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.
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.
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.
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
Santa Barbara State Teachers College -- Administration Building
A photograph of a drawing by Alfred Eichler of the Administration Building for the Santa Barbara State Teachers College, formerly the State Normal School. The rendering shows the proposed administration building which housed offices, classrooms, a library, and a theater. Currently, the building is home to the Riviera Theater, and is part of the Santa Barbara International Film Festival.
Alfred Eichler papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Santa Barbara State Teachers College -- Ebbets Hall archway to loggia
A photograph of an arched entrance to the loggia at the western end of Ebbets hall. The photograph was taken soon after construction; un-graded dirt and construction debris can be seen at the base of the stairs.
Santa Barbara State Teachers College -- Ebbets Hall southeast corner
A photograph of the southeast side of the building.
Santa Barbara State Teachers College -- Ebbets Hall northeast entrance
A photograph of the entrance to Ebbets Hall on the northeast corner, facing Alvarado Place. The building was named after Miss Charlotte Ebbets, who was the department head of the Home Economics Department at the college. Ebbets Hall contained classrooms, laboratories, a 'practice house' for home economics classes, a kitchen, and three dining rooms.
Santa Barbara State College -- Industrial Education Unit
This image is a photograph of a rendering of the Industrial Education Unit for the Leadbetter Mesa campus, designed by Alfred Eichler. It was the first building built on the site for the Santa Barbara State College expansion, and was used from the early 1940s until the campus moved to the Goleta Mesa in 1954. It is now part of the Santa Barbara City College, and houses the administration building, the MacDougall Administration Center.
A photographic print of a birds eye view rendering of a version of the campus plan. The foreground shows the general outline of the residence halls, with the academic and administrative units towards the top of the image. Development on the lagoon peninsula and the area closer to Isla Vista, is a proposed sorority and fraternity housing area.
Pereira and Luckman, executive architects
Victor Cusack papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Campus Landscape Plan -- Soule and Murphy
A rendering of the landscape plan for the campus. This plan orients south at the top of the plan, with the lagoon and ocean at the top and left of the image. Three quadrangles (south, east, and northwest) are shown originating from a central point. A semi-circle of residence halls faces the lagoon, with an outdoor theater at the water's edge. The recreational area at the lower right contains baseball diamond, running track, driving range, football field, and general athletic fields separated into men's and women's. Landscaping is highlighted in this plan, including an arboretum and natural landscaping around the lagoon. This plan was not adopted; the only buildings Soule & Murphy built were Webb Hall and Library I (with Chester Carjola).
Soule and Murphy, architects; Ralph T. Stevens, landscape architect
University of California, Santa Barbara Campus Building Records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
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
A birds eye rendering of the Faculty Club, with the Theater and Dance building in the background. The front of the building slopes downwards towards the edge of the lagoon. MLTW/Moore Turnbull Architects were the executive architects, and Charles Luckman Associates were the consulting architects, since that firm was still overseeing the master campus plan.
Charles Moore and William Turnbull, Jr., architects
Charles Moore and Urban Innovations Group drawings and model, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
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.
The Education and Social Sciences buildings house the Gevirtz School of Graduate Education, offices for the College of Letters and Sciences, the Center for Film, Television, and New Media, and the Pollock Theater. This image is a design sketch of the buildings, with the Pollock theater in the foreground. The sloping tile roofs and covered walkways echo the original campus design, while adding post-modern elements. The buildings had to fit within a prescribed footprint, in order to leave pedestrian circulation, bike paths, and roads in place, while keeping the massing from overpowering the site and also maintaining a north/south view corridor to the mountains.
The plot plan for the first floor of the Materials Research Lab building shows the intricacies of fitting new buildings into the campus. The original Engineering building is immediately to the south, with an access road, pedestrian and bike paths surrounding the building. The addition of outdoor courtyards and abundant landscaping allow for a relaxing exterior space. The close proximity to other engineering and science buildings facilitates the interdisciplinary nature of much of the research that takes place at MRL.
Roesling Nakamura Terada Architects / Koening Eizenberg Architects
Institute of Theoretical Physics -- Kohn Building
This rendering of the east elevation of the Kavli Institute of Theoretical Physics shows the sloping tile roof, vine covered trellises, and stucco exterior mimics the Spanish Revival nature of Santa Barbara architecture.
