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Clinton Marr: bringing Modernism to the Inland Empire

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Clinton Marr: bringing Modernism to the Inland Empire

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CLINTON MARR:
BRINGING MODERNISM TO THE INLAND EMPIRE

By

Scott K. Watson

A Thesis Presented to the
FACULTY OF THE USC SCHOOL OF ARCHITECTURE
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF HERITAGE CONSERVATION

DECEMBER 2015

Copyright 2015 Scott K. Watson
ACKNOWLEDGEMENTS

There are several people who played an important role in bringing this thesis to
completion and deserve my many thanks. First of all, I would like to thank my thesis committee,
Trudi Sandmeier, Katie Horak, and Lauren Bricker. Each one of these ladies provided a great
deal of expertise and direction as I worked through my study of Clint Marr. Their guidance was
essential in bring this study to completion. I also need to give thanks to my aunt, Karen Cabrera,
who was excited about my thesis and volunteer to proofread the final product because she
desired to read it.
Through this process I had help with research from several people and each of them
deserves as special acknowledgement. Two people in the city of Riverside Planning Department,
Erin Gettis, Principal Planner and City Historic Preservation Officer, and Teri Delcamp, Historic
Preservation Senior Planner, help me discover this thesis topic and provided information very
early in the process. Erin continued to be a big help by introducing me to Clint Marr and giving
me access to his former residence, which she now owns. From the moment I made contact with
her, Kathy Thompson, volunteer secretary of Wesley United Methodist Church, was enthusiastic
about this project and went out of her way to help me learn about the church. Kevin Hallaran,
Archivist at the Riverside Metropolitan Museum, gave me access to the Clint Marr archives.
Ruth McCormick, Library Associate/Local History at the Riverside Public Library, searched
through documents at the library so that I had as much information as possible. Through this
thesis process I was honored to meet and get to know Clint Marr himself. Our discussion and
later emails were essential to understanding him and his work.
Finally, there is one person that has been there supporting me through this process and
deserves recognition, my mom, Karen Watson. Over the last two year she has been there for me
and providing support as I needed it. She has learned a great deal about heritage conservation
through proofreading my papers and enthusiastically listened to me drone on about what I have
learn. None of this would have been possible without her. Thank you!

ii

TABLE OF CONTENTS

ACKNOWLEDGEMENTS........................................................................................................... ii
LIST OF FIGURES ...................................................................................................................... v
ABSTRACT................................................................................................................................. vii

INTRODUCTION
Modernism at Risk ................................................................................................................ 1
The Journey ........................................................................................................................... 2
Modernist Principle of Regionalism ..................................................................................... 3

CHAPTER ONE: The Inland Empire
What is the Inland Empire? ................................................................................................... 5
The Inland Empire’s Climate ................................................................................................ 7
What is the culture of the Inland Empire? ............................................................................ 7
The Land of “High-Class” Farming ...................................................................................... 8
New Industry, New Architecture ........................................................................................ 13

CHAPTER TWO: Clinton Marr, From Riverside to USC and Back
Introduction ......................................................................................................................... 16
Clint Marr at the USC School of Architecture .................................................................... 17
Other Early Influences......................................................................................................... 24
The Return to Riverside....................................................................................................... 25
Clint Marr’s Design Approach and Philosophy................................................................... 28

CHAPTER THREE: Wesley United Methodist Church
The Modernist Church ........................................................................................................ 31
The Neighborhood .............................................................................................................. 34
The Client ............................................................................................................................ 36
Church Description ............................................................................................................. 37
Possible Influences .............................................................................................................. 46
Contemporary Comparison ................................................................................................. 46
What we learn from this building ....................................................................................... 50

CHAPTER FOUR: The Clint & Gerry Marr Residence
The Modernist House ......................................................................................................... 52
The Neighborhood .............................................................................................................. 54
Description of the House .................................................................................................... 55
Possible Influences .............................................................................................................. 62
What we learn from this building ....................................................................................... 65

CHAPTER FIVE: Provident Bank, Redlands, CA
Reacting to the International Style ...................................................................................... 67
The Neighborhood .............................................................................................................. 68
The Client ............................................................................................................................ 70
Preliminary Design ............................................................................................................. 70
iii

Description of the Bank ...................................................................................................... 73
Possible Influences .............................................................................................................. 78
What we learn from this building ....................................................................................... 81

CONCLUSION
Recognition and Reception ................................................................................................. 82
Marr’s Regionalism ............................................................................................................ 83
Where do we go from here? ................................................................................................ 84

BIBLIOGRAPHY......................................................................................................................... 85

APPENDIX I:
Partial list of Projects ................................................................................................................... 91
iv

LIST OF FIGURES

Figure I.1: Sunset Hills Medical Center in Hacienda Heights ............................................... 4

CHAPTER ONE:
Figure 1.1: Map of the Inland Empire...................................................................................... 6
Figure 1.2: The Morey Mansion (1890)................................................................................. 10
Figure 1.3: Bettner House (1891)........................................................................................... 10
Figure 1.4: Kimberly Crest and Garden (1891)...................................................................... 11
Figure 1.5: Smiley Public Library (1897)............................................................................... 12
Figure 1.6: Exterior view of the Riverside Public Library, ca.1910....................................... 13

CHAPTER TWO:
Figure 2.1: Clinton Marr, c. 1980-89..................................................................................... 16
Figure 2.2: Scarab from El Rodeo 1952................................................................................. 23
Figure 2.3: The concrete cup at the Lily Tulip Building ....................................................... 26
Figure 2.4: Library building at John North High School ...................................................... 29

CHAPTER THREE:
Figure 3.1: Preliminary interior sketch of Wesley UMC........................................................ 31
Figure 3.2: Map of Riverside ................................................................................................. 34
Figure 3.3: Aerial View of the neighborhood ........................................................................ 35
Figure 3.4: Aerial view of the site ......................................................................................... 37
Figure 3.5: Rendering of original site plan ............................................................................ 38
Figure 3.6: Chapel with support structures, view looking southeast ..................................... 40
Figure 3.7: Floor Plan, by Clinton Marr & Associates.......................................................... 41
Figure 3.8: West entrance, view looking southeast ............................................................... 42
Figure 3.9: Interior of chapel, view looking north ................................................................. 43
Figure 3.10: Interior view of oculus and cupola .................................................................... 44
Figure 3.11: Classroom building, view looking southwest .................................................... 45
Figure 3.12: Classroom building, view looking northeast ..................................................... 45
Figure 3.13: Exterior of St. Jerome’s Catholic Church ......................................................... 47
Figure 3.14: Interior of St. Jerome’s Catholic Church ........................................................... 48
Figure 3.15: Exterior of Vallejo Drive Seventh Day Adventist Church ................................ 49
Figure 3.16: Interior of Vallejo Drive Seventh Day Adventist Church ................................. 49

CHAPTER FOUR:
Figure 4.1: Map of Riverside ................................................................................................. 54
Figure 4.2: Aerial View of the neighborhood ........................................................................ 55
Figure 4.3: Aerial view of the site ......................................................................................... 56
Figure 4.4: Entrance and carport, view looking northeast ..................................................... 57
Figure 4.5: Pergola and stairway, view looking west ............................................................ 58
Figure 4.6: Dining room and entry, view looking west ......................................................... 59
Figure 4.7: Living room, view looking northwest ................................................................. 59
Figure 4.8: Kitchen and Family Room, view looking southeast ............................................ 60
Figure 4.9: West elevation, view looking west ...................................................................... 61
v

Figure 4.10: Stage 2 of the Flexible Home by Straub ............................................................ 64
Figure 4.11: Floor Plan, by Clint Marr and Associates ......................................................... 65

CHAPTER FIVE:
Figure 5.1: Map of Redlands .................................................................................................. 68
Figure 5.2: Aerial View of the downtown business district ................................................... 69
Figure 5.3: Preliminary Floor Plan, by Clint Marr and Associates ....................................... 71
Figure 5.4: Preliminary South Elevation, by Clint Marr and Associates ............................... 71
Figure 5.5: Preliminary perspective, by Clint Marr and Associates ...................................... 72
Figure 5.6: Preliminary section facing east, by Clint Marr and Associates ........................... 72
Figure 5.7: Aerial view of the site ......................................................................................... 74
Figure 5.8: Provident Bank, Redlands, view from the corner of Citrus Ave and Sixth St
looking northwest .............................................................................................. 74
Figure 5.9: Floor plan, by Clint Marr and Associates ............................................................ 75
Figure 5.10: South façade, view looking north ...................................................................... 76
Figure 5.11: Interior, view looking north ............................................................................... 77
Figure 5.12: Bank of America, San Mateo, 1963 .................................................................. 80
Figure 5.13: Concept sketch of a research park by Victor Gruen .......................................... 81

vi

ABSRACT

The California Inland Empire is rich with post-war Modern architecture. Sadly, this
architecture is over looked and underappreciated. This thesis showcases a Modernist architect
that was prolific throughout the region, Clinton Marr, and his attempt to adapt the Modernist
ideals to the regions climate and culture. In this thesis, three buildings are analyzed and serve as
examples of Marr’s early work: Wesley United Methodist Church, Clinton and Gerry Marr
Residence, and Provident Bank Redlands. These buildings are analyzed in terms of design
influence and how they represent regionalism.
vii

INTRODUCTION

Modernism at Risk
Across the nation preservationist are facing a major challenge, the rapid demolition of
“Modern” or “recent past” buildings. This challenge can be seen in the rising number of
workshops and conferences, such as the recent California Preservation Foundation conference,
that take up the challenge of how to preserve modernist building. Modernist buildings are often
demolished for not being old enough. Many people, both in the preservation community and in
the general public, have a trouble understanding that Modern buildings can be considered
historic. To them a building built in their life time could not be considered historic. Even as I
explored this thesis topic I was faced with an array of comments from friends and family.
Comments such as, “Wait, I thought you were studying historic architecture;” and “How is that
considered historic?” My response was always the same. I explained that any building over the
age of fifty is considered potentially historic for the purpose of listing on the National Register.
Furthermore, I would explain that the modernist movement was a major shift in architecture and
demonstrates a period in history.
This challenge of age and the risk faced by modernist buildings hit home when I recently
became aware of the demolition of the library building at Crafton Hills College. Crafton Hills
College was a master planned community college designed by E. Stewart Williams. The campus
is situated in the hills of Yucaipa, California and was Williams’ largest commission. From 1965
until 1976, Williams carefully designed Brutalist buildings that responded to the environment of
the canyon in which they were built. The design choices included creating floating boxes with
small footprints to reduce the impact on the terrain, the use of sand-colored concrete allowing the
buildings to blend into the surrounding hills, and large overhangs and fins that blocked the harsh
sun in this arid environment.
1

