This documentation of the architecture of Santa Barbara, California has grown since the first edition was published in 1970: the second (1980) saw an expanded format and some 150 new photographs, and the third includes still more pages and photographs. The architectural examples presented here, selected from thousands taken on a block-by-block survey, were chosen for purity of style, historical signficance, and uniqueness. Each clear and beautiful black & white photo is captioned with information on the original owner or building title; date of construction; name of architect, designer, or builder; address; and alterations or additions to the building. 11x10" Annotation c. by Book News, Inc., Portland, Or.
Following a devastating earthquake in 1925 that destroyed most of Santa Barbara’s significant buildings, the city became the first in the country to have a controlled building plan that encouraged a unified style using elements of Spanish colonial architecture. With airy broad patios, thick adobe walls, and warm-colored tile roofs, Californian architecture is beautifully distinctive. The product of many architects, it combines the harmony and color of Spanish colonial style with some of the best of American architecture. It is inspired by the play of sunshine on light surfaces as well as the contrast of deep shadows. Here, where gardens are so much a part of the house, the homes have become part of the garden. In 1929, H. Philip Staats presented 231 photos and plans of the rebuilt Santa Barbara: its public and commercial buildings, homes, interiors, and gardens. This book contains that collection, and is meant to serve as an inspiration for those planning and decorating in the Hispanic styles.
The aura and romance of Old California lives on in this treasury of inviting homes. The California House presents the magic of the "golden state," that land of infinite promise and dreams, the most tangible expression of which can be found in the homes built by early California dreamers. Here domestic visions of tranquility and repose were inventively realized—in stucco or stone, wood and wrought iron, plaster, and glass and tile. Spanish Colonial Revival–style homes with elaborate wrought-iron window grilles, romantic, shadowy interiors, and lush courtyard gardens stand beside other particularly Californian architectural wonders such as the San Francisco Victorian Painted Lady, the Monterey Colonial, Eurekan Queen Anne, and the homey California Arts & Crafts. Including houses designed by luminaries George Washington Smith, Stanford White, Greene & Greene, and Reginald Johnson, this book will fascinate both the architecture aficionado and interior design enthusiasts, as well as the everyday lover of homes. Including, but going beyond, the much-adored Spanish style (in its many manifestations) and Mission Revival, the book features as well the Victorian of San Francisco's Painted Lady and Eureka's Queen Anne, Monterey Colonial, California Arts & Crafts, French Chateau, classic Colonial farm house, and more. All new color photography of 25 houses in California ranging in style from Spanish Colonial Revival, Mission, Victorian, Queen Anne, California Arts & Crafts, Monterey, French Chateau, Colonial Farm House. The book includes little known California work by well known architect Stanford White, known primarily for his East Coast work (designer of the original Penn Station with McKim, Mead & White, and original Madison Square Garden, and many others); as well as the Magdelena Zanone House (Queen Anne late Victorian style home in Eureka, CA); the Murphy House, San Francisco (Classic French Chateau); a Gothic Victorian 1860s home in Sonoma; Casa Amesti (Monterey style home); "El Cerrito" designed by Russel Ray and Winsor Soule and built in 1913 in Santa Barbara (an amalgam of Mission and Spanish Colonial Revival); the Frothingham House designed by George Washington Smith in 1922 (Spanish Colonial Rev.); Cuartro Ventos House by Reginald Johnson, 1929 in Santa Barbara; William Edwards House by Roland E. Coate, Sr. in San Marino, 1926; Robinson House by Greene and Greene in Pasadena, 1905; Sack House in Berkeley (California Arts & Crafts) Brune-Reutlinger House in San Francisco (classic Painted Lady Victorian); a colonial mid-19th cent farm house in Sonoma; "Mariposa," classic Spanish style in Montecito; The Marston House in San Diego (Arts & Crafts/Tudoresque); Rancho Los Alamos De Santa Elena in Los Alamos (Span. Col. Rev.); Pepper Hill Farm in Balard.
In California, authentic Spanish colonial houses were built with local materials for comfort and convenience, with both construction and ornamentation traditional of Spanish and New England settlers. This book gives architects, home builders and historians a chance to view photos, sketches, and twenty-six full pages of measured drawings of interior and exterior doorways, paneling, balconies, wrought-iron, and mantels—most from houses that are no longer standing.
The architectural identity of the wealthy southern California town Santa Barbara is explored with emphasis on the architects who designed its major buildings, estates and historic homes. 200 illustrations.
