The property was originally named "Cuesta Linda," then "Tanglewood," and eventually Madame Ganna Waleska gave it the name "Lotusland." The gardens, originally designed by Ralph Stevens, with alterations and additions by Lockwood de Forest, have made the property an internationally famous garden site.
George Washington Smith, architect Reginald Johnson, architect Ralph Stevens, landscape architect
George Washington Smith: Isham beach house (Carpenteria, Calif.)
The Carpenteria beach house for Albert Keep Isham was a Moorish inspired estate directly on the beach. Smith also constructed a natatorium, which was done in an "Islamic" style and contained a large number of decorative tiles around the swimming pool and a retractable roof. The beach house and natatorium are currently part of a gated community with private beach access in the Carpenteria area.
The George Washington Smith portraits are archived in the Lutah Maria Riggs collection; since she was his protege who worked in his firm up until his death in 1930.
Irving J. Gill: Bailey house (La Jolla, Calif.)
Frank Mead worked in the Hebbard and Gill office beginning about 1904. He and Gill formed a seven-month partnership in 1907, when the H & G partnership ended. Before joining the office, Mead, though trained as an architect, worked actively, and successfully, for the repatriation of lands to the Mohave-Apache (Yavapai) Indians in 1904. He was helped in his efforts by his friends: Charles Fletcher Lummis, the founder of the Landmarks Club and editor of Out West magazine; Natalie Curtis, ethnomusicologist of Indian songs and friend of Alice Klauber, Charles Douglas and Wheeler Bailey. Douglas and Bailey were sympathetic to the plight of displaced Native Americans and collected their art and crafts. While this house had gas lighting, there is a note on the plan regarding telephone service near the kitchen.
Irving John Gill 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
Gregory Ain: Ernst house (Los Angeles, Calif.)
The house for Anselem Ernst was built on a sloping hillside lot in the Los Feliz Oaks neighborhood. The exterior angles and interior use of space and geometry are very reminiscent of Rudolph Schindler, with whom Ain worked for a time in the early 1930s. It is a Los Angeles Historic-Cultural Monument #840.
Gregory Ain, architect Fred Dapprich, photographer
Gregory Ain papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Gregory Ain: Becker house (Los Angeles, Calif.)
The Isador and Rosa Becker house presented a slightly Streamline Moderne style front facade, with curved walls on the exterior. Inside, the house featured a 'reverse' floor plan-- the main living areas were at street level, and the bedrooms were one floor below. It is located in the Moreno Highlands neighborhood of the Silver Lake section of Los Angeles.
Gregory Ain, architect George Agron, architect
Gregory Ain: Hay house (Los Angeles, Calif.)
Harry Hay commissioned Ain to design this house for his mother, Margaret Hay. With clearstory windows and a garage at the front of the property and living room facing the private backyard, the house was seen as a perfect place for Harry Hay to conduct meetings of the Mattachine Society (an early gay rights group). The property has been designated Los Angeles Cultural-Historic Monument #981.
Gregory Ain, architect George Agron, architect Julius Shulman, photographer
Gregory Ain: Hural house (Los Angeles, Calif.)
The Alexander and Flora Hural house featured a dental lab on the upper level. It is located in the Hollywood Hills section of Los Angeles.
Gregory Ain: Ain home (Los Angeles, Calif.)
The Ruth March Ain house was built for Ain's second wife, and is located in the Laurel Canyon area of Los Angeles.
Gregory Ain, architect Harry Hartman, photographer
Gregory Ain: Wilfong house (Altadena, Calif.)
This house in Altadena for John C. Wilfong was a long, low, glass-walled house with views towards the mountains. The investment banker Wilfong wanted a house where he and his wife could entertain and raise their child. Ain designed a linear house with formal entertaining areas that could be walled off with a sliding partition from the informal living areas. Unfortunately, the house burned in 1993 and was completely destroyed.
Gregory Ain, architect Joseph Johnson and Alfred Day, architects Julius Shulman, photographer
Gregory Ain: Museum of Modern Art exhibition house (New York, NY)
The exhibition house Ain designed for the Museum of Modern Art and the Woman's Home Companion magazine was built in New York City in 1950. It was designed to show how modern living could be made accessible to most homeowners, with sliding walls separating the two smaller bedrooms, as well as the ability to open up the living room, dining room, and main bedroom to create a large entertaining area.
Gregory Ain, architect Joseph Johnson and Alfred Day, architects
Gregory Ain: Daniel / Irons house (Los Angeles, Calif.)
This house, set on a steep lot overlooking the Silver Lake reservoir, was built for the director of the Los Angeles Newspaper Guild Ursel Daniel. She was single at the time the house was built and later married Martin Irons.
Gregory Ain, architect Julius Shulman, photographer
Gregory Ain: Domela house/studio (Los Angeles, Calif.)
This house and studio for Jocelyn and Jan Domela was located in the Tarzana neighborhood of Los Angeles. Jan Domela was a well-known artist and illustrator for the movie studios.
Gregory Ain: Eisenstadt house (Los Angeles, Calif.)
The Ben and Clara Eisenstadt house was built on a hilltop site along Blair Drive in Los Angeles. It now overlooks the Universal Studios lot.
Gregory Ain: Beckman house (Los Angeles, Calif.)