Regrettably, in 2011, the college made the decision to demolish Williams’ centerpiece of
the campus, the library. The argument was made that the library building, built in 1972, did not
meet seismic standards and the cost of retrofit was too great. The Environmental Impact Report
1
Darren Bradley, “Crafton Hills College: Eloquent Brutalism in the Foothills,” Modernist Architecture (blog), May
3, 2015, http://modernistarchitecture.blogspot.com/2015/05/crafton-hills-college-eloquent.html; As a former student
of Crafton Hills College, I can confirm that the interior of the buildings were often much cooler than the outside,
with minimal use of air conditioning.
1

(EIR) found that the library was not old enough to be eligible for listing on the National or
California Register. Unfortunately, neither Yucaipa nor San Bernardino County has a historic
preservation ordinance. This meant that the library did not fall under the terms of CEQA.
Therefore, the library was demolished in 2012, because it was not old enough to be historic.
2

Beyond the quandary of age, there is the question of uniqueness. Adrian Scott Fine,
Director of Advocacy for the Los Angeles Conservancy, states, “For many, mid‐ century places
are considered too new, too many, and too ‘everyday,’ which leaves a lot of 1950‐ 1970s places
unnoticed, unloved, and under threat.”
3
People have trouble understanding what makes modern
buildings special. This is where the shift in history comes into play. Fine further explains:
The mid‐ century modern era and its built environment reflect important developments in
style, design, technology, and innovations that, at the time, swept across a newly
consumer-oriented America. The challenge with this from a preservation perspective is
that we often lack a complete context in which to evaluate, understand, and judge places
in terms of uniqueness and significance. For instance, we may not know how an
innovative bank branch in Phoenix, Arizona, stacks up against others statewide, let alone
nationally in terms of context and importance. This is an immense challenge as
preservationists attempt to make a compelling case for saving a threatened mid‐ century
place, not knowing enough about what else is out there and how truly unique a resource is
versus being one of many.
4

The Journey
Seeing the modernist buildings of the Southern Californian region where I grew up, the
Inland Empire, disappear, brought to my attention that there is a lack of knowledge and
awareness of the Modernist architecture of the region. As Fine states, preservation cannot happen
without a broader understanding of what makes these buildings unique. This thesis is an attempt
to bring attention to the modernism that exists in the Inland Empire. During this process, it
became necessary to focus on one architect that could serve as an example.
There are a number of modernist architects that practiced throughout the region. As I went
searching for the architect to best serve as my example, I discovered Clinton (Clint) Marr. My
interest in Marr began because he grew up in the area and later returned to practice architecture.
As I discovered more about him, it became clear that he was an architect that strove to make
2
Tanya Sorrell, “Preservation ALERT: Crafton Hills College Library due to be razed,” Modern Riverside (blog),
May 18, 2011, http://www.modernriverside.com/wordpress/?p=67.
3
Adrian Scott Fine, “Challenges for Saving Modernism and the Recent Past,” Preservation Matters 8, no. 2 (2015):
9.

2

architecture that was well suited for the region. Marr was also at the cutting edge of design and
experimentation. With all of this, he is able to serve as an example of the Inland Empire’s
modernist regionalism.

Modernist Principle of Regionalism
Modernist architects desired to develop an architecture that belonged to, and was suited
for the areas in which it was built. “From the beginning, modern architecture wanted to return to
its origin, and the question of regional rootedness sooner or later had to come to the fore.”
5
For
the Southern California modernist this meant that the design took into account the mild California
climate and the Californian lifestyle, which was based on outdoor living. One style of architecture
they refined was the Craftsman style. They saw it as being truly a Californian style, because it
looked at the regional characteristic and sought to build buildings that were well suited for these
characteristics.
6
For example, the temperate climate allowed for outdoor living. When regional
modernists looked at these “Californian buildings,” they often reinterpreted the style using
modern vocabulary. The Sunset Hills Medical Center is one of Marr’s examples of this reflection
on the Arts and Crafts movement. [Figure I.1] In this building we see the clean lines and module
grid that is common in modernism. We also see the low sloped roof, large overhangs, exposed
rafters, and railed balconies that were common in Craftsman design. Marr merged the two styles
together.
5
Christian Norberg-Schulz, Principles of modern architecture (London: Andreas Papadakis Publisher, 2000).
6
William J R. Curtis, Modern architecture since 1900 (London: Phaidon Press, 1996).
3

Figure I.1: Sunset Hills Medical Center in Hacienda Heights. This building demonstrates the reflection on the arts
and crafts movement with a modernist twist. Photo by author.
Clint Marr not only designed for the Southern California region, he had to design for the
Inland Empire. Climate was an important factor in his designs. As the Inland Empire is generally
hotter and more arid than the LA basin, Marr integrated large overhangs or projecting window
shades that blocked the harsh summer sun. Marr explains this was something he learned during
school, learning how to map the sun’s path and use sun angles to develop the proper shading.
Another aspect of regionalism is the lifestyle. The Southern California lifestyle is
generally a relaxed lifestyle incorporating the indoors and outdoors. Many people of the Inland
Empire are hard-working people with a desire for the finer things in life. They also look to areas
like Los Angeles to determine what is new and popular. This thesis will look at three buildings
showcasing Marr’s responses to the Inland Empire regionalism, both climate and culture. These
buildings will also show Marr’s ability to design space and his ability to move fluidly between
different modernist styles.

4

CHAPTER ONE:
The Inland Empire
What is the Inland Empire?
Defining the Inland Empire is a difficult task. However, its identity is very strong. “[The
Inland Empire] purported in the early 20
th
century to be California’s paradise and haven for the
Eastern snowbirds who wanted to flee relentless winters for a moderate climate, but be away
from the already bustling city of Los Angeles fifty miles west.”
7
This concept of migration and
separation is the key to defining the region. Before exploring its culture, however, it is important
to define its location.
The Inland Empire is situated in Southern California on the eastern border of Los Angeles
County. There is much debate about its boundaries. Some say the area encompasses all of the San
Bernardino and Riverside counties.
8
However, some of the desert communities in the Mojave
Desert and Coachella Valley, as well as the Temecula Valley, do not consider themselves as part
of the Inland Empire.
9

Early uses of the phrase “Inland Empire” began as early as 1914. The Riverside
Enterprise, today the Press-Enterprise, published a “Progress Edition” newspaper supplement in
April of 1914 that referred to Riverside County as the Inland Empire. On the other hand, the San
Bernardino Sun in 1920 referred to its circulation area as the Inland Empire, thereby limiting it to
the city of San Bernardino and the surrounding communities.
10

Over the years this understanding of what defines “the Inland Empire” expanded. In 1992,
a local historian defined it as an area that “comprises roughly the northwest corner of Riverside
County and the southwest corner of San Bernardino County.”
11
This definition is a much more
commonly held opinion of what is part of this region. However, Los Angeles County
communities such as Pomona, San Dimas, and La Verne also consider themselves part of the
7
Rob Leicester Wagner and John E Husing, Sleeping Giant: An Illustrated History of Southern California's Inland
Empire (Las Vegas: Stephens Press LLC, 2004).
8
Anthony Downs, “California's Inland Empire: The Leading Edge of Southern California Growth,” California
Counts: Population Trends and Profiles 7, no. 2 (2005): 2.
9
Susannah Rosenblatt, "`Inland' for Sure, `Empire' Maybe: Where's Boundary?," Los Angeles Times , November 27,
2006, http://articles.latimes.com/2006/nov/27/local/me-inlandempire27.
10
Wagner and Husing, Sleeping Giant: An Illustrated History of Southern California's Inland Empire.
11
Rosenblatt, "`Inland' for Sure, `Empire' Maybe: Where's Boundary?"
5

Inland Empire.
12
Another local historian, Larry Burgess, describes the Inland Empire as "an
amorphous blob."
13

As someone who grew up in the Inland Empire, I often felt that it was not defined by
manmade boundaries but rather geography. Mountain ranges create a natural border that can be
used to define the region. The San Bernardino Mountains, San Jacinto Mountains, Santa Ana
Mountains, and Kellogg Hill create a natural enclosure around a large valley where San
Bernardino, Riverside, and Los Angeles counties meet.[Figure 1.1] For the purpose of this thesis,
this is the area referred to as the Inland Empire. Cities that are included in this region include: San
Bernardino, Riverside, Highland, Redlands, Colton, Loma Linda, Fontana, Rialto, Rancho
Cucamonga, Upland, Claremont, Montclair, La Verne, Pomona, Chino, Chino Hills, Ontario,
Corona, Eastvale, Jurupa Valley, Perris, Moreno Valley, Hemet, San Jacinto, Yucaipa, Calimesa,
Beaumont, and Banning.

Figure 1.1: Map of the Inland Empire. This map shows the San Bernardino Mountains to the north, the San
Jacinto Mountains to the east, and the Santa Ana Mountains to the southwest of a the large valley
that is the Inland Empire. The extent of the Inland Empire has been traced in red. Map courtesy of
Google, Inc.
12
Wagner and Husing, Sleeping Giant: An Illustrated History of Southern California's Inland Empire.
13
Rosenblatt, "`Inland' for Sure, `Empire' Maybe: Where's Boundary?"
6

The Inland Empire’s Climate
The Inland Empire has a semi-arid, hot-summer Mediterranean climate.
14
The winter
temperatures tend to be colder that other areas of Southern California. This period of cooler
weather begins in late November and continues until mid-March. During these months the
average daily high temperature in Riverside is below 71°F.
15
In San Bernardino the average daily
high for this season is below 70°F. The warm season of the Inland Empire begins in late June and
lasts until late September. This season has an average daily high above 91°F in San Bernardino
and 88°F in Riverside.
16
The Inland Empire is generally temperate most of the year with the
exception of the summer months.
17

For the most part, the sky is generally mostly clear to partly cloudy for more than half the
year. January and February are the wettest months of the year. San Bernardino averages 16.37
inches annually, while Riverside only receives 10.32 inches. The area is slightly arid, as
compared to Los Angeles with an average annual rainfall of 18.67.
18