An ode to the classic Spanish-style houses of Santa Barbara. Spanish Colonial Style celebrates an extraordinary tradition in architecture whose hallmarks include whitewashed stucco and plaster walls, wood-beamed ceilings, dramatic fireplaces, and, above all, mystery and romance. Homes in this much-loved style of architecture welcome the visitor and embrace the resident, and architects James Osborne Craig and Mary McLaughlin Craig, early proponents of the style and influential disseminators of it, were masters of the form. Their work, until now, has been largely underappreciated and little seen. The Craigs played pivotal roles in the development of the Spanish Colonial Revival and of other styles of architecture in Santa Barbara, and the influence of their work spread much beyond that. In addition to shining a long overdue spotlight on the rich career of these tremendously influential architects, Spanish Colonial Style also heralds Santa Barbara as the small city of international importance that it became in the first half of the twentieth century.
An insightful monograph highlighting the illustrious design of master architect William Hefner - lavishly illustrated and richly detailed - an intimate tour of some of the world's most opulent houses. This latest addition to IMAGES' Master Architect Series showcases seven exquisite residential projects by master architect William Hefner, whose Los-Angeles-based architectural firm has been designing residential, commercial and retail properties for nearly two decades. Although varied in style, each house featured shares the timeless elegance and attention to detail common to all of Hefner's creations. They are each marked also by Hefner's appreciation of the craft of building and the use of natural materials. Opulent and richly detailed, the interiors nevertheless retain a sense of intimacy, warmth and comfort. Hefner's houses are luxurious, but it is a personal, liveable form of luxury that embraces rather than distances. William Hefner's passion lies in residential architecture; his expertise encompasses a vast array of styles from the highly contemporary to the deeply historic. Through this crossover he has realised that each style has benefitted from knowledge of the other - modern houses are richer in materials, more complex in their details, and thusly more comfortable to its inhabitants; historic projects are less fussy, more tailored, resulting in spaces better suited to the needs and tendencies of contemporary life. William's expertise in architecture and deep appreciation for interior design and landscape often culminates in the three merging seamlessly - environments emerge which embrace outdoor views animated by an ever-shifting play of natural light; the rooms connect organically to the furnishings within them. By combining these three disciplines within his firm, he is able to ensure that each distinct design concept integrates with one another and that the vision of the homeowner is expressed in every aspect of the work. William earned a Bachelor of Arts degree in Art History in 1977 from Lewis & Clark College in Portland, Oregon, which included a year of study in Greece. He went on to receive a Master's of Architecture from UCLA, during the influential Charles Moore's tenure. 400 col.
The Colorful Story of a Santa Barbara Landmark The Santa Barbara County Courthouse is a widely recognized icon of the city called the e oeCalifornia Riviera, e and just as widely known as a historic architectural achievement. Thousands, if not millions, visit it each yeare "jurists and tourists alikee "but although everyone appreciates its beauty, few really know how it came to be. Surprisingly, in the three-quarters of a century that the building has graced its grounds, no one has undertaken to document this architectural masterpiece. Authors Patricia Gebhard and Kathryn Masson have changed that once and for all with their book, The Santa Barbara County Courthouse. Together with photographer James Chen and book designer Eric Larson, they have created a work that is not only historically important, but nearly as beautiful as the courthouse itself. Many people know or assume that Santa Barbara had a courthouse before the present building was erected in 1929, but almost no one knows anything about it. Gebhard and Masson begin there, with historic photos of the original, classical-style courthouse and its Queen Anne hall of records add-on. In 1919 the county, needing more room, held a design competition for a new courthouse, and the entries received, as Gebhard and Masson show us, were heavily inA3/4uenced by the Spanish baroque style that was popularized by the 1915 Panama-California Exhibition in San Diego. None of these designs was built, however, because the county was unable to raise money to pay for construction. It wasne (TM)t until 1925, when the old courthouse was destroyed by the earthquake that leveled much of Santa Barbara, that a new building became imperative and funds were Aznally secured. Construction began in 1926, with the result we see today. (The footprint of the old building is reflected in the contours of the ! sunken gardens behind the present courthouse.) To document their story, Gebhard and Masson spent months poring over County Supervisorse (TM) minutes, news reports in the Santa Barbara Morning Press and articles in architectural magazines, and courthouse docentse (TM) records. They were able to identify nearly all of the architects, craftsmen, and artists who designed the building and created the exquisite tile, ironwork, furniture, murals and landscaping that grace it inside and out. Many of these individuals and companies are long gone, of course, but many are still active, and, as the authors point out, some of the courthousee (TM)s Azttings can still be ordered from their catalogs. Chene (TM)s 75 full-color photographs beautifully capture the courthousee (TM)s ambiance, and Larsone (TM)s open and asymmetrical book design reA3/4ects the buildinge (TM)s balance between void space and intricate detail. They combine with Gebhard and Massone (TM)s careful research to produce a deAznitive study and appreciation of the Santa Barbara County Courthouse, one that can hope to stand as long as the building itself.
