Jock Peters: Peters house project (Los Angeles, Calif.)
The renderings for a proposed Jock Peters residence along College View Avenue in the Eagle Rock section of Los Angeles show a very modern house, sited on a hill, with a studio and garage at street level. As with his other residential works, this house was to have multiple outside decks, patios, and balconies, as well as ample entertaining space, and a view of the city.
Jock Peters 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.
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.
After working with an architect in Germany, Peters emigrated to the United States in 1922 and settled in Los Angeles. By 1924 he was working with Famous Players- Lasky Corporation, one of the largest silent film production companies in the city. Peters worked on set designs until 1927 when he opened a design company with his brother George.
Jock Peters: Shepard house (San Marino, Calif.)
This house for L.E. Shepard in the Los Angeles suburb of San Marino is one of the few houses designed by Peters. The style is a Streamline Moderne, with some hints of International Style and Art Deco. The images highlight the indoor-outdoor living, with patios, decks, and sliding doors.
John Byers: Frederick Laue Restaurant (Santa Monica, Calif.)
The rendering for the Frederick Laue restaurant is an example of Byers' commercial work. While known specifically for residences, he did design a few commercial and civic buildings. A Laue Restaurant was located near the corner of Santa Monica Boulevard and Ocean Avenue from 1927 until 1936. This rendering, circa 1932, might have been a possible expansion in another location, or an unbuilt project rendering. The street view poses a facade very close to the sidewalk and street, while the back view highlights a patio with grassy area, and a two story massing.
John Byers papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
John Byers: John Byers house (Santa Monica, Calif,)
These images are for the first and second floor plans for an early house for Mrs. John Byers. The plans are not dated, and there is no address listed anywhere on the sheets. The thick-lined walls for the living room and first floor bedroom indicate this house might have been partially constructed from adobe. The second floor bedrooms open onto a balcony, which would have assisted with cross-breezes and done away with the need for a sleeping porch.
The McLaughlin house, though its location is unknown, is very similar to many of the adobe and Monterey Revival houses Byers designed in the Santa Monica area. With an exterior staircase leading to a second floor balcony, red tile roof, and colorful landscaping, the house is a good example of the Byers style. The design of the house allowed for it to be sited either on a suburban or rural property.
John Byers 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
This presentation drawing is similar to other Byers drawings-- with a Spanish Colonial Revival house set amongst lush landscaping. The house features a loggia running the length of the front of the house, with a second story balcony, and all under a classic red tile roof.
In the John Byers collection, many items are unidentified. Some of the drawings have dates or locations, however the vast majority do not. This pair of images shows the front of an adobe-style house in the first image, and the back of the house in the second. Both drawings bear the hallmarks of the Byers style-- red tile roofs, lush landscaping, and an exterior staircase leading to a second floor balcony.
John Byers: Unitarian Church (Santa Monica, Calf.)
The two very different renderings of the Unitarian Church of Santa Monica highlight the range of styles that John Byers was capable of designing. The first image, a more Spanish Colonial style, was the ultimate choice of the building, which is shown in the third image, a photograph taken after construction. The second image shows a much more traditional church, with high pointed steeple, instead of the smaller tower with bell.
John Elgin Woolf (1908-1980): Case Study House #17 alterations
Case Study House #17 was built in 1956 by Craig Ellwood on a lot along Hidden Valley Road in Beverly Hills. It was a modern design, of plywood, steel, brick, and glass, like many of the other Case Study houses. But in 1962, John Woolf purchased the house and remade it into his signature Hollywood Regency style. The post and beam vertical elements were wrapped in Doric columns, the large glass front door was replaced with an oversized solid 'Pullman' door, and the interior rooms were also changed.
John Elgin Woolf, designer Craig Ellwood, architect
John E. Woolf papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Los Angeles, Calif.; Beverly Hills, Calif.
The Woolf archive contains quite a few portraits of John Elgin Woolf, including these color photos.
John Elgin Woolf: Beal house (Scottsdale, Ariz.)
The L. Wayne Beal house in Scottsdale, Arizona highlights the stark contrast between the white house and the darker desert hills. The house is perched on the side of a hill, with a view of the valley.
John Elgin Woolf, designer and architect Max Eckert, photographer
John Elgin Woolf: Gershwin house (Beverly Hills, Calif.)