The A.O. Beckman house was sited on a flat lot, and Ain configured the house so that many of the rooms had direct access to the outdoors. The house was located in the La Brea neighborhood of Los Angeles, and was featured in both Architectural Record and Arts & Architecture magazines in 1940-1941. At 2100 square feet, and including maid's quarters, this is one of Ain's larger pre-war houses.
Gregory Ain: Mesner house (Sherman Oaks, Calif.)
This house for Leo Mesner is in the Sherman Oaks section of Los Angeles. The only portion of the house visible from the street is the garage, with the main view of the house is from the backyard. Inside, the house is spread out on four levels, each separated by a half-flight of stairs.
Los Angeles, Calif.; Sherman Oaks, Calif.
Gregory Ain: Scharlin house (Los Angeles, Calif.)
The Scharlin house in Silver Lake was built for the founder of one of the first co-operative nursery schools in Los Angeles, Rose Scharlin. The house sits at the top of the ridge, on a sloping site far back from the street, with views in multiple directions. The children's bedrooms, as well as the living room and den had sliding walls for flexible living arrangements.
Gregory Ain: Byler house (Los Angeles, Calif.)
The Albert E. Byler house is located near the top of Mt. Washington, with a view towards downtown Los Angeles. The house is small, measuring less than five hundred square feet, with only a main room, kitchen, and bathroom. The exterior was clad in Douglas fir, and the interior walls were redwood. A wood trellis highlighted the wood theme on the outside as well.
Gregory Ain, architect Philip Fein, photographer
Gregory Ain: Tierman house (Los Angeles, Calif.)
The house for Samuel and Celia Tierman was sited on a steep lot in the Silver Lake neighborhood of Los Angeles. The small house, with a pyramid-shaped roof, stucco walls, and attached garage was part of Ain's philosophy of bringing modern homes to small budgets. The roof with central skylight and fireplace gave the house a monumental feel on the inside, with high ceilings in the main living area. The house was named Los Angeles Historic-Cultural Landmark #124 in 1974.
Gregory Ain, architect Visscher Boyd, associate architect Julius Shulman, photographer
Gregory Ain: Hacienda Village Extension (Los Angeles, Calif.)
Gregory Ain, along with his partners Johnson and Day, designed this never-built extension for Hacienda Village for the Housing Authority of the City of Los Angeles. The Extension of the original World War Two era housing project, would have extended from 103rd Place down to 107th Street, and from Compton Avenue to Grandee Avenue. The original Hacienda Village was designed by Paul R. Williams (chief architect), along with Adrian Wilson, Richard J. Neutra, Walter Wurdeman, and Welton Becket as housing for defense workers during the War. The area is now known as Gonzaque Village, and this particular tract is the current site of Markham Middle School.
Gregory Ain papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara
Gregory Ain: Leshing Apartments (Hollywood, Calif.)
This 20-unit apartment building project (never built), was written up in Arts & Architecture Magazine alongside the Case Study House program, but was not part of it. The "Garden Apartments" as they were described, were a series of townhouse-style apartments, each opening onto their own private garden space, with windows looking onto the garden and shared walkway. Garages for each of the units were on the adjoining lot, with studio apartments with large decks on the second floor. The design allowed for each apartment to have it's own outdoor space, but windows and walls were sited such that privacy was of utmost importance, and each unit only overlooked their own private garden patio.
Gregory Ain: Edwards house (Los Angeles, Calif.)
The Charles H. Edwards house was Ain's first solo commission after working for Richard Neutra and Harwell Hamilton Harris. The house, sited on a flat lot in the Hollywood Hills, was named House Beautiful Magazine's "House of the Year" for 1938.
Gregory Ain: Goldberg house (San Fernando Valley, Calif.)
The Dr. I. Goldberg house was located in the Encino area of the San Fernando Valley. For this house, redwood siding was used. Ain generally preferred stucco since he did not like that the giant redwood trees were cut down for building materials.
Gregory Ain: Orans house (Los Angeles, Calif.)
The Maurice and Alice Orans House was located on a steeply sloped small lot in the Silver Lake area of Los Angeles. The garage was built at street level with entrance and exit doors; the curved driveway allows for easy entrance and egress, extra parking, and to eliminate the need to back out onto a busy street. The house rises above the garage in four levels- bedrooms, service areas, maid's room, and main living areas. Multiple terraces on different levels provide ample outdoor space.
Hunt & Chambers: Canoga Park High School (Canoga Park, Calif.)
These renderings for the Cafeteria and Boys Physical Education building at Canoga Park High School were designs by Chambers and Hibbard, the architects who continued the firm after Myron Hunt's death in 1952.
H.C. Chambers and Lester Hibbard, architects
Myron Hunt & H. G. Chambers records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Irving J. Gill: Cositt house elevations (Coronado, Calif.)
The designs from the Hebbard and Gill partnership were eclectic, leaning toward English cottages with Arts and Crafts influence, but included Neo-classical, Gothic, Queen Anne, Mission Revival, and Prairie School styles. In this drawing of a house for Mrs. F.B. Cossitt, the exterior elevations are annotated to include faint red lines indicating the level of each floor and stairwells. Small drawings of specific details and sections are squeezed in between the elevations, to add clarification to certain portions of the drawing.