What is the culture of the Inland Empire?
Beyond the regional separation defined by the mountain boundaries, there is a culture that
defines the Inland Empire. People in the Inland Empire boldly distinguish themselves as being
separate from the Los Angeles Basin, even though the Los Angeles metropolitan area is close
enough to exert some influence over it. Many people residing in the Inland Empire commute into
the Los Angeles area for work or to attend its colleges and universities.
This cultural draw from Los Angeles is likely connected to the migrant nature of the
people in the Inland Empire. Although the area was settled by people from across the nation,
much of the population has its roots in industries and people fleeing Los Angeles in search of
14
Dictionary.com defines semi-arid as being “characterized by very little annual rainfall, usually from 10 to 20
inches.”
15
“Average Weather For Riverside, California, USA,” Weatherspark.com, accessed May 9, 2015.
https://weatherspark.com/averages/31430/Riverside-California-United-States.
16
“Average Weather For San Bernardino, California, USA,” Weatherspark.com, accessed May 9, 2015.
https://weatherspark.com/averages/31559/San-Bernardino-California-United-States.
17
As a comparison, the average summer high in Los Angeles is in the high 70°F, showing how much hotter it can be
in the Inland Empire.
18
Precipitation data from http://www.usclimatedata.com/.
7

inexpensive land.
19
There was also a desire to create communities that did not follow the
suburban patterns already prominent in the greater Los Angeles area. Reyner Banham describes
the city of Ontario as a “garden city” where the “city” was left out.
20

The citrus industry played an essential role in the growth of the Inland Empire. This area
use to be referred to as the Orange Empire and the Citrus Belt.
21
Family-owned citrus groves
swept across the inland valley right up to the foothills.
22
This combination of agriculture and
suburban life is a principle theme in the culture of the Inland Empire. “This citrus belt complex of
peoples, institutions, and relationships has no parallel in rural life in America and nothing quite
like it exists elsewhere in California. It is neither town nor country, neither rural nor urban. It is a
world of its own.”
23

The Land of “High-Class” Farming
The early history of the Inland Empire started with a few “picturesque enclaves” such as
Redlands, Riverside, and Ontario. These suburban cities promoted open space, family, and home.
They were an escape from the urban areas where people could return to nature.
24
However, there
was one thing that made the Inland Empire different, oranges. It made the area not just another
suburb but an “agriburb.”
25

In 1873, the Washington navel orange was introduced into California when the
Department of Agriculture shipped two budded tree from Brazil to Riverside. The trees were put
in the care of Mrs. L. C. Tibbetts. Although citrus trees were brought to California many years
before by the Franciscan fathers who established the California missions, the introduction of the
navel orange marks the true beginning of the citrus boom. The climate and decomposed granite
soil allowing for adequate drainage made this region uniquely suited for growing navel oranges.
26

The Inland Empire was not the only citrus growing region in Southern California, but it
can be distinguished from the other regions in terms of the type of people that settled the area.
19
Wagner and Husing, Sleeping Giant: An Illustrated History of Southern California's Inland Empire.
20
Reyner Banham, Los Angeles: The Architecture of Four Ecologies (New York: Harper & Row, 1971).
21
Rosenblatt, "`Inland' for Sure, `Empire' Maybe: Where's Boundary?"
22
Joseph Giovannini, "An Inland Empire Built on Oranges," The New York Times, July 7, 1985,
http://www.nytimes.com/1985/07/07/travel/an-inland-empire-built-on-oranges.html?&pagewanted=print.
23
Carey McWilliams, Southern California: An Island on the Land (Layton, Utah: Gibbs Smith, 1946).
24
Dolores Hayden, Building suburbia: Green fields and urban growth, 1820-2000 (New York: Vintage, 2009).
25
Paul JP Sandul, California Dreaming: Boosterism, Memory, and Rural Suburbs in the Golden State. (Morgantown:
West Virginia University Press, 2014).
26
McWilliams, Southern California: An Island on the Land.
8

The inland regions, where the navel orange was seen as the glamour crop, attracted “people of
intelligence and refinement” looking for a comfortable, middle-class lifestyle.
27
They established
citrus colonies like Ontario. The promoters of these colonies often used words like “intelligence,
professional, refinement, talent, and well-to-do” when describing the people that settled these
colonies.
28

This sophistication and refinement was reflected in the architecture of these early
colonies. Mansions were built on the tops of the hills so the citrus farmer could oversee the
groves.
29
Kimberly Crest and the Morey Mansion in Redlands, as well as the Bettner House in
Riverside, are just a few of these mansions.
30
The Morey Mansion and the Bettner House are
Queen Anne style homes of the Victorian Era. The Morey Mansion was built in 1890 for David
and Sarah Morey at a cost of $20,000.
31
[Figure 1.2] The Moreys had first gained wealth by
owning a citrus nursery that sold most of the citrus trees in Redlands and Riverside.
32
The Bettner
House was built in 1891 for Catherine Bettner, a local orange grove owner.
33
[Figure 1.3] The
Queen Anne style of architecture was popular between 1880 and 1910. This style was not a
regional style, rather it was brought to the Inland Empire from the East Coast and Midwest. It was
generally chosen by the wealthy because it was seen as a symbol of sophisticated taste and what
was popular.
34
Kimberly Crest was also built in the height of the Victorian Era, in 1897. [Figure
1.4] The French Chateau style house was built on top of a hill overlooking a six and a half acre
estate that neighbors Prospect Park.
35

27
Sandul, California Dreaming: Boosterism, Memory, and Rural Suburbs in the Golden State. Memory, and Rural
Suburbs in the Golden State; McWilliams, Southern California: An Island on the Land.
28
Sandul, California Dreaming: Boosterism, Memory, and Rural Suburbs in the Golden State. Memory, and Rural
Suburbs in the Golden State, 45.
29
Ibid.
30
Giovannini, "An Inland Empire Built on Oranges."
31
Debra Gruszecki, "Morey Mansion Sells for $850,000," The Press Enterprise (Riverside, CA), September 17,
2014, http://www.pe.com/articles/home-750153-morey-cosgrove.html.
32
Toni Momberger, "Morey Mansion, rich with history, back on the market," Redlands Daily Facts (Redlands, CA),
September 21, 2013, http://www.redlandsdailyfacts.com/opinion/20130921/morey-mansion-rich-with-history-back-
on-the-market.
33
"The Bettner House," Riverside Museum Associates, http://riversidemuseumassociates.org/home-page/heritage-
house.
34
“Queen Anne,” Architecture, Landscape, and Urban Design, accessed March 31, 2015.
http://architecturestyles.org/queen-anne/.
35
“About: Kimberly Crest House & Garden,” Kimberly Crest Association, accessed March 31, 2015,
http://kimberlycrest.org/aboutus/; Mary Kimberly-Shirk helped the city of Redlands raise money to protect this park
and citrus grove by donating here estate to the “people of Redlands” upon her death.
9

Figure 1.2 The Morey Mansion (1890). Photo by author, 2013.

Figure 1.3 Bettner House (1891). Photo by Mliedel, 2013. Courtesy of Wikipedia.
10

Figure 1.4 Kimberly Crest and Garden (1891), 2008. Courtesy of Wikipedia.
Beyond sophisticated residential architecture, there was a desire for public architecture
that would reflect the prosperity of these growing towns. A. K. Smiley Public Library, in
Redlands, was built in 1897. [Figure 1.5] The library is said to be in a Moorish/Mission Revival
style.
36
However, the building has great similarity to the Richardsonian Romanesque style, which
was popular for institutions of knowledge between 1870 and 1900.
37
The Riverside Carnegie
Library, built in 1903, was the first Mission Revival Carnegie Library.
38
[Figure 1.6] Mission
Revival was a popular style between 1890 and 1940. The style romanticized the history of
California and was an attempt to create a style that drew from regional references, unlike the
Victorian styles.
39

36
Phyllis Irshay, “National Register of Historic Places Inventory – Nomination Form – A. K. Smiley Public
Library,” Department of the Interior: National Parks Service, November 9, 1976,
http://pdfhost.focus.nps.gov/docs/NRHP/Text/76000513.pdf.
37
“Romanesque Revival,” Architecture, Landscape, and Urban Design, accessed March 31, 2015,
http://architecturestyles.org/romanesque-revival/.
38
"Riverside Carnegie Library" Carnegie Libraries of California, 2009, accessed March 31, 2015,
http://www.carnegie-libraries.org/california/riverside.html.
39
“Mission Revival,” Architecture, Landscape, and Urban Design, accessed March 31, 2015.
http://architecturestyles.org/mission-revival/.

11

Figure 1.5: Smiley Public Library (1897). Photo by author, 2012.
12

Figure 1.6: Exterior view of the Riverside Public Library, ca.1910, Photo by C.C. pierce, from USC Special
Collections/California Historical Society Collection, 1860-1960; filename CHS-5278
(http://digitallibrary.usc.edu/cdm/ref/collection/p15799coll65/id/8545).
Despite the rural surroundings, the people of the citrus belt desired to keep up with the
trends common in the era, establishing a dichotomous culture - hard working yet refined. For
instance, the Moreys came to the area with almost nothing and through hard work were able to
build a thriving business and accumulate wealth. Others built empires on the East Coast or
Midwest and came to the area with wealth, like the Kimberlys. This “ruling class” developed the
culture and values of the region. They brought to the region a protestant, Anglo value system and
a desire to be separate from urban life but still be refined and current.
40

New Industry, New Architecture
The post-World War II (WWII) era brought major change to the Inland Empire. With
property values sky rocketing in Los Angeles and Orange counties, industries turned to the Inland
Empire as a place of escape. The freeway system that was being established in the same time
period allowed the region to be easily accessible. One of the first companies that began to
40
Thomas C. Patterson, From Acorns to Warehouses: Historical Political Economy of Southern California's Inland
Empire (Walnut Creek, CA: Left Coast Press, 2014), 249; Some of these early residents were foreign born such as
the Canadians and British.
13

transform the Inland Empire was Kaiser Steel. The growth of the Kaiser Steel Company was
caused by the demand for steel during WWII. The Kaiser Steel Mill opened in Fontana in 1942
and transformed the sleepy citrus community into a center for industry. Along with jobs, Kaiser
Steel provided police, a fire department, and healthcare. It was a promise of hope in the post-
depression era. Soon other companies would follow Kaiser Steel’s example and transform the
Inland Empire from a land of farmers to a community of blue-collar workers.
41