Lyricist Ira Gershwin commissioned Woolf to remodel the house on Roxbury Drive in Beverly Hills in the Hollywood Regency style. The house was torn down in 2013.
John Elgin Woolf: Guasti house (Montecito, Calif.)
The Guasti residence, perched high in the hills of Montecito, was designed and built by Woolf. With sweeping views of the Santa Ynez mountains to the rear of the property, and views from downtown Santa Barbara out to the Channel Islands from the front of the house, the placement was regal. A wide driveway leads up to a motor court and the main entrance of the house, with a mansard roof, oversize Pullman door, and symmetrical wings with shuttered windows-- all classic Hollywood Regency architectural features. A sculpture garden overlooks a wide lawn, and a pool with pool house and cabana sit sheltered on the north side of the house.
John Elgin Woolf, architect and designer
John Elgin Woolf: Hornburg house (Bel Air, Calif.)
With a front entrance relatively close to the public street, the Hornburg house allowed Woolf to create a walled entrance area, with a large imposing front wall, private courtyard, and then a classic Hollywood Regency front door, with a symmetrical centered door knob. The semi-circular driveway allowed for parking of cars, an important feature since Hornburg was the first dealer to import Jaguar cars to the United States. As a former advertising executive, Hornburg marketed the cars to Hollywood celebrities and movie executives.
John Elgin Woolf: Marrakesh Country Club (Palm Desert, Calif.)
The community of Palm Desert was the desert retreat for many Hollywood celebrities, and the Marrakesh Country Club was one of many golf resorts that catered to that clientele. John Woolf was commissioned by John Dawson, an amateur golfer and real estate developer, to design 364 Hollywood Regency style condominiums, grouped into 14 separate communities within the club, each community had its own pool and pavilion, all designed by Woolf. Each villa and pool house was painted pink and white, with a mansard roof, tall Pullman door, symmetrical designs, and airy, spacious rooms.
John Elgin Woolf: Menefee house (Beverly Hills, Calif.)
The Menefee house, near Santa Monica Boulevard, is another example of Woolf's signature front facade. With a tall entry door, large covered windows flanking either side, and a circular driveway, the alterations to the house are classic Hollywood Regency style. The shutters covering the windows provide a wall of privacy facing the public street, which is another signature of Woolfs' designs.
John Elgin Woolf: Office (Los Angeles, Calif.)
The personal office and studio of John Elgin Woolf on Melrose Place in Los Angeles, was a multi-building compound with an imposing entrance door, secluded courtyards, and light-filled rooms. The office allowed Woolf to bring his specific design aesthetic for his clients' homes into view in his office space. Designing in an image-conscious city for celebrity clientele allowed Woolf to bring many of those details to life in this space to show clients his ideas.
John Woolf, designer Robert C. Cleveland, photographer
John Elgin Woolf: Pendleton house (Beverly Hills, Calif.)
The house for Pendleton in Beverly Hills was one of the first and most complete realizations of Woolf's Hollywood Regency style. With the large front entrance door, mansard roof, and symmetrical oval windows flanking the front door, the residence contains all of Woolf's signature style. John B. Pendleton and his wife, Mary Frances, requested Woolf design a single-story house, since Mary was unable to climb stairs. They also requested a pool, cabana, entertainment space, and plans drawn up within one week. The house became Woolf's first major commission in Los Angles, and led to many of his other projects.
John Elgin Woolf: Petri house (San Francisco, Calif.)
Winemakers Louis and Flori Petri commissioned Woolf to design a house in the Pacific Heights neighborhood of San Francisco. Woolf also designed an apartment in San Francisco, a house in Napa, and a condominium in Palm Springs for the couple.
John Elgin Woolf, designer and architect George de Gennero, photographer
John Elgin Woolf: Potts house (Beverly Hills, Calif.)
The design work on the Jack and Effie Potts home on Benedict Canyon Drive in Beverly Hills consisted of detail work in the living room, and exterior work to the house and front gate.
John Elgin Woolf: Vance house (Beverly Hills, Calif.)