This is an early design of the interior floor plan for the Student Health Center. The building appears to have been designed as having facilities for 24/7 care, with individual rooms. Multiple versions of this floor plan exist as the needs of the facility changed.
Killingsworth, Brady, & Associates, architects
Edward A. Killingsworth 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 image shows the east elevation (facing El Colegio Road) and the west elevation (facing the bike path). Both entrances have changed significantly,
Killilngsworth, Brady, & Associates, architects
Two years after Killingsworth completed the Student Health Center, his firm began work on a 300 unit apartment complex for married students near the corner of Los Carneros Road and Mesa Road, just north and west of the main campus. The red tile roofs, white stucco walls, and wooden balconies and gazebos throughout the complex gave it the feel of a small Spanish town. The same style is also echoed in the Santa Ynez apartments just to the south, and the San Clemente villages, to the southeast.
Santa Barbara College of the University of California-- Mesa Campus Master Plan
This master plan of the Leadbetter Mesa campus, assumed to be drawn by Soule & Murphy, shows a large number of buildings built on the mesa and surrounding areas. The Arts buildings were clustered towards the Cliff Drive side of campus, while the Science buildings were closer to the ocean. Dormitories and a student union were in the area of the SBCC west campus, with a large amphitheater and tennis courts along Loma Alta Drive. The football stadium had been built in 1940, and other athletic buildings were added to the area below the mesa, along with 'beach sports' on west beach, and 'yachting' in the harbor.
Robert Ingle Hoyt papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
This is an early pen on heavy paper drawing of scheme for the Faculty Club. The roofline, massing, and collonades are all very different from the building that was eventually built.
Institute of Theoretical Physics-- Kohn Hall floor plan
This is an early floor plan of the original building for Kohn Hall, designed by Michael Graves. The Kavli Institute of Theoretical Physics is a world-renown research facility where physicists meet to collaborate on cutting edge research and theoretical questions. The scientists come to UCSB for extended periods of time (anywhere from one week to many months) to meet and discuss new problems in the field. The Kohn Building was originally designed in 1994 by architect Michael Graves, with an addition completed in 2004, also by Graves. The building was designed specifically to foster interactions between scientists, so offices and hallways are laid out in such a manner as to facilitate random meetings and impromptu discussions (with a number of blackboards in communal spaces for working out complex theoretical issues). Michael Graves is known for being one of the leading examples of postmodern architecture. In addition to building iconic commercial and public buildings (like the Denver Public Library and an expansion of the Whitney Museum of American Art), he was a Professor of Architecture at Princeton University and a designer for Alessi and Target. His postmodern and urbanist style was reflected in the use of color and classical elements in new and varied ways.
This blueprint is an early floor plan for the first floor of the building. The unique shape of the eastern wing makes this building immediately recognizable, and the varied heights of the different components of the building give a visual reference to the different functions of the departments. The building houses the offices of the departments of Anthropology, Asian-American Studies, Classics, Drama and Dance, History, Philosophy, and Religious Studies, as well as the Interdisciplinary Humanities Center. The design of HSSB incorporates some of the common elements of the overall campus design such as sheltered courtyards, covered loggias, and classrooms that open directly to the outside. Zimmer, Gunsul, Frasca Architects are an international architectural firm which specializes in commercial and education projects. In addition to HSSB, they also designed the Marine Science Building (2004), and the Bren School of Environmental Studies building (2002).
A photograph of a model of San Rafael Hall. The placement of San Rafael Hall on the western edge of the campus, adjacent to Isla Vista, shows the expansion of the on-campus housing beyond the original residence hall cluster. The Carrillo Dining Commons was built (also by Charles Luckman Associates, 1967) adjacent to San Rafael. This residence hall was designed to have small clusters of students living in buildings designed to create small communities, each small section with their own study lounge and bathroom facilities. San Rafael was also designed as the first co-educational residence hall, with separate wings of the buildings for men and women. In addition to a new dining commons, recreational facilities were planned for the lagoon 'island' which included baseball, football, and soccer fields.