Along with new industrial companies, the military also helped to transform the Inland
Empire. March Air Field, just outside of Riverside, was established by the United States Army in
1917. March was one of the main west coast air combat training facilities for the Army through
the 1980s.
42
Norton Air Force Base, in San Bernardino, was established in 1942. It served as a
maintenance and logistical base for the Army and then Air Force until its closure in 1988.
43
These
bases along with the growth of industry contributed to the changing population that emerged in
the post-war era.
This area of small picturesque enclaves, which had already started growing together
because of the expansive citrus groves, was rapidly merging to form a giant edge node. Edge
nodes are generally formed in areas where major intersections exist outside the city. They are
lands ruled by the automobile.
44
In fact, two things pushed the Inland Empire out of the citrus
industry and into an edge node: the freeway system and inexpensive land.
The growth seen during this post-war era was vast. People and businesses moved to cities
that were now accessible due to the freeway systems. Cities like Pomona, Riverside and Ontario
saw rapid growth and expansion. Other cities, like Rancho Cucamonga and Montclair, were
incorporated in the late 1950s. The rapid growth brought excitement and high demand for new
architecture.
45
Prominent architects like Becket and Pelli were hired to design new city hall’s in
the area, Pomona and San Bernardino respectively. This excitement helped to fuel the areas
desire for what was new and sophisticated.
Throughout this post-war rise of the middle class due to availability of jobs, the values
and mindset of the Inland Empire did not change much, especially in cities like Redlands and
41
Wagner and Husing, Sleeping Giant: An Illustrated History of Southern California's Inland Empire.
42
"The March Field Story," March Air Reserve Base, July 19, 2010,
http://www.march.afrc.af.mil/library/factsheets/factsheet.asp?id=3660.
43
"History," Norton Air Force Base Museum, accessed March 31, 2015, http://www.nafbmuseum.org/history/.
44
Dolores Hayden, Building suburbia: Green fields and urban growth, 1820-2000.
45
Thomas C. Patterson, From Acorns to Warehouses: Historical Political Economy of Southern California's Inland
Empire, 191.
14

Claremont.
46
The people were still non-metropolitan and desired the architecture to continue
being current.
47
This is the story of mid-century modernism in the Inland Empire. It was an
architecture that was the symbol of what was new and exciting.
48
Modernism was injected into
the downtowns of many of the well-established former citrus communities like Redlands and
Riverside. Buildings like the Riverside Carnegie Library were replaced by the new exciting and
refined architecture.
49
Architects like Herman Ruhnau, E. Stewart Williams, Don Wexler,
Clarence Henry Day, and Theodore Criley, among others, made contributions to this thirst for a
new architecture in the Inland Empire. They kept themselves current with new materials and new
techniques allowing them to experiment and create new designs.
50
One architect, however, can be
seen as the embodiment of the Inland Empire spirit: Clinton Marr. Marr grew up in a blue collar
Inland Empire family. Following his education at the USC School of Architecture, he designed
buildings across the region and imported the new and sophisticated modernist styles to the Inland
Empire.

46
Ibid., 249.
47
Lauren Bricker (Professor, Director of ENV Archives-Special Collections, Cal Poly Pomona) in discussion with
the author, March 26, 2015.
48
Norberg-Schulz, Principles of modern architecture.
49
"Riverside Carnegie Library," Carnegie Libraries of California.
50
Lauren Bricker, in discussion with the author.
15

CHAPTER TWO:
Clinton Marr, From Riverside to USC and Back

Figure 2.1: Clinton Marr, c. 1980-89. Photo by
provided by Clinton Marr.
Clinton Marr, better known as Clint, was born on September 28, 1925. He was born to a
working class family that called Riverside their home. His father was an auto mechanic who had
a shop in the downtown area. Along with auto repair, Clint’s father also repaired heavy
equipment engines and airplanes. Clint spent his early life growing up in Riverside. He attended
Central Middle School where he met Geraldine McMahan, his future wife.
51
Growing up in
Riverside, Clint experienced an “easygoing life” in a mellow community. He describes it as a
community where you knew almost everyone and everyone was pleasant, even though it was the
Depression. Walking around in downtown Riverside during this time it was common to see
people you knew.
52

Clint’s father got a job at the naval station in San Diego which caused the family to move
while Clint was in high school. During his late teenage years Clint developed an interest in flying.
51
Casey Tibbet, “Clinton Marr, FAIA – Award-Winning Architect and Riverside Native,” The Journal of the
Riverside Historical Society 14 (2010): 6-19.
http://www.riversidehistoricalsociety.org/journals/RHSJournalVol14.pdf.
52
Clinton Marr, Interviewed by author, Riverside, CA, April 22, 2015.
16

This led him to enter the V-12 Navy College Training program after graduation from La Jolla
High School in 1943. The V-12 program was designed to create commissioned officers for the
Navy. Among the universities Clint attended while in this program was the University of
Redlands. During this time, he continued to develop an interest in aeronautics and mechanical
engineering. In 1945, Clint married his wife Gerry while still in the training program. After being
honorably discharged in 1946, Clint considered a career as a commercial pilot or an aeronautical
engineer. However, Clint desired to own his own business. He turned his eyes toward architecture
because it allowed him the ability to be creative and have a freedom of expression.
53

Clint considered two different universities for his architectural studies – the University of
California Berkeley and the University of Southern California (USC). At the time, Berkeley had
a civil engineering orientation, while USC was becoming a center for modernism. Clint was not
truly interested in modernism beyond the freedom of expression. Rather he chose USC because of
its location. Clint states, “It was in Southern California and Uncle Sam was paying for it at the
time.”
54

Clint attended USC from 1947 to 1953, when he graduated. Clint attended school during
the same time period as some well-known architects, such as Frank Gehry, Thorton Ladd, John
Kelsey, Conrad Buff III, and Donald Hensman. Clint was also a classmate and friend of Pierre
Koenig, who gained fame through the Case Study House program and later taught at USC.
55

Marr’s education at USC had a great impact on the architect he became and the buildings he
designed.
Clint Marr at the USC School of Architecture
The post-World War II era saw a boom in the construction industry and a subsequent
needed for more trained professionals able to work in the building industry.
56
Architecture
schools were in high demand. This, as well as returning veterans who had their education
subsidized, led to over 6,000 students enrolling in twenty-eight accredited architecture schools
across the nation, in 1946. This was three times the enrollment of the previous year. The USC
53
Ibid.
54
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA, Riverside, CA: City of
Riverside, 2009.
55
Ibid.
56
“Education--Opportunities For Young Men Entering The Building Field,” American Builder and Building Age 69,
no.7 (1947): 87-91,176-179.
17

School of Architecture was no different. Arthur Gallion, the dean of the school, anticipated the
school enrollment would increase from 150 students to 450 in 1947, when Clint Marr began
attending. There were fears of not being able to adequately handle the enrollment due to lack of
classrooms and professors.
57
This often led to hiring recent graduates to become professors,
sometimes within a year of graduating.
58

By the time of Marr’s enrollment, USC had already begun a major shift in its architectural
curriculum. In the 1930s, under the leadership of Arthur Weatherhead, the School of Architecture
was moving away from a Beaux-Arts curriculum that had been the standard in American
architecture schools. This departure from Beaux-Arts curriculum was part of a growing trend at
the time. In fact USC was the fifth out of forty-five schools that would move away from the
Beaux-Arts school of thought, which focused on abstract neo-classical designs.
59
Weatherhead
started a shift in USC’s education from abstract design to site-driven design with an emphasis on
regionalism.
60

The school’s new design philosophy established by Weatherhead thrived under Arthur
Gallion, who became the dean of the school in 1945. The school continued to be centered on
residential design and planning. Manufacturing advances of the post-war economic boom
revolutionized the school’s approach through the use of prefabricated material, which was already
a staple of the curriculum. These advances pushed the designs toward modular design, often post-
and-beam construction with open plans and movement between indoor and outdoor spaces.
61

Marr says that the gridded modular system taught by USC “grabbed ahold of him and would not
let go.”
62
The grid is present in the majority of Clint’s designs throughout his career. When
57
Lee E. Cooper, “Jam in Schools of Architecture May Bar Study in Field to Many,” New York Times, May 13,
1946.
58
Deborah Howell-Ardila, “Writing Our Own Program: The USC Experiment in Modern Architectural Pedagogy,
1930 to 1960,” MHP thesis, University of Southern California, 2010.
59
Ibid.; Paul P. Cret, "The Ecole des Beaux-Arts and architectural education," The Journal of the American Society
of Architectural Historians 1, no. 2(1941): 3-15.
60
Howell-Ardila, “Writing Our Own Program: The USC Experiment in Modern Architectural Pedagogy, 1930 to
1960.”
61
Ibid.
62
Clinton Marr, Interviewed by author.
18

designing his own residence, Marr explains how rigid he was in attempting to maintain his 3-foot
modules, which lead to awkward and narrow hallways.
63

One of the biggest changes Gallion brought to the school was the faculty-student
relationship. Under Weatherhead, the faculty was often remote and distant from the students.
Gallion desired a more informal relationship between the students and faculty. Under his
leadership the students saw the faculty as being accessible and genuinely interested in their
educational progress.
64
This close relationship between student and faculty allowed the professors
to have great impact of the design approaches of their students, like Clint Marr.
65

Another impact Gallion had on the faculty of the school was through his hiring practices.
As previously stated, Gallion had a penchant for hiring recent USC graduates. Some examples of
this are Calvin Straub, Conrad Buff III, Don Hensman, Gordon Drake, and Pierre Koenig. The
hiring of USC graduates helped to further advance the school’s design philosophy and continue
moving it forward. By hiring former students, Gallion could assure that the next generation of
students were taught “the USC way.”
66

Clint Marr cites four professors that played a critical role in his education and his design
approach; A. Quincy Jones, Calvin Straub, Gregory Ain, and William Pereira. Calvin Staub
operated the third year design curriculum at the school. The fifth year design curriculum was
under the oversight of William Pereira.
67
Each of these professors was a master in his own right,
so it is not surprising that they would inspire a young Clint Marr.
In 1937, A. Quincy Jones opened his Los Angeles architecture practice. He began
teaching at USC in 1951, just two years before Marr completed his education.
68
Despite designing
churches, libraries, educational buildings, and commercial buildings, Jones is well known for his
residential work. He, along with his partner Frederick Emmons, was a prominent architect for the
63
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
64
Ibid.
65
One such example of the later impact the faculty would have on the student can be seen in the forming of a
partnership between Calvin Straub and two of his students, Conrad Buff III and Don Hensman.
66
Howell-Ardila, “Writing Our Own Program: The USC Experiment in Modern Architectural Pedagogy, 1930 to
1960.”
67
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
68
“LA OBSCURA: Jones Biography,” USC School of Architecture, accessed April 7, 2015,
http://www.usc.edu/dept/architecture/shulman/architects/jones/.
19