The house for James Vance on Hillcrest Road in Beverly Hills is considered another residence with significant Hollywood Regency style and attributes. With a tall brick privacy wall, leading to an oversize entry door, topped with an octagonal standing seam copper roof, along with the single-story layout surrounding a pool, the house has all of the classic Woolf hallmarks. Vance was a dentist, who had a successful practice in Beverly Hills. With it's classic pool and cabana, the exterior of the house was used for celebrity photo shoots in the 1950s.
Completed in 1981, Kalfus Studio was the first free-standing structure designed by Steven Ehrlich in Los Angeles, California.
Steven Ehrlich, Architect. Julius Shulman, Photographer
Steven Ehrlich papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Copyright retained by Steven Ehrlich. Copyright of all photographs retained by the respective photographers.
The Kem Weber archive contains quite a few photographs of Weber in meetings and posed for portraits.
Karl Emanuel Martin (Kem) Weber papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Kem Weber continuously designed and re-designed his furniture pieces to fit changing consumer needs and updating with new materials. One of his most innovative designs was the Airline Chair. With sleek, modern lines, a streamlined and cantilevered seat, and easy assembly, the chair was not a commercial success when it debuted in 1934. The lightweight curving sides and gently rocking seat and back of the chair were designed to be comfortable in a variety of seating positions. It was also designed to be sold unassembled, in a flat 27 pound box, and assembled at home by the consumer. The concept was many years ahead of its' time.
Kem Weber, designer Will Connell, photographer
Kem Weber: Art Center (Los Angeles, Calif.)
Weber taught classes at the Art Center School in Los Angeles for many years; each year he had his students work on a group project to design a multi-building complex. For 1938, the students designed a new campus for the Art Center. Weber also designed a new campus, but the designs were not built.
Kem Weber: Bixby house (Kansas City, Kan.)
The Walter E. Bixby house in Kansas City, Kansas was designed by local architect Edward W. Tanner, and the interiors of the large house were designed by Weber. With sleek Modern, even Moderne, lines on the outside, and a large budget, Weber designed furniture, interior room dividers, walls, and other furnishings with his signature 'flowing' lines. The 15,000 square foot house allowed Weber to design furnishings for a number of large rooms, including the living room, dining room, and basement 'rumpus' room, which featured a bar and over sized mural.
Kem Weber: Christian Science Reading Room (Santa Barbara, Calif.)
Kem Weber worked with architect Roy Cheesman to design the Art Deco-inspired Christian Science Reading room on State Street in Santa Barbara. It occupies a prominent corner near the Arlington Theater.
Kem Weber, designer Roy Cheesman, architect
Kem Weber: Colburn Fur Store (Los Angeles, Calif.)
The Colburn Fur Store on Wilshire Boulevard near downtown Los Angeles, was an up-scale shop specializing in women's fur coats. The large windows brought in lots of natural light, and the full-length mirrors allowed the customers to view themselves from all angles while shopping for a new fur. Weber designed the interiors, the furniture, and the exterior of the existing building for Colburn.
Kem Weber: Dabney ranch house (Santa Ynez Valley, Calif.)
For the Dabney ranch house in the Santa Ynez Valley, just north of Santa Barbara, Weber utilized outdoor living areas around the pool and wood tones on the interior.
Kem Weber: Dodds house (Palo Alto, Calif.)
This house for Stanford University English professor John Wendell Dodds sits in the hills above the university. The two-story house with redwood siding and many exterior angles, spread out along the hillside.
Kem Weber: Franklin house (Los Angeles, Calif.)
Elizabeth Franklin was a teacher at the Art Center School and a friend of Weber's when she asked him to design a house for her in west central Los Angeles. The house was sited on a hilly lot, with the garage placed underneath the main living area.
Kem Weber: Friedman house (Banning, Calif.)
Both the house and interiors were designed by Weber for the physician Dr. Joseph C. Friedman in the dry high desert of Banning, Calif. Friedman specialized in lung diseases, and the dry air of Banning was thought to help alleviate symptoms of tuberculosis and other ailments. The house was designed to have an attached doctor's office, a central patio, and an insulated roof with screened louvers to help regulate the temperature in the house. Weber employed many modernist design elements, and fused them with a modified hacienda-style to create a very Modern residence.
Kem Weber: Gisler house (Glendale, Calif.)
Weber designed this house in Glendale for the jewelry designer and painter Eduard Andrew Gisler. The house was sleek and modern, with horizontal lines and nautically inspired railings.