The 2016 renovation and addition to the 1968 Faculty Club was completed by Moore & Turnbull's successor firm, Moore Ruble Yudell. The addition included adding a wing of 30 guest rooms and updating the dining room and meeting room interiors.
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
This is a photograph of a model of the Biological Sciences II building, looking at the north-west corner of the building, with Parking Lot #1 on the left side of the image. The building houses numerous laboratories, offices, and other research spaces. Jones & Emmons had previously designed Theater & Dance East and Noble Hall in the "early campus standard" style, with patterned cinnamon colored concrete blocks, covered walkways, and patterned wind-walls. Biological Sciences II references more of the "late campus standard" style, with horizontal re-enforced concrete, prominent vertical utility shafts, and one story covered entryway to the multi-story building.
A. Quincy Jones & Frederick Emmons, architects
This photograph shows a model of South Hall, with Girvetz Hall in the foreground. Marsh, Smith & Powell designed Girvetz in 1955, shortly before Marshs' death. The firm changed its name to Powell, Morgridge, Richards, & Coughlin in the early 1960's and designed many of the buildings on campus in the "late campus standard" style of architecture: Phelps Hall, Ellison Hall, Buchanan Hall, and South Hall. This style is characterized by long horizontal lines of re-enforced concrete, with tall utility shafts, and sunscreens that overhang the windows to block the excessive sun. The connection between the "campus standard" and "late campus standard" styles can be seen most clearly in the walkways connecting South Hall and Girvetz: South Hall creates courtyards around Girvetz, with seating areas built from the standard cinnamon colored concrete blocks, and a one-story covered walkway extends from the southwest corner of Girvetz to the southwest corner of South.
Powell, Morgridge, Richards & Coughlin, architects
This photograph of a model of Broida Hall shows a view from the south, with Webb Hall and the Woodhouse Laboratory in the foreground. In addition to classroom and office space, Broida also has two lecture halls. As one of the later works of Charles Luckman Associates at UCSB, the architectural vocabulary highlights the horizontal lines, re-enforced concrete, and overhanging sunshades on the windows as part of the "late campus standard" architectural style.
The on-campus home for the Chancellor and his/her family, the University House is located at the edge of the lagoon, close to the original residence halls. With an enclosed courtyard, wide roof overhangs, and a patio with a view of the lagoon, the University House exemplifies the indoor/outdoor living possibilities on campus. The adjacent Centennial House is used for events.
Francisco Torres / Santa Catalina Residence Hall
This is a preliminary planting plan for the area surrounding the private residence hall, Francisco Torres. This residence hall, at the corner of Storke Road and El Colegio, was built and maintained by private owners. Though it was heavily marketed towards incoming freshman, it was not part of the UCSB Housing department until UCSB purchased the complex in 2003 and renamed it Santa Catalina. This planting plan shows that the complex was initially designed with 4 towers, connected by a common area, dining hall, pool, and tennis courts.
McGehee & Nicholson, architects; Richard B. Taylor, landscape architect
Richard B. Taylor papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
The Bren School of Environmental Studies is one of the premier environmental science schools in the country, and the only graduate school of environmental management in the UC system. The building itself is also exceptional. The first dedicated research and laboratory facility to achieve the highest LEED status as a new building, it was re-certified Platinum in the existing buildings category in 2009 and again in 2017. It is the only building to receive multiple platinum awards. The central courtyard offers informal meeting spaces, while the open, exterior stairwell provides architectural interest. Zimmer Gunsul Frasca Partnership is an international architectural firm that specializes in commercial and education projects. In addition to the Bren School, they also designed the Marine Science Building (2004) and the Humanities and Social Sciences building (1994).