Eichler Homes. Jones was concerned about bringing quality design to the middle class, at an
economical price, and striving to build a home for “better living.” He did this through open plans
and an integration of interior and exterior spaces.
69
This often led him to back to a “greenbelt”
design, which was popularized through the Arts & Architecture Case Study House program.
His designs, both residential and non-residential, were focused on the spatial experience
of the building. Through the use of structural systems, which were often exposed, Jones was able
to create dynamic and expansive interior spaces. Jones was also interested in the integration of
natural light in a building, or capturing a specific view.
70
In order to make good use of natural
light, Jones often used skylights and clerestory windows. Large window walls not only allowed
Jones to capture views, it also allowed for the integration of interior and exterior spaces.
Calvin (Cal) Straub graduated from USC in 1943. Following his service in the Navy
during World War II, Straub returned to USC as a professor. Because he was close to the same
age as most of his students, Straub had a different approach to teaching. Straub described his
teaching style as “more of a co-operative exploration or participation.”
71

Like Jones, Straub was a proponent of the integration of landscape with architecture.
“When it is possible nature should be brought close to the interior, giving acute awareness of
outdoor beauty.”
72
He felt the living spaces needed to satisfy the human need for protection and
freedom. This led to a combination of solid and glass surfaces. He also had a fondness for softer
materials, often choosing pine and fir over hardwood. Straub stood in contrast to other modernists
of the time. While he was a strong advocate for the post and beam system, he drew influence
from craftsman architects like Greene and Greene. He used primarily wood structural materials
and had low pitched roofs with large overhanging eaves and exposed beams. Straub saw the
kitchen as the center because it connects the four basic areas of a house; social living, private
living, service, and circulation.
73

69
“A. Quincy Jones: Building for Better Living,” Bustler, accessed April 7, 2015,
http://www.bustler.net/index.php/event/a_quincy_jones_building_for_better_living/.
70
“A. Quincy Jones: Building for Better Living,” Hammer Museum, 2013, accessed April 7, 2015.
http://hammer.ucla.edu/exhibitions/2013/a-quincy-jones-building-for-better-living/.
71
Esther McCoy, "What I Believe...: A Statement of Architectural Principles," Los Angeles Times, April 17, 1955,
L28.
72
Ibid.
73
Ibid.
20

Gregory Ain was part of the “second generation” of modernists described by Esther
McCoy.
74
After briefly attending USC from 1927-1928, Ain went to work for both Rudolph
Schindler and Richard Neutra.
75
It was during these apprenticeships Ain learned the modernist
vocabulary. In reflections about his career, Ain inferred that he learned about style from Neutra
and the function of space from Schindler.
76
Later in his career, he worked with Charles and Ray
Eames during the development of their plywood chair. These experiences influenced Ain’s
architectural voice.
77

Ain is most known for his residential work. Ain was interested in affordable housing for
the working class. His designs were focused around a flexible plan with an open kitchen.
78
Ain
was people oriented and client focused. He was more concerned about the clients need than
maintaining style. In this way, Ain took a humanist approach to his designs. He strove for user
friendly designs.
79
His plans were often designed with the housewife in mind, so she could
maintain the home. This made the kitchen a prominent part of the house. Much of this can be
seen is his development of the Mar Vista Tract.
80

William Pereira was quite a different influence on Clint Marr. Pereira began his career
working in both architecture and film in Chicago, in the 1930s. He moved to Los Angeles with
his wife, who wanted to pursue acting. While in Los Angeles, he worked with his brother at
Paramount Pictures doing set design. At Paramount, Pereira became an expert in filmmaking
which led him to receiving an Academy Award in 1942 for Best Special Effects in “Reap the
Wild Wind.” His connections in Hollywood would later help him gain several architectural
commissions.
81
In 1949, he began teaching at USC. While in Los Angeles he developed the
74
Esther McCoy, The Second Generation (Salt Lake City: Peregrine Smith Books, 1984).
75
Thomas S. Hines, Architecture of the sun: Los Angeles modernism 1900-1970 (New York: Rizzoli, 2010), 430.
76
Sam Hall Kaplan, “Ain’s Contribution Remembered,” Los Angeles Times, January 24, 1988,
http://articles.latimes.com/1988-01-24/realestate/re-37795_1_gregory-ain.
77
“Gregory Ain,” North Carolina Modernist Houses, accessed April 7, 2015, http://www.ncmodernist.org/ain.htm.
78
Ibid.
79
Kaplan, “Ain’s Contribution Remembered.”
80
Hines, Architecture of the sun: Los Angeles modernism 1900-1970, 448.
81
Ibid.
21

master plan for USC and the City of Irvine. Pereira had a flair for expensive and elaborate things,
such cars and airplanes. This along with his love of science fiction influenced his architecture.
82

Pereira’s work focused predominantly on commercial architecture. Many of his works
have a futuristic quality about them and since have become iconic. Today these buildings are
easily recognized. Pereira worked extensively with steel and concrete as building materials. He
often used geometric pre-cast concrete facades that could be attached to a steel frame. According
to some, this gave his buildings a stark science fiction quality. Some examples of this include the
Transamerica Building in San Francisco and Geisel Library at University of California, San
Diego. He also worked with Paul R. Williams and Welton Becket on the design of the “Theme
Building” at LAX.
83

Beyond the influence of his professors, the School of Architecture gave students the
opportunity to network and learn from their peers through the studio setting and through
organizations. During his time at USC, Marr was involved in Scarab, a professional architecture
fraternity.
84
[Figure 2.2] This involvement in fraternal organizations continued throughout his
life. It also established a desire for comradery with other architects. Marr and his wife Gerry often
got together with a few other local architects and their wives.
85

82
Scott Johnson, “William Pereira,” Los Angeles Forum for Architecture and Urban Design, accessed April 7, 2015,
http://laforum.org/content/articles/william-pereira-by-scott-johnson.
83
Ibid.
84
El Rodeo 1952.
85
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
22

Figure 2.2: Scarab from El Rodeo 1952. Courtesy of USC Special Collections/ University of Southern California
History Collection; filename uschist-er-1952~0277.tif
(http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll104/id/35930/rec/10).
The school also provided hands-on learning experiences in the field. During this post-war
era the Arts & Architecture Case Study House program, which began in 1945, served as a
laboratory for architects. “Talented” architects were given a place to try out new designs. The
program was established to combat the traditional cookie-cutter home designs that were prolific
during this post-war housing boom.
86
Marr speaks of going on class fieldtrips to see several of the
case study houses. One of the houses Marr mentions visiting is the Case Study House #8,
designed by Ray & Charles Eames.
87
Visiting these houses gave Marr firsthand experience in the
new “modern” approaches to residential design promoted by the Case Study program, such as
flexible plans and new materials.
During the time Marr was at USC, there were a number of real world projects that were
taken on by students. There were two student designed house constructed: the Villageaire project
in 1950 and the Rancho Monterey project in 1952.
88
Buildings like this gave students practical
86
Esther McCoy, "Arts & Architecture Case Study Houses," Perspecta 15 (1975): 55-73.
87
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
88
“SC Student Architects to Erect Model Home,” Los Angeles Times, May 18, 1952.
23

experience in working with contractors, financial institutions, and real estate experts.
89
The
students also took on local redevelopment projects. Students developed plans to revitalize
downtown LA in 1947.
90
In 1950, students tackled development plans for the city of Manhattan
Beach.
91
The Inland Empire also got some attention from students when they looked at the
potential for future development in Fontana and Rialto in 1953.
92
Unfortunately, Marr was not
able to participate in any of these projects, because he had to work while going to school, to
support his family. But he was very familiar with these projects as they were part of the
excitement going on at the school during this time.
Other Early Influences
While finishing school (1953), Clint Marr began working at A. C. Martin Partners, one of
the oldest architectural firms in Los Angeles. A. C. Martin Partners designed several of the
iconic buildings around the Los Angeles area. During the mid-century, they were known for the
corporate buildings they designed throughout the 1960s. This consists of several of the buildings
in the Bunker Hill redevelopment, including the Department of Water and Power building and the
Union Bank building. Much of their work defines corporate modernism in Los Angeles.
93
Marr
recalls watching the Harbor Freeway being constructed while at A.C. Martin. This allowed Marr
to see both transportation and construction advancements from the office window.
94
Projects that
Marr worked on while at A.C. Martin include: a plumbing display shop for Kohler Plumbing
Company, which had a unique flexible staging system and won an A.I.A. award; an addition to
the Richfield office building in Downtown LA; and a large concrete tilt-up industrial building.
Clint Marr also cited drawing influence from Frank Lloyd Wright, Greene & Greene,
Rudolph Schindler, and Richard Neutra. While Marr as not particularly fond of Wright, he did
appreciate how Wright integrated nature into his designs, specifically his work with Japanese
style gardens houses. One of the things that captivated Marr was how Wright based his
proportions on the Japanese tatami mat in the design of this house. The one work of Wright that
Marr appreciated the most is Fallingwater. He considers it as the single most important building
89
“Architectural Students Choose Split-Level House,” American Builder 73, no. 8 (1950): 174.
90
“Students’ Plan to Modernize City on Display,” Los Angeles Times, July 6, 1947.
91
“SC Student Architects to Study Beach City,” Los Angeles Times, October 22, 1950.
92
“Students Prepare Planning Student for Fontana, Rialto,” Los Angeles Times, February 1, 1953.
93
Hines, Architecture of the sun: Los Angeles modernism 1900-1970, 654.
94
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
24

of its day. He respected the work of Greene & Greene because their buildings were fitting for
their time, and how they have stood the test of time. This ability of a well-built building to last for
years to come made an impression on Marr. As part of his design approach, Marr desired to
design a building that would both fulfill present needs and last a long time.
95

Like other architects in Southern California during this time, Schindler and Neutra had
their degree of influence. Schindler captivated Marr because of his ability to design “space.” This
influenced the way Marr approached his design. The influences of Schindler and Neutra are not
complete without the Bauhaus. Marr recalls the design movement and architects, like Mies van
der Rohe, that came out of the Bauhaus, spreading influence the across the United States during
the post-war era. He said that it was exciting to see what these Bauhaus architects were doing.
96

The Return to Riverside
Despite being offered a full time position at A.C. Martin, Clint and his wife Gerry decided
they wanted to return to Riverside to be close to family. Furthermore, they wanted to raise their
children in the hometown community that they grew up in.
97
The first step of Clint Marr’s return
to Riverside was returning to the Inland Empire. In 1954, after leaving A.C. Martin Partners,
Marr spent a short time in Redlands working for Clare Henry Day.
98
Day grew up in Washington
and received a degree in architecture from the University of Cincinnati. In 1952, Day made
Redlands his home and designed many modernist homes, schools, commercial buildings, and
industrial buildings throughout the city. Like many other Southern California modernists of the
era, Day cites Schindler, Neutra, and Wright as being influential.
99
Working for Day began a
close relationship between Marr and Day which led to them to establish the Inland Chapter of the
AIA.
100