Kem Weber: Gray house (Santa Barbara, Calif.)
This house for David Gray was Y-shaped, and included large trusses to create a wide living room. The house was sited on a hilly plot, with many trees and exterior levels.
Kem Weber: Kerr Sport Shop (Beverly Hills, Calif.)
The Kerr Sport Shop on Wilshire Boulevard in Beverly Hills, catered to the rich and famous celebrities who were also avid outdoorsmen. For image-conscious Hollywood celebrities, the store catered to their desire for high-end sporting equipment and suitable outdoor-style clothing. The store contained a custom gunsmith shop as well as apparel and high-end fishing equipment. Weber designed the street facade, retail cases, and furniture in a rustic-yet-modern style which uniquely defined the shopping experience.
Beverly Hills, Calif.; Los Angeles, Calif.
Kem Weber: Kimball house (Santa Barbara, Calif.)
This house for Mrs. D. Kimball was a ranch-style design, with two wings spreading out from a central core. It also featured a unique curved loggia to take advantage of the view.
Kem Weber, designer and architect Paul T. Frankl, interior designer
Kem Weber: Mayfair Hotel (Los Angeles, Calif.)
Weber designed the ballroom for the Mayfair Hotel-- a 13-story, 350 room hotel near downtown Los Angeles. Known as the "Rainbow Isle" for its raised dance floor with multi-colored glass tiles (lit from underneath), it was a Modern design success for Weber.
Kem Weber: Oasis Hotel (Palm Springs, Calif.)
This hotel on South Palm Canyon Drive in Palm Springs featured Weber-designed furniture and interiors. Lloyd Wright was the architect.
Kem Weber, designer Lloyd Wright, architect
Kem Weber: Palace Theater (Chicago, Ill.)
The 2500 seat Palace Theater was part of the Bismark Hotel complex on West Randolph Street in downtown Chicago. Weber worked with the owners to refresh the building into a more modern design. Weber re-imagined not only the theater, but the hotel room furniture, coffee shop, multiple on-site restaurants, and exterior facade of the building.
Kem Weber: Parker house (Los Angeles, Calif.)
In the 1930s, Weber designed the interiors for the Maynard Parker house in the Echo Park neighborhood of Los Angeles. It is unclear if Maynard Parker was the photographer of these images.
Kem Weber: Peters house (Santa Barbara, Calif.)
In the late 1940s, Weber shifted his practice to designing and building houses. The George Peters house in Santa Barbara is one of his earlier houses; a ranch style house with a cantilevered roof.
Kem Weber: Plains hotel (Cheyenne, Wyo.)
Weber designed the interiors for the Plains Hotel in 1945. The "Wigwam Lounge" design was influenced by popular depictions of Native Americans.
Kem Weber: Roos Brothers Shoe Store (San Francisco, Calif.)
The triangle-shaped ''shoe salon" for Roos Brothers in San Francisco featured many different geometric forms.
Kem Weber: Savery Hotel (Des Moines, Iowa)
The dining room interiors for the Hotel Savery were one of Weber's last projects before he retired.
Kem Weber: Sommer and Kaufmann Shoe Store (San Francisco, Calif.)
The interiors for the Sommer & Kaufmann Shoe Store were designed by Weber; he worked with architect Alfred F. Roller on the building design. Additional design elements, under the direction of Weber, were created by sculptor Eugene Maier-Krieg and painter Barse Miller.
Kem Weber: Systems Housing / Precision Built Homes
During World War Two, Weber worked with Otto Eitel and the Douglas Fir Plywood Association in Tacoma, Washington to build a model home using Weber's system. The model home took two carpenters only two days to build the home, after the foundation concrete was poured and set. Unfortunately, the design was never accepted by the government for war housing, and no other units were built.
Kem Weber: Weber house and studio (Santa Barbara, Calif.)
Weber and his wife Erika found a plot of land in Santa Barbara's Mission Canyon area in 1946 and built the house in 1948. The sloping, heavily wooded site influenced the design-- a stone walkway leads up from the carport to the entry of the house, which is sheathed in redwood. Weber also design much of the furniture in the house and studio.
Kem Weber: Wedemeyer house (Altadena, Calif.)