Zimmer Gunsul Frasca Partnership, architects
This site plan shows the pedestrian circulation patterns within this section of San Joaquin. The mixed height of the buildings, break up the massing of the structures which hold faculty apartments, lounges, and study spaces. The plan emphasizes communal spaces by placing them close to the public walkways. The buildings were sited so as not to impede upon the Storke Ranch properties immediately to the north. San Joaquin follows this model by also including the Portola Dining Commons, a market, outdoor volleyball and basketball courts, as well as a range of social and academic services for the 1000 students who live here and for the 1300 students in the adjacent Santa Catalina Residence Hall. By adding more apartment-style living units and amenities, the University hopes to keep students living in campus housing for all four of their undergraduate years. Lorcan O’Herlihy Architects (LOHA) designed two of the housing clusters in the northern section of the site. Two more of the clusters were designed by Kevin Daly Architects (KDA), and Kieran Timberlake was responsible for the Portola Dining Commons. Two 6-story towers and the overall site master plan are by Skidmore Owings and Merrill (SOM).
Southern California Architecture California Modern Architecture
An exterior view of the house which highlights the curving roof against the backdrop of the nearby mountain range.
Walter S. White papers, Architecture and Design Collection; Art, Design & Architecture Museum; University of California, Santa Barbara.
Architecture and Design Collection; Art, Design & Architecture Museum; University of California, Santa Barbara.
A watercolor on board rendering by Siegfried Knop of the backyard of the Bates house.
Walter S. White (1917-2002), architect; Siegfried Knop, renderer
A rendering of the Bates house by Siegfried Knop of the side of the house, featuring the roof line extending down to the ground.
Drawings of each of the exterior elevations for the house, showing the contact points between the walls and the roof, as well as the materials to be used.
A drawing of the floor plan and interior utility room elevations for the Bates house. This drawing shows the original layout of the one-bedroom, two bathroom house, with minimal solid walls, and extended dining terrace.
Miles C. Bates house: presentation floor plan
A presentation drawing on board of the proposed floor plan, featuring a round pool and landscaping.
Miles C. Bates house: living room with fireplace
An image of the living room, with fireplace. The original slide image was possibly taken by Walter White.
A color slide of the dining room, with kitchen in the background. The original image was possibly taken by Walter White.
An image of the roof line curving down to the ground level. Walter White patented this design in 1955 for a curving roof.
Miles C. Bates house: under construction
A color slide of the house under construction. The basic form of the roofline can be clearly seen in the curved wooden composite beam above the solid wall.
Gregory Ain: Avenel Homes (Los Angeles, Calif.)
This group of small homes set side-by-side perpendicular to the street on a long lot, created a community feel, while walls and patios defined individual space. The houses were designed to be low cost urban housing, with the homeowners (a group of recent WWII veterans) pooling their resources to buy the land and build the development. This type of community at the time was viewed with suspicion of being communist in nature. Ain brought features of higher-end modernist homes into the low cost community housing. Though the space is only 908 square feet, Ain incorporated sliding walls between the living room and master bedroom, and between the two smaller bedrooms to give flexibility in living arrangements. The dining room table was incorporated into the kitchen counter to preserve space. The Federal Housing Authority had to approve the plans, and they denied Ain's design for a half bath, and insisted upon a broom closet instead. The complex is listed on the National Register of Historic Places.
Gregory Ain papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Gregory Ain: Community Homes Inc. (Reseda, Calif.)
The unbuilt Community Homes project, slated for Reseda, Calif,, included a shopping center, school, parkland, and 16 blocks of homes. Ain partnered with Garrett Eckbo, Simon Eisner, and Reginald D. Johnson to design the housing tract. This housing project was controversial due to its focus on community, the Federal Housing Authority refused to approve the plans because it was to be a racially integrated housing tract, and Ain was investigated by the FBI for possible communist sympathies.
Reseda, Calif.; San Fernando Valley, Calif.
Gregory Ain: Dunsmuir Flats (Los Angeles, Calif.)
Dunsmuir Flats is a four unit building, all attached, with each 2-story unit containing 2 bedrooms and 1.5 bathrooms. It is an example of Modern International Style, with a flat roof and horizontal bands of clerestory windows. All of the bedrooms face south, with access to their own private balconies, and the dining room and living rooms open out onto a patio. On the 49 foot wide lot, each unit is stepped back to give a sense of privacy to the patio and balcony areas.
Gregory Ain: Mar Vista Tract (Los Angeles, Calif.)