95
Ibid.
96
Clinton Marr, Interviewed by author.
97
Ibid.
98
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
99
“Clare Henry Day and Redlands Architecture,” InlandEmpire.US, May 25, 2011, http://inlandempire.us/clare-
henry-day-and-redlands-architecture/.
100
Pascaul Gutierrez, “AIA Inland Califonia 50
th
Anniversary & Annual Meeting,” AIA Inland California 50 Years
of Service (2007).
25

In 1955, Marr began working in Riverside. He worked for Herman Ruhnau for a year
before starting his own firm.
101
Ruhnau is probably one of the most well-known modernist
architects in Riverside. As an adolescent, Ruhnau’s family relocated to Riverside, where he
graduated high school. Like Marr, Ruhnau also attended USC. During World War II, Ruhnau
worked as an architect for the Navy. Ruhnau’s architectural career in Riverside was very prolific.
He designed many of the modern civic buildings in downtown Riverside, including Riverside
City Hall and Riverside County Administration Building.
102

Marr worked with both of these architects at the early stages of their careers in the Inland
Empire. His path as a modern architect parallelled both Day and Ruhnau. These three architects
were not the only modernists working in the area, but collectively they designed many of the
schools and civic buildings in Redlands and Riverside in the 1960s.
After working a year for Ruhnau, Marr opened his own architecture firm in January of
1956. This was a very opportunistic time to open an architecture firm in the Inland Empire. Post-
war optimism led to major investments in new construction and expansion. Marr describes
opening his firm as the opening of the flood gates. His business was growing fast throughout the
1960s. At one point his bank told him he needed to slow down or he would be in trouble. This did
not stop Marr from creating a firm whose work included residential, industrial, institutional,
commercial, and religious designs.
103

One of Marr’s first major commissions came in the summer of 1957. Marr was
approached to design a factory for the Lily Tulip Company, in Riverside. [Figure 2.3] The Lily
Tulip Company manufactured paper cups. The previous corporate headquarters building in the
mid-west had a large cup at corner of the building so people walked under it to enter the building
- it is an example of programmatic design. This was the original intention for the design in
Riverside. Marr was able to convince the company to move the cup off the corner of the building
and instead have the large concrete cup sit at the driveway entrance. This building gained Marr a
good amount of attention, partially because its use of concrete tilt-up construction.
104
The Press-
101
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
102
“Herman Ruhnau, AIA,” Raincrosssquare.com, July 5, 2006, http://www.raincrosssquare.com
/2006/07/news_herman_ruhnau_aia/.
103
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
104
Ibid.
26

Enterprise showcased the building in the newspaper because of its size and the jobs that it would
bring to the area.
105
From this point on it was the reputation of the firm that continued to bring
new and returning clients to Marr when they needed an architect.

Figure 2.3: The concrete cup at the Lily Tulip Building. Unfortunately the building has been altered. Photo by
author.
Marr’s work in Riverside spans four decades. As the architectural styles and construction
technologies changed through the decades, Marr kept current with what was going on in other
places, like Los Angeles. Magazines and journals were one of the many ways Marr kept current
with trend. He frequently read Arts and Architecture, The Architectural Journal, and
Architectural Record. Marr specifically cited Pencil Points as a magazine that was on the
forerunner of Progressive Architecture. He also stated that newspapers, specifically the Press-
105
Ibid.
27

Enterprise, in the post-war area were more inclined to publish current and innovative
architects.
106

In 1964, Marr was named president of the Inland District of the AIA Southern California
Chapter. On one of his trips back from Los Angeles, he started thinking that the area east of
Kellogg Hill, including San Bernardino and Riverside Counties, was worthy of its own chapter.
In 1965, with the district’s vice president/president elect, Clare Henry Day, the district broke off
and established its own chapter.
107

From 1975-1995 Clinton Marr & Associates was at its largest, ranging from nine to
twelve employees. The firm consisted of two to three licensed architects, a landscape architect, a
specification writer, a construction administrator, and varying numbers of draftsman.
108
Marr sold
his firm in 1996 and remained a consultant until 2006. During the forty years his firm was in
practice, he earned a number of awards by the AIA Inland Chapter (AIAIC). His design work and
his role in establishing the AIAIC, led Marr to be elected to AIA’s College of Fellows.
109
In 1974,
Marr was inducted as a Fellow along with other prominent Southern California architects,
including Frank Gehry, MacDonald Beckett, and Herman Ruhnau.
110

Clint Marr’s Design Approach and Philosophy
Marr had a client-centric approach to every one of his designs. He insisted on being the
person that met with the client. It was important for him to determine the client’s needs and
wishes beyond simple programing. This included the client’s needs in terms of aesthetics. “The
needs that are done not functionally but aesthetically and public relations wise, after all a building
becomes an image for the company.”
111
The client’s budget was also an important factor that
Marr used in designing his building.
After determining the client’s needs and budget, Marr set out to design space. The quality
of the space was important for Marr. Once he determined the size of the space that was required,
106
Ibid.
107
Pascaul Gutierrez, “AIA Inland Califonia 50
th
Anniversary & Annual Meeting.”
108
The inclusion of a landscape architect was not common for the time. This shows Marr’s desire to make
landscaping an important part of his designs.
109
Tibbet, “Clinton Marr, FAIA – Award-Winning Architect and Riverside Native.”
110
“Eight Southland Architects to Get Fellowship Medals at AIA Parley.” Los Angeles Times. May 19, 1974.
111
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
28

he looked at the options for construction materials. Unlike many architects, Marr did not favor
one material over others. He understood each construction material has its advantages and
disadvantages. He explained that as a span gets greater, the depth of the beam gets greater and for
materials like wood this becomes impossible. He further explained when needing to span these
greater distances, choosing between concrete or steel changes the quality of the space. One such
example of the quality of the space created by choosing concrete is John North High School
(1964). [Figure 2.4] After choosing a construction material and determining the space desired,
Marr decided on a style and design that incorporated the client’s aesthetic needs.
112

Figure 2.4: Library building at John North High School. The concrete beams are key to the development of the
quality of space. Photo by author.
The design approach at Clint Marr and Associates was a collaborative approach. Marr
expresses that “design is not done in a vacuum.”
113
Many people were involved in the
development of each design. From the very beginning, Marr enlisted the assistance of
consultants. He worked with structural engineers from the beginning so they could help
determine what was possible to be constructed. He recalls working with every possible engineer
112
Clinton Marr, Interviewed by author.
113
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
29

over the years, including structural, mechanical, electrical, acoustical, and even an aeronautical
engineer. This ability to work with various engineers allowed him to design buildings that stand
the test of time.
114

In keeping with his USC education, Marr’s design philosophy also centered on designing
site-specific buildings. Each building needed to be designed so that it “felt right” on the site. It
needed to be worked into its environment. The design also needed to take into consideration any
surrounding buildings. Marr felt that if the building was to be constructed near an older building
it should complement the building, in a contemporary way, and not be an ultra-modern building
standing in contrast to the older building. He felt the size and massing of the new building should
not overpower the older building. An example he gives of this is the Hall of Justice building he
designed next to the Riverside County Courthouse. He states, “That building had to be next door
to the old County Courthouse and I did not feel it should be too shocking a modern building. It
should be a building that feels comfortable with the old building.”
115

The buildings discussed in the next few chapters are representative of Marr’s space
oriented design approach. They will show his different approaches to design. All three of the
buildings were built during the first ten years of his firm.

114
Clinton Marr, Interviewed by author.
115
Ibid.
30

CHAPTER THREE:
Wesley United Methodist Church

Figure 3.1: Preliminary interior sketch of Wesley UMC, by Clinton Marr. Courtesy of Wesley UMC.

The Modernist Church
Entire books have been written about the philosophy, history, and timeline of Modern
church design. This section will serve as a brief introduction to Modern church architecture,
specifically focusing on how it applies to Marr’s design of the Wesley United Methodist Church
(UMC). In order to first understand the Modern church, we must first understand what a church
is.
For a temple, Christian or otherwise, like all examples of sacred art – and it is the prime
example – is a monument of praise and adoration, and this aspect rises above any
utilitarian scheme. It expresses man’s highest aspirations and is evidence of his transient
presence in the world, as well of his faith in permanent values and a lasting destiny. Pre-
eminently the Christian church is the symbol of Christ, the house in which all, believers
and non-believers, may find refuge and solace. It is not only the edifice in which the
31

sacred action unfolds, it is itself a sacramental object. It is not only a house in which to
pray, it is itself prayer.
116

This quote from Joseph Pichard’s book, Modern Church Architecture, explains that a church has
two components, the physical and the symbolic. Pichard further expresses that there are three
requirements for a church, mystical, functional, and visual. He says that a church must be a
“monument to God” and have religious meaning. It must be able to function as a church and
allow religious rituals to occur. Finally, it must have awe inspiring beauty. Designers previously
focused on one of these requirements at a time until the post-war era when the architects began to
remember that each of these requirements support and enhance the others.
117

At the turn of the twentieth century, church designers looked to the medieval churches for
inspiration. They sought to recreate the spiritual nature of these churches with modern forms and
materials. An example of this is Dominikus Böhm’s St. Engelbert in Cologne, Germany. This
church, constructed in 1932, used a very modern form, the parabolic arch, and used it to create a
round church. The high arches reach toward the sky as if to reach for God. Böhm was able to take
a modern form and was able to use it to recreate the spirituality prominent in the churches of
old.
118

Next the modern church designer began to focus on functionality. In the 1920s and 1930s,
mysticism and beauty did not have the importance that functionality did. Functionality is
expressed by how well the building is suited for the rituals of the church.
119
In a Catholic church
this refers to the ability to perform the sacraments and emphasize the importance of the clergy.
This translates to church designs that elevate the clergy and have long naves allowing for the
processional, which is part of mass. The protestant churches, on the other hand, are focused on
the word of God, through the spoken sermon, and the importance of the congregation. This
allows protestant churches to be less rigid in their construction.
120
One example of this is the
work of Otto Bartning. Bartning understood the importance of the word of God in the protestant
churches. He designed churches that were round. Unlike Böhm, who designed a round church
116
Joseph Pichard, Modern church architecture, trans. Ellen Callman (New York: Orion Press, 1960), 18.
117
Ibid., 19.
118
Ibid., 22-23.
119
Ibid., 34.
120
Albert Christ-Janer and Mary Mix Foley, Modern church architecture: a guide to the form and spirit of 20th
century religious buildings (New York: Dodge Book Dept., McGraw-Hill, 1952), 121.
32

with traditional nave style seating, Bartning also designed the seating to circle the pulpit and gave
the congregation relatively equal access to the word of God.
121
In the Methodist church,
functionalism meant abandoning the single building protestant church. Instead the church became
a complex with meeting rooms, Sunday school classrooms, and a social hall. This complex was
designed to serve the function of the church as a community.
122