The head of the art department at Pasadena Junior College, Archibald Wedemeyer, asked Weber to design a house in Altadena. The small two-story house featured ribbon windows and a trellised back patio for outdoor living.
Kem Weber: Zacho's store (Los Angeles, Calif.)
Weber had first worked on the interior of the Zacho's store in Los Angeles in 1937. For the 1945 alterations, he brought in the Scandinavian Modern style-- smooth ceilings and floors, textured walls, and the use of different materials-- to update the look of the store.
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 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 #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 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.
Southern California Architecture; California Modern Architecture
Blueprint showing floor plan and plot plan. This image outlines all of the rooms of the house, the sunken gardens, patios, flower beds, and tree placement in the garden.
Schindler, R. M., (Rudolph M. ), 1887-1953, architect.
R. M. Schindler papers, Architecture & Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Architecture & Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Full size detail construction plan showing typical joints for constructing walls. This drawing shows the exact dimensions of how each piece of wood or other material is connected to form the walls, windows, doors, and frames of the house.
Graphite and colored pencil drawings of exterior elevations and sections. This drawing shows the front, rear, and side elevations, as well as the section views. It also has an exterior rendering of the house in the lower right-hand corner of the drawing. One rooftop 'sleeping basket' is also shown on the elevation drawings.
Working drawing of exterior of house, showing the slab walls, garden, horizontal window areas, and 'sleeping basket' on the roof. Drawing also contains original sketching and notes.
Exterior photograph of house at 835 Kings Road, Los Angeles, Calif. taken shortly after construction. At the time it was built, the area was unincorporated, now it is in the heart of West Hollywood, surrounded by large apartment buildings. The concrete slab-wall construction with glass in-between the slabs is shown at the front.
Schindler, R. M., (Rudolph M. ), 1887-1953, architect. No photographer listed.
Floor plan of the house showing the unusual arrangement of rooms. Instead of the usual living room, dining room, and bedrooms, this plan shows the four live/work spaces for Schindler, his wife Pauline, Clyde Chace, and his wife Marian Chace. Each couple had a wing of the house, with a hallway and bathroom connecting the work spaces. A communal kitchen, guest room (with attached bath and kitchen), garage, and car port make up another wing of the house.
Kings Road House- interior view towards garden
Photograph of the sliding door leading out into the patio garden. It highlights the soffit and exposed beams of the roof, and the wide opening created by the sliding glass and wood door. The concept of indoor/outdoor living is showcased with chairs and plants.
Schindler, R. M., (Rudolph M. ), 1887-1953, architect; Shulman, Julius, 1910-2009, photographer
Kings Road House- interior with fireplace
Interior view of one of the live/work spaces. The fireplaces were the only heat source in the house. All of the furniture was designed by Schinder specifically for this house.
A photograph of Rudolph Schindler (right), with Richard Neutra (left), and Dionne Neutra with child (seated), in front of the Kings Road house. The Neutra's lived in the house from 1925 until 1930.
Schindler, R. M., (Rudolph M. ), 1887-1953, architect. Neutra, Richard Joseph, 1892-1970, architect. No photographer listed.
Two men are shown hoisting a poured concrete slab into place using a pulley system on the partially completed house. The tilt-slab construction system was invented by architect Irving Gill, and modified by Schindler so that only two people are needed to hoist the slabs into place. Each slab is separated by 3 inches of glass or wood.
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
University of California, Santa Barbara Campus Building records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
This computer generated drawing of the connecting Paseo shows the options for different floor and wall finishes for the two story space. As one of the busiest areas on campus, with over one million people entering and exiting each year, the new lobby needed to handle foot traffic and create additional study space on the open second floor.
Pfeiffer Partners Architects, Inc., architects
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.
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.
Location Map of the New Santa Barbara Campus
This early map shows the existing county roads and the roads on the former Marine Air Base. Hand-drawn arrows indicate traffic flow from Goleta and Santa Barbara towards the new campus. This map shows many of the roads that are still in use today, as well as a few which no longer exist (especially the roads on airport property).
The de Forest archive contains a large amount of personal papers, including many photographs of Lockwood and Elizabeth de Forest. The photos document their extensive camping trips in the Sierra Nevada mountain range in the 1930s.
Lockwood de Forest, Jr. landscape drawings, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Lockwood de Forest: Bothin tea garden (Montecito, Calif.)