Originally planned as a tract of 100 homes on 60 acres, the Mar Vista Tract built 52 homes. Ain partnered with Joseph Johnson, Alfred Day, and landscape architect Garrett Eckbo to design the housing tract. The houses were turned in different directions, so that the side facing the street gave each house a slightly different look. Ain used sliding doors to create a flexible living arrangement-- one sliding door between bedrooms made two small rooms into one large room, and another sliding door between a bedroom and the living room opened up the space. It is the first post-WWII housing district to receive the Los Angeles Historic Preservation Overlay Zone designation.
Ain, Gregory (1908-1988), architect; Joseph Johnson, architect; Alfred Day, architect; Garrett Eckbo, landscape architect
Gregory Ain: Park Planned homes (Altadena, Calif.)
The Park Plannned Homes is a tract of 28 houses in Altadena, designed by Ain with landscape architect Garrett Eckbo. They have elements of an open concept feel, with a modular building design of 12' x 16' modular units that allowed for common finishes, hardware and equipment. The housing tract was built on a slope, so each property was leveled off and is stepped down from the one above. Along with all of the houses having the garage and service area in the front (and a private patio), the retaining walls and landscaping provide privacy for the homeowners.
Ain, Gregory (1908-1988), architect; Garrett Eckbo, landscape architect
Southern California Architecture California Modern Architecture Urban Planning
California City was designed as a master-planned community, with all of the necessities of life close by: home, work, recreation, and shopping. Smith and Williams were able to start with a blank canvas-- literally the open desert-- to create multiple planned communities within the California City city limits. Aerial renderings show the abundant green space around and between homes and businesses, as well as recreational centers.
Smith & Williams records, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
California City, Calif.; Kern County, Calif.
California City was chosen as a building site because of its' proximity to highways, railroads, military bases, and mining. It also was purported to sit on top of an underground aquifer that would never run dry. Smith and Williams, along with landscape architect Garrett Eckbo, designed parks, golf courses, swimming pools, and green spaces into a desert community, based on easily accessible water.
The main recreation area at the center of town was the Central Park. It contained golf courses, swimming pools, and a large lake for boating and fishing. Smith and Williams designed this distinctive shade structure for the end of the boat ramp.
As city planners, Smith and Williams designed many different types of buildings used by various parts of the community. The Congregational Church in California City utilized the same stylistic roof and shade structure motif of the recreation building in the park to provide continuity to the public spaces.
In order to attract a wide variety and number of prospective home owners to this planned community, Smith and Williams designed a variety of neighborhood plans to fit different demographics. Some neighborhoods featured wide, park-like lots without fences, others were to be standard suburban lots with equal-sized lots, still others were 'atrium houses' which featured an interior courtyard, as well as townhomes, high rises, and senior living facilities. All would be within easy walking or driving distance of work, school, shopping, and recreational facilities.
Despite all of the city planning and marketing of California City, the population did not increase at the rates hoped for by the investors. The marketing of California City was aimed at people in the greater Los Angeles area who wanted to escape the smog and congestion of the urban city and live in a completely planned and organized city. With gold, silver, and borax mines, as well as a military base, jobs were available. The advertising brochure shows how narrow the marketing focus was on a specific type of homebuyer.
Frey House 1 was built in 1940, as a small 16x20 rectangle, with corrugated metal walls and roof. In 1948, the living area was expanded, a second pool was installed that was partially indoors (surrounded by curving metal walls), as well as additions to the pool area. In 1953, an upstairs addition was constructed-- based on an observation tower Frey had seen in Mexico-- which contained a bedroom with 8 circular windows to let in air and light.
Albert Frey papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
This section drawing shows the addition of a second floor bedroom, with hanging staircase ascending from the living room. The pool is on the left, partially inside the house. The dining room, with its hanging table, is on the right.
Albert Frey: Frey House 1, portrait with car
In this iconic image, Albert Frey is pictured standing alongside his car, in front of Frey House 1. The unique circular second story with porthole windows was an addition in 1953-1954.
This floor plan shows the original plan for the house, with no separate bedroom, just a sleeping area adjacent to the living room. The large oval next to the dining room table is a large boulder, which is the centerpiece of the house.
This section drawing shows the steep slope of the building site. The carport is on the lowest level, with pool directly above. The house sits farther up the slope, with the large boulder represented by the dotted line on the upper right.