The next stage of modern church development was the inclusion of the visual arts.
Through the 1940s and 1950s, the visual aspect of church design dominated. This first began with
the inclusion of art work, such as stained glass, into the design of the church. However, this was
not enough and the architect began to make the building be art itself. A famous example of this is
the Notre Dame du Haut in Ronchamp (1955), France, by Le Corbusier. This chapel takes the
visual arts aspect of church design to the extreme. With its heavy rolling roof and curved walls
that come to a point, this chapel is definitely a work of art. In the United States, several architects
such as Eero Saarinen focused on the visual. Lloyd Wright’s Wayfarer’s Chapel (1951) is a local
example of how important the art of the architecture was becoming.
123
For the Methodist
churches the visual was focused on the decorative aspect of architecture. “Possibly in reaction to
the plainness of their theology and liturgy, the Methodists today favor a more decorative
expression in architecture.”
124

By the late 1950s and into the 1960s the architects returned to the “spiritual expressive
form.” In doing this they combined all three requirements. The buildings needed to be works of
art that created reverence and adoration of God while allowing the function of the church to be
performed.
125
It is at this stage in Modern church development that Marr designed the Wesley
UMC. As we look at the church in depth, the fulfillment of these three requirements will become
apparent.

121
Pichard, Modern church architecture, 40.
122
Christ-Janer and Foley, Modern church architecture: a guide to the form and spirit of 20th century religious
buildings, 192.
123
Pichard, Modern church architecture, 74, 121.
124
Christ-Janer and Foley, Modern church architecture: a guide to the form and spirit of 20th century religious
buildings, 192.
125
Ibid., 167.
33

The Neighborhood

Figure 3.2: Map of Riverside. Courtesy of Google, Inc.
Wesley UMC is located four miles southwest of downtown Riverside, at 5770 Arlington
Ave. [Figure 3.2] One mile east, just off of Arlington, is the Riverside Municipal Airport. The
church is located in the Ramona neighborhood of the city. The neighborhood is primarily medium
density single-family residential with grouped areas of higher density apartments. [Figure 3.3]
The main commercial area in the neighborhood is along Magnolia Ave and scattered along
Arlington. The neighborhood is populated with a mix of middle and low-income families. It is a
multi-cultural and multi-generational suburban style neighborhood, with a combination of young
families and empty nesters.
126
While this is the current demographics of the area, it was not much
different in post-war time period when people flocked to Riverside, and other cities in the Inland
Empire, for jobs and inexpensive living.
127

126
Demographic found on ESRI website, http://www.esri.com/data/esri_data/ziptapestry.
127
Patterson, From Acorns to Warehouses: Historical Political Economy of Southern California's Inland Empire,
189.
34

Figure 3.3: Aerial View of the neighborhood. Courtesy of Google, Inc.
The Ramona neighborhood was the western edge of the city of Riverside when it was
founded in 1883. There is a rich history in this neighborhood. The house of Mrs. James Bettner,
the widow of one of Riverside’s citrus pioneers, is located in this area. It was restored in the late
1960s. This shows the neighborhoods ties to the citrus industry. The last remaining building of
the Sherman Institute, U.S. Indian School, is also located in this neighborhood. The Ramona
neighborhood also has ties to the regions railroad history. The post-war era brought expansive
residential tracts to the neighborhood taking it from a mostly agricultural area to a suburban
bedroom community.
128

128
“Ramona Neighborhood.” City of Riverside. Accessed May 1, 2015.
https://www.riversideca.gov/athomeinriverside/neighborhoods-ramona.asp.
35

The Client
Like all Methodist churches, Wesley UMC has its roots in the ministry of two brothers,
John and Charles Wesley. The Wesley brothers were ministers in the Church of England. Both
brothers served as missionaries in the Georgia Colony and following their return, they had
religious awakenings, in May 1738. This led them to start a renewal movement, in the Church of
England, which focused on godly living and doing good works. This movement later became the
Methodist movement. Methodism in the American colonies began to grow in the 1760s. Then in
the 1771, John Wesley sent Francis Asbury to the Americas as a missionary. Asbury became one
of the most important figures in American Methodism. Following the American Revolution,
which Wesley was opposed to, the Methodist Episcopal Church was formed, in December 1784,
and Asbury was named the first bishop. In 1968, the Methodist Church merged with the
Evangelical United Brethren Church to form the United Methodist Church.
129

Locally, the Riverside district of the Methodist Church determined, in 1957, the city was
growing so rapidly and there was a need for a fourth church in the Riverside area. At the time
there were three Methodist churches in the city: First Methodist Church of Riverside, Arlington
Methodist Church, and Grace Methodist Church.
130
The district purchased a property on
Arlington Ave, in 1957, and set out to establish a church in the southern area of the city, which
was seeing the largest amount of growth. At the 1957 Annual Conference of the Methodist
Church, William McKinney was selected as the first minister of the church. McKinney began
building community support and recruiting members from the existing churches to establish the
church. An organizational meeting was held on September 4, 1957 and the name Wesley was
selected for the new church. The first church services were held on September 22, 1957 at a local
adobe church that was just east of the property where the church was to build its chapel. On this
first Sunday, 140 people were in attendance. On October 13, 1958, 140 members established the
church’s charter. Soon after this a building committee was establish to hire and work with an
architect to produce a church facility.
131

129
“Formation of The United Methodist Church,” United Methodist Church, accessed May 15, 2015,
http://www.umc.org/who-we-are/formation-of-the-united-methodist-church.
130
Clint Marr was hired to design Grace Church’s new facility in 1966.
131
Church history provided by Wesley United Methodist Church.
36

Church Description
The church’s parcel is trapezoidal in shape, running northwest and southeast. It sits at a
diagonal to Arlington Ave., which runs east and west. [Figure 3.4] There are six buildings on
the property. An asphalt parking lot sits in the rear with two driveways running along both the
northeast and southeast edges of the parcel. The buildings are set back from the street behind a
sidewalk and grass lawn.

Figure 3.4: Aerial view of the site. Courtesy of Google, Inc.
The buildings of interest are at the northeast corner of the property. These buildings
include the chapel and a classroom building. They are the only two buildings constructed of the
original site plan that was designed by Clint Marr. The original plan included the main
rectangular shaped chapel, a small round chapel, three support buildings (classrooms), and a two-
story fellowship hall. [Figure 3.5] The three main buildings, the main chapel, the small chapel,
and the fellowship hall, were designed with folded-plate roofs and incorporated rectangular and
37

triangular geometric shapes. The three support buildings were set to be low profile rectangular
buildings that have large glass window along the long elevations and masonry walls along the
short elevation. Sadly, this master plan was never completed, because the church didn’t grow as
anticipated. Later buildings were added but not in agreement with Marr’s design.

Figure 3.5: Rendering of original site plan. Artist is unknown. Courtesy of the Clinton Marr archives at the
Riverside Metropolitan Museum.
The chapel is the center piece of the complex. It is a round Expressionist chapel with
influences from roadside architecture. Nicknamed the “modern baroque,” Expressionism rejected
the “restrictive minimalism of the American version of the International Style.”
132
Instead
Expressionists embraced dynamic forms. They often used curved forms and sharp corners.
Movement was a key part of Expressionism. Its goal, like Streamline Moderne, was to create
buildings that evoke movement. One architect that was known for his expressive forms was Eero
Saarinen, as seen in his TWA Terminal (1962) at JFK Airport in New York. This building
132
Ibid., 309.
38

appears to be in flight and creates the dynamic quality that was quite different from the
International Style.
One of the most well-known roadside architecture of this era is the Googie-style. Googie-
style is strongly associated with post-WWII optimism and looking to the future. It is strictly a
commercial architecture, but it has traits that are similar to Expressionism. Much like Streamline
Moderne, it grew out of the car culture and the Space Race, which was going on during this time.
This connection to the automobile made it a common choice for roadside architecture. Sharp
angles and curves along with bold colors and flashing lights gave the buildings a “space age”
quality. Much of the design was created to grab the attention of the people driving by. Some of
the most recognizable “Googie” buildings were coffee shops and roadside restaurants, such as the
style’s namesake Googie’s Coffee Shop in West Hollywood, which was designed by John
Lautner in 1949.
133
While it would be incorrect to call Wesley UMC “Googie,” it is important to
point out the similarities that were drawn from the mid-century roadside architecture.
The ground breaking for the chapel took place on February 15, 1959 and the first service
in the chapel was on September 20, 1959.
134
It is a drum shaped folded plate building. The
structure is continuous folded plates that circle the building. [Figure 3.6] This was achieved
through the use of gunite, a sprayed concrete common in pool construction. This structure is said
to resemble a crown.
135
There are two concrete block support structures protruding out from the
northeast and southwest of the building. These structures provided services to the building, such
as a mechanical room and a pastor’s office.
133
Alan Hess, Googie: Fifties coffee shop architecture (San Francisco: Chronicle Books Llc, 1986).
134
Church history provided by Wesley United Methodist Church.
135
“Unique Design,” Riverside Daily Press, May 16, 1959.
39

Figure 3.6: Chapel with support structures, view looking southeast. Photo by author.
While round churches are not the norm, the round design of this chapel was an attempt to
give the congregation as much space as possible on a limited budget. Marr went through several
conceptual designs to maximize the space provided. He attempted both square and rectangular
designs before finally settling on a round chapel. [Figure 3.7] The round chapel not only
maximized the space, it provided for the liturgical need for the preacher be the center of the
ceremony. It was the concept of a round chapel that drove the rest of the design. In order to
achieve the large spans required to provide the open space for the chapel, concrete was
determined to be the best structural material. The folded plate design was developed with his
structural engineer, Johnson & Nielsen. The folded plates give strength to the concrete and allow
them to be both wall and roof.
40

Figure 3.7: Floor Plan, by Clinton Marr & Associates. Blueprint courtesy of Wesley UMC.
The triangular voids in the structure allow for light and access to the building. There are
two entrances to the building, one at the west and one at the southeast. Covered walkways with
flat roofs extend out from these entrances. [Figure 3.8] The walkway on the southeast connects
to the classroom building designed by Marr. The original concept had the walkway on the west
extending to what would have been the main chapel. As the main chapel was never built, this
covered entrance was not extended beyond the walk that leads to the street.
41