San Francisco industrialist Henry Bothin and his wife Ellen Chabot Bothin purchased 350 acres of mountain and foothill land above Montecito in 1916. The property was named Mar Y Cel, but was commonly referred to as the Tea Garden; it was adjacent to the property which included their house, Piranhurst. Lockwood de Forest was commissioned in 1932 to add to the landscaping around the tea house, amphitheater, aqueducts, and gardens. After Ellen Bothin's death in 1965, the property fell into disrepair, and the Tea House was the starting point for the 2008 Tea Fire, which destroyed a large number of residences in Montecito.
Montecito, Calif.; Santa Barbara, Calif.
Lockwood de Forest: Chalifoux garden (Montecito, Calif.)
This extremely colorful and detailed design for a garden was for Elizabeth and Harold Chalifoux, who were well-known orchid growers in the Santa Barbara area. The Chalifoux were from Boston, and Elizabeth Chalifoux was the daughter of Albert Burrage, the well-respected horticulturist.
Lockwood de Forest: de Forest garden (Santa Barbara, Calif.)
Lockwood de Forest was not just a landscape architect, but also designed and built houses, including his own on Todos Santos Lane in Santa Barbara. The house and landscaping were oriented towards a view of the Santa Ynez Mountains and included many native plants, which were drought-tolerant for the dry Santa Barbara climate.
Lockwood de Forest: Santa Barbara Museum of Art (Santa Barbara, Calif.)
The plaza at the corner of State Street and Anapamu in downtown Santa Barbara was designed by Lockwood de Forest and architect Lutah Maria Riggs. The seating area with trees and benches allows for a brief respite prior to or just after visiting the museum. The Museum was established in 1941 in the old United States Post Office building; the facade was altered by Chicago-based architect David Adler, and financial support was given by many prominent people, including Wright Ludington and Stanley and Katherine McCormick (all were clients of de Forest).
Lockwood de Forest, landscape architect Lutah Maria Riggs, architect
Lockwood de Forest: Stanley McCormick estate (Montecito, Calif.)
The 84 acre "Riven Rock" estate belonged to the McCormick family, the inventors of the grain reaper and founders of the International Harvester company. The original house was constructed in 1898 (demolished after the 1925 Santa Barbara earthquake), and was home to Stanley McCormick. The estate also contained many other guest houses, servants quarters, a nine hole golf course, orchards, a dairy, and many exotic plants. Stanley McCormick struggled with mental illness, and his wife Katherine (one of the first female graduates of MIT) fought with his family over access to Stanley and the estate. After Stanley's death in 1947, the estate was subdivided and sold to create many smaller land holdings.
Lockwood de Forest: William Nelson landscape (Montecito, Calif.)
As with many of Lockwood de Forest's commissions, the houses were designed by some of the top architects in Southern California, and de Forest's landscaping was a harmonious compliment to their work. The formality of the house lent itself to the grounds as well, as seen in this geometric fan-shaped garden for William P. Nelson.
Lockwood de Forest, landscape architect Carleton Winslow, Sr., architect
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.
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.
The long range plan from 1975 shows a much greater concern for the adjacent community of Isla Vista. A larger concentration of university buildings is shown in the 'loop' area, as well as trees and pedestrian-friendly boulevards. Unlike the 1963 plan, the 1975 does not include an expansion of Highway 217 through the slough to the north of the campus mesa. The increase in environmental awareness after the 1969 oil spill in the Santa Barbara Channel changed the plans to be more eco-friendly.
University of California, Santa Barbara, planning department; William Liskamm, consulting architect
This birds eye view of campus shows the build-out of the land in 1990. Many of the original WWII buildings still remain, and the vehicle flow around the perimeter of campus is greatly reduced from the earlier plans. The large expanse of surface parking lots along the western edge of campus were eventually replaced with the Student Resource Building, Parking Structure #22, and the Education and Social Sciences buildings. Additionally, the wide expanse of open field just to the north of Robertson Gymnasium has been filled in with multiple recreational facilities and practice fields. This map shows a particular instance in time, before the large building boom of the '90s, where large surface parking lots dominate the landscape, and open space existed along the perimeter of the campus.
University of California, Santa Barbara, planning department
Lucile Lloyd: "California's Name" WPA mural, California State Building (Los Angeles, Calif.)