This portrait of Albert Frey later in life was taken in Frey House 2, leaning against the large boulder, overlooking downtown Palm Springs.
The house was built in 1940-1941 as a very small house, only 16x20. Frey added on to the house in 1948 and 1953. The first addition consisted of an additional living/sleeping area and an indoor/outdoor wading pool surrounded by corrugated metal walls and planted with many tropical plants. The 1953 addition was for the unique second floor sleeping area-- a circular room with porthole-style windows and a hanging staircase. Frey also added a curved metal and fiberglass wall surrounding the main pool.
Albert Frey (1903-1998), Architect; Julius Shulman, Photographer
In 1960, Frey sold Frey House 1 to a developer who tore the house down, subdivided the two acre lot, and built a few standard stucco houses on the newly subdivided lots. The developer subsequently went bankrupt.
Frey House 2 is also a small house, perched on a steep slope above Palm Springs. The main feature on the interior of the house is a large boulder, which divides the dining area from the sleeping area. Frey used metal channels on the rock and had the glass walls cut to fit around the rock and seal in the air.
Frey House 2 is perched on the side of the mountain, just above the Palm Springs Art Museum. Frey stipulated in his will that the house was to be given to the Art Museum after his death. The house is occasionally open for tours, usually during Palm Springs Modernism Week.
Albert Frey (1903-1998), Architect Julius Shulman, Photographer
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 papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
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.
Lutah Maria Riggs: Erving house (Montecito, Calif.)
With the Erving house in Montecito, the goal was to provide privacy for the owner and a view up towards the mountains and down to the ocean. Riggs achieved this by designing a large triangular wall of glass facing north (towards the mountains) and a similar, but smaller wall of glass facing south, with a large roof overhang, to protect the interior of the house from direct sunlight. A large fireplace divides the main room into living and dining without blocking the views in either direction.
Lutah Maria Riggs papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Lutah Maria Riggs: Ludington house (Montecito, Calif.)
This house, built for art collector Wright Ludington, was his second house in Montecito. For this house, Ludington wanted to showcase his art collection and commissioned Riggs to create a house around his art and sculpture.
Lutah Maria Riggs: Vedanta Temple (Montecito, Calif.)
Riggs designed the main temple building, as well as the gate house, shrine room, carport, and pavilion on the Vedanta grounds. Riggs studied the architectural forms of China, Japan, and India before building the temple, and applied classic forms to the shape of the building. The temple building is situated in such a way as to provide views south towards the Pacific Ocean, and north to the Santa Ynez mountains.
Lutah Maria Riggs: San Ysidro Ranch cottages (Montecito, Calif.)
Lutah Maria Riggs' work at the San Ysidro Ranch in the early 1950s is indicative of her work in Montecito at that time. She utilized the mid-century vernacular for her additions and alterations to the cottages, restaurant, and on-site manager's office and apartment. The Ranch itself was originally a working ranch that was part of the Santa Barbara Mission. One of it's buildings is an adobe house dating from 1825. Once the property became a hotel in the 1880s, it became a site for Hollywood elite to stay from the 1930s until the 1970s.
Davidson, J. R. (1889-1977): Case Study House #1
Case Study House Art & Architecture Magazine
Case Study House #1 was the first design to be shown in the 1945 edition of Art and Architecture magazine, but due to wartime restrictions, it was not the first house built. J.R. Davidson was known for building large houses for wealthier clients, and he adapted his experience to fit the Case Study House program. His smaller house (only around 1100 square feet), went through a few floor plan iterations, but maintained a few higher-end luxuries such as separated bedrooms, each bedroom designed with its own bathroom and private patio, and large living areas which flowed onto outdoor living/dining rooms. It was finally constructed in North Hollywood in 1948 as a single family home, though in his early plans, Davidson had designed the house to allow for additional rental units to be built on the same property.
Julius Ralph Davidson papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
Los Angeles, Calif.; North Hollywood, Calif.