Figure 3.8: West entrance, view looking southeast. Photo by author.
The voids in the structure are enclosed by violet colored pebbled glazing. This causes the
white folded walls and ceiling to be bathed a diffused regal light. [Figure 3.9] The violet pebbled
glass was chosen mainly for religious connotations. Marr wanted to use stained glass but due to
cost and availability, this was not possible. Instead a regal decorative glazing was chosen. This
glazing however had an unplanned side effect. Beyond creating a dynamic quality of light the
glazing responds to two other concerns, glare and heat. By using pebbled glazing Marr was able
to create natural lighting distributed even across the space and a light lacking glare, which would
disrupt the services held at the chapel. The dark color glazing along with the pebbled texture
allows light into the space while reducing the heat waves that are allowed to pass through the
glazing.
42

Figure 3.9: Interior of chapel, view looking north. Photo by author.
At the center of the chapel is an oculus. [Figure 3.10] Covering the oculus is a small
stained glass cupola. The oculus does two things for the space: provide a dynamic quality of light
and provide ventilation. The red and orange stained glass cupola causes an orange glow to flow
down the dome of the structure. A beam of light from the oculus transverses the space throughout
the day. Vents on the cupola and jalousie windows above the entrances work to allow heat to
escape from the top of the dome and cooler air to be pulled from the entrances. Both entrances are
landscaped with trees and grass, this helps to cool the air around the entrance. The use of natural
ventilation for cooling and the diffusion of light to reduce heat show Marr’s ability to adapt his
design for climate.
43

Figure 3.10: Interior view of oculus and cupola. Photo by author.
The combination of the light and structure creates a dynamic space. Directly below the
oculus is the altar. The pews circle the altar, which puts the focus at the center of the chapel. One
parishioner describes the combination of the oculus light and the central focus as a physical
metaphor for putting god at the center. It is clear from this statement that the dynamic space that
Marr created conveys a sense of awe and reverence. This is an example of the buildings mystical
quality and how it brings the focus to god.
The chapel and the classroom building were constructed in 1959. Even though the chapel
is the main topic of this chapter, it is important to mention the other building. It is a one-story
rectangular concrete block building. [Figure 3.10, 3.11] It runs along the northeast-southwest
axis. The roof is a flat roof with large overhangs that cover the walkways along the northwest and
southeast elevations of the building. These elevations are concrete masonry half-walls with
storefront style glazing to the ceiling and a varying pattern of doors. The northeast and southwest
44

elevations are primarily full height concrete masonry with paired door glazing at the center of the
wall. The southwest elevation has two sets of paired doors and the northeast elevation has one set.

Figure 3.11: Classroom building, view looking southwest. Photo by author.

Figure 3.12: Classroom building, view looking northeast. Photo by author.

45

Possible Influences
In 1957, USC hosted an exhibit showcasing the work of Felix Candela. Candela is most
known for his concrete shell form designs.
136
Concrete shell and folded-plate structure, also
known as prismatic shells, are sub-categories of thin-shell construction.
137
The exhibition was
published in the May 1957 issue of Arts & Architecture magazine. It was sponsored by the
Southern California Chapter of the AIA.
138
With Marr’s involvement in the AIA, being a USC
graduate, and a reader of Art & Architecture, it is likely at Marr gained exposure to this from of
construction during this time.
Folded plate roof structure were first used in 1924 in Germany. Through the late 1920s
and 1930s the theory and science behind folded plate structures were published. However, it
wasn’t until 1947 that they first wrote about in the English language, by George Winter and
Minglung Pei in the American Concrete Institute’s Journal. This journal introduced the American
architects and engineers to this structural method.
139

One building that had direct influence on the design of the chapel was Eero Saarinen’s
MIT Chapel.
140
The MIT Chapel was constructed in 1955. It is a simple round chapel with no
windows. Natural light is provided to the space through a single oculus in the roof.
141
There is
almost no similarity between the design and style of these two chapels. However, Marr states that
he was inspired by the quality of light created in the space. The awe-inspiring light from the
oculus helped to drive Marr’s design as he attempted to create a space with a dynamic quality of
light.
142

Contemporary Comparison
According to the Los Angeles Conservancy, round Googie-like churches are quite rare.
143

However, there are two churches in Los Angeles County worth mentioning as they compare to
Marr’s chapel. St. Jerome’s Catholic Church in Los Angeles and Vallejo Drive Seventh Day
136
“Concrete Shell Form – Felix Candela,” Arts & Architecture 74, no. 5 (1957): 16.
137
G. S. Ramaswamy, Design and construction of concrete shell roofs (New York: McGraw-Hill, 1968).
138
“Concrete Shell Form – Felix Candela,” Arts & Architecture, 16.
139
Jerome S.B. Iffland, "Folded plate structures." Journal of the Structural Division 105, no. 1 (1979): 112.
140
Clinton Marr, Interviewed by author, Riverside, CA, April 22, 2015.
141
Eero Saarinen, Eeva-Liisa Pelkonen, and Donald Albrecht, Eero Saarinen: shaping the future (New Haven: Yale
University Press, 2006).
142
Clinton Marr, Interviewed by author.
143
“Vallejo Drive Seventh Day Adventist Church,” Los Angeles Conservancy, accessed May 1, 2015,
https://www.laconservancy.org/locations/vallejo-drive-seventh-day-adventist-church.
46

Adventist (SDA) Church in Glendale have similar design feature to that of Wesley UMC. There
are four character defining features shared among the three chapels; they are round, have folded
plate roofs, a center oculus, and there is a small cupola covering the oculus.
St. Jerome’s is located in the Westchester neighborhood of Los Angeles on La Tijera, just
off Interstate 405. The church was designed by Raymond Whalley of Prescott, Whalley, & Weit.
It was built in 1966. Similar to Wesley UMC, the round design of the chapel was a response to
the needs of the church. In this case it was a response to the steep slope of the site that prevented
a traditional crucifix shaped building. The folded plate roof sits atop a series of folded walls and
columns. Glazing is used to separate the walls, columns, and roof. This gives the visual
appearance that roof is floating above the walls. [Figure 3.13] In the center a cupola with a spire
mimics the pattern created by the roof folds. The sides of the cupola are glazed, which allows an
indirect light flow through the cupola and illuminates the center oculus.
144
[Figure 3.14]

Figure 3.13: Exterior of St. Jerome’s Catholic Church. Photo by Michael Locke. Permission granted.
144
“St. Jerome Catholic Church,” The Sixties turn 50: It’s a Mod, Mod, Mod, Mod City (Los Angeles: Los Angeles
Conservancy, 2009), 16.
47

Figure 3.14: Interior of St. Jerome’s Catholic Church. Photo by Michael Locke. Permission granted.
Vallejo Drive SDA is located in Glendale near the junction of SR 134 and SR 2 freeways.
The chapel was designed by Robert Burman of Burman, Clow & Rasmussen. It was constructed
in 1967. The two-story building has a different presence than both the St. Jerome’s and Wesley
UMC, which are lower profile single story buildings. [Figure 3.15] Vallejo Drive has a similar
folded plate roof and cupola to that of St. Jerome’s. However, the roof sits lightly on the brick
walls rather that hovering above them on columns. The triangular voids created by the roof are
enclosed with glazing, similar to that of Wesley UMC. This triangular glazing is repeated in the
cupola allowing light to radiate from the center oculus.
145
[Figure 3.16]
145
““Vallejo Drive Seventh Day Adventist Church,” Los Angeles Conservancy.

48

Figure 3.15: Exterior of Vallejo Drive Seventh Day Adventist Church. Photo by Michael Locke. Permission
granted.

Figure 3.16: Interior of Vallejo Drive Seventh Day Adventist Church. Photo by Michael Locke. Permission
granted.
49

These churches are important to mention because they demonstrate that this style of
folded plate construction was being used in ecclesiastical design during the 1960s. These
buildings are also nearly double the size of Marr’s building, showing how this style of design was
capable of being used in both large and small scales. This style of roof structure was not
necessarily common but it was still a school of thought influencing this time period. These
ecclesiastical buildings are scattered across the nation. Wesley UMC is not the only folded plate
roof ecclesiastical building in the Inland Empire either. The Lutheran Church of Our Savior in
San Bernardino uses a fold plate roof structure to enclose a rectangular chapel. The chapel was
designed by Culver Heaton, a Pasadena based architect. It was constructed in 1966.
146

What we learn from this building
In the design of this chapel and the original site plan Marr utilized common themes
prevalent during this time period, such as roadside architecture, and created an elegant space that
responded to the needs of the client. The design was able to maximize the space for the client
while working within the clients limitations. His use of solid surfaces and void created as
dynamic chapel filled with natural lighting. With simple design choices Marr was also able to
respond to the climate of the area that would affect the building due to the large amounts of
sunlight it would be exposed to.
The next question is, did Marr fulfill the three requirements of a church? His use of light
created an awe inspiring space that symbolically shows God is at the center. This fulfills the
mystical requirement. The building is functional. The round church and seating allows for the
protestant church service by providing equal access to God’s word. Finally, the building is a work
of art. The combination of the folded plates and glazing makes this building visually dynamic.
Finally, we can see Marr’s design for the Wesley UMC is a very early implementation on
the folded plate design. Two nationally recognized ecclesiastical implementations of this
construction type were constructed at the same time: St John’s Abbey Church by Marcel Breuer
(1958-1961), and United States Air Force Academy Cadet Chapel by Walter Netsch of the firm
Skidmore, Owings & Merrill (1957-1963). Both of these buildings were widely published in the
146
“Our Savior’s to Break Ground at New Site,” The San Bernardino County Sun (San Bernardino, CA), February
26, 1966.
50

mid-1950s when their designs were unveiled.
147
In Los Angeles, the James F. Real Studio was
constructed in 1958. The design by Engineer William C. Taylor and architect Arthur G.
Lavagnino is the first thin shell building in Los Angeles and is now a Los Angeles Historic
Cultural Monument.
148
These three buildings demonstrate how Marr’s design was truly at the
forefront of similar implementations of this architectural form.

147
“Saint John’s Abbey Church,” Saint John’s Abbey, accessed August 1, 2015,
http://www.saintjohnsabbey.org/your-visit/abbey-church/; John Buono, “United States Air Force Academy Cadet
Chapel,” docomomo_us, October 14, 2011. http://www.docomomo-
us.org/register/fiche/united_states_air_force_academy_cadet_chapel/