Photograph showing a view of "California's Name" WPA mural in progress, California State Building, Los Angeles.
Lucile Lloyd (1894-1941), muralist; photographer unknown
Lucile Lloyd papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara
Lucile Lloyd: "Mickey Mouse Goes Fishing" mural, Broadway department store (Los Angeles, Calif.)
Photograph showing a view of "Mickey Mouse Goes Fishing" mural, children's department, Broadway department store, Los Angeles.
Lucile Lloyd (1894-1941), muralist; Dick Whittington, photographer
Lucile Lloyd: "The Origin and Development of the State of California" mural
Photograph of "The Origin and Development of the State of California," central panel of mural triptych "California's Name"
Lucile Lloyd (1894-1941), muralist; Floyd Faxon, photographer
Lucile Lloyd: Altar piece, Saint Mary of the Angels Church, (Hollywood, Calif.)
Photograph of Lucile Lloyd and Reverend Neal Dodd with altar piece, Saint Mary of the Angels Church, Hollywood, Calif.
Lucile Lloyd (1894-1941), muralist; Photographer unknown
Lucile Lloyd papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Lucile Lloyd: altarpiece mural, Saint Mary of the Angels Church (Hollywood, Calif.)
Photographic portrait of Lucile Lloyd standing in front of the altarpiece mural, Saint Mary of the Angels Church, Hollywood, Calif.
Lucile Lloyd: Altarpiece, St. Mary of the Angels Church, (Pasadena, Calif.)
A photograph of the surviving portion of the altarpiece for St. Mary of the Angels Church, Pasadena, Calif.
Lucile Lloyd: Architectural design for a ceiling
Architectural design for a ceiling, watercolor and pencil on tracing paper taped to board.
Lucile Lloyd: Architectural design for a ceiling with poppy design
Architectural design for a ceiling with poppy design, watercolor and pencil on tracing paper taped to board.
Lucile Lloyd: Children's slumber room, Ives and Warren Mortuary (Pasadena, Calif.)
Photograph showing a view of children's slumber room, Ives and Warren Mortuary, Pasadena, Calif.
Lucile Lloyd: Great hall (Scarborough, New York)
Photograph showing view of great hall, Henry House “La Paz”, Scarborough, New York.
Lucile Lloyd (1894-1941), muralist; Bertram Goodhue, architect; photographer unknown
Lucile Lloyd: Interior view, Saint Mary of the Angels Church, (Hollywood, Calif.)
Photograph showing interior view of Saint Mary of the Angels Church, Hollywood, Calif.
Lucile Lloyd: Kindergarten murals (Pasadena, Calif.)
Photograph showing a view of kindergarten murals, Stoneman Elementary School, Pasadena, Calif.
Lucile Lloyd (1894-1941), muralist; Luckhaus Studios, photographer
Lucile Lloyd: Manning's Cafeteria murals (Long Beach, Calif.)
Photograph showing a view of Manning's Cafeteria murals, Long Beach, Calif.
Lucile Lloyd (1894-1941), muralist; Winstead, photographer
Lucile Lloyd: Manning's Cafeteria murals (Los Angeles, Calif.)
Photograph showing a view of Manning's Cafeteria murals, Los Angeles, Calif.
Lucile Lloyd: Monogram for Manning's Coffee Stores
Monogram for Manning's Coffee Stores, paint and pencil on board
Lucile Lloyd: proposed mural decoration for the Ojai Presbyterian Church (Ojai, Calif.)
Photographic portrait of Lucile Lloyd holding the proposed mural decoration for the main entrance of the Ojai Presbyterian Church
Lucile Lloyd (1994-1941), muralist; Photographer unknown
Lucile Lloyd: PTA auditorium (East Whittier, Calif.)
Photograph showing a view of PTA auditorium, East Whittier School, East Whittier, Calif.
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: Rug department murals, Broadway department store (Los Angeles, Calif.)
Photograph showing a view of rug department murals, Broadway department store, Los Angeles.
Lucile Lloyd: Saturday Night Magazine photograph
Portrait of Lucile Lloyd, Saturday Night Magazine, August 27, 1938
Lucile Lloyd (1894-1941), muralist; Victor Haveman, photographer