Smith, Whitney (1911-2002): Case Study House #5
Case Study House #5 by Whitney Smith was an un-built project-- also known as the Loggia House. The central feature of this 1800 square foot house was the living room which could be expanded or contracted with the use of sliding glass walls and sliding screens. The walls of the house were to be constructed of adobe brick, framed in steel to make the walls light, insulated, and strong. The materials and design of the house were specifically created to showcase the indoor-outdoor living potential of the Southern California climate.
Davidson, J. R. (1889-1977): Case Study House #11
Case Study House #11 shows the progression of thought in the program since J.R. Davidson designed CSH#1. This house is smaller, more efficient, and is sited at an angle on the lot to still provide ample outdoor living areas. Both Davidson and Art and Architecture Magazine were hampered in their design and building of the CSH program by continued building supply shortages in the immediate post-war years. They were, however, able to use some of the new modern conveniences like plywood and in-floor radiant heating. The house was built in 1946 on South Barrington Avenue in West Los Angeles, but has since been demolished.
Smith, Whitney (1911-2002): Case Study House #12
Case Study House #12 was an un-built project from architect Whitney Smith. This house, similar in some ways to his previous house project (CSH #5), was designed by Smith to house horticulturists. As such, a lath house was attached to the house, and the X shape of the house allowed all rooms to have access to the garden areas surrounding the house. This design, while particular in this instance to gardeners, could also be adapted and modified to include different rooms for an array of hobbies and home-based professions. The recognition that large scale tract housing filled a need, but was not an exact fit for every family is exemplified in this design.
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.
Davidson, J. R. (1889-1977): Case Study House #15
Case Study House # 15 is a modified version of CSH #11, also by Davidson. This particular version was changed slightly to conform to the site in the suburb of La Canada Flintridge. Changes include the shape of the patio, adding a basement, and adding a two car garage. The south-facing main rooms of the house promoted the indoor-outdoor lifestyle, with ample garden space and sliding doors.
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.
With Cold War hysteria growing, architects, engineers, and designers in the post-World War Two era created small bomb shelters for single families, as well as large-scale underground shelters for entire communities. The Atomville design was specifically for air bases and military installations-- to house personnel and equipment.
Paul László papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
These drawings display the level of detail and engineering that was put into designing a bomb shelter for home (backyard) use. The specifications take into account any large-scale shockwaves that might hit the entrance and air vents above ground, and the slope of the ground around the shelter.
Paul Laszlo (1900-1993): Hertz bomb shelter
Rental car company founder John Hertz commissioned Laszlo to build a bomb shelter in the backyard of his Woodland Hills, Calif. ranch, due to Hertz' concern over a possible nuclear attack on the Los Angeles area. Laszlo spent years designing the structure, as well as researching the building codes and discussing the effects of nuclear fallout with experts. According to archival material, Laszlo even tried to witness a nuclear blast through contacting the Office of Civil Defense for permission to travel to a military base. The Hertz shelter was equipped with sleeping areas, kitchen, bathroom, elevator, stairs, and an escape hatch. The Architecture and Design Collection also houses the Roland Coate archive, which includes plans for the Hertz house and bomb shelter addition.
Los Angeles, Calif.; Woodland Hills, Calif.
Lutah Maria Riggs: Kiler house (Montecito, Calif.)
The house for Leslie Kiler and family overlooks the Santa Ynez mountain range, which rises from the oak-covered hills of Montecito. With simple, clean lines, the house is clad in redwood and features a 10 foot ceiling in the living room, which lines up and frames the view of the mountains. Riggs gave the living room and dining room a wall of windows facing the view, as well as extended the eaves for an overhang to partially shelter an outdoor dining area.
Montecito, Calif.; Santa Barbara, Calif.
Lutah Maria Riggs: Erdman house (Montecito, Calif.)
The Erdman estate of approximately 3 acres, is located in the Birnam Woods area of Montecito and features views of the mountains. The long driveway leads to a large motor court; a separate outdoor area includes a large pool and garden. The low, flat roof and post-and-beam style exterior are stylistically very modern and streamlined.
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.
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.
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.
Karl Emanuel Martin (Kem) Weber papers, Architecture and Design Collection. Art, Design & Architecture Museum; University of California, Santa Barbara.
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: 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: 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: 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.
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.
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: 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.
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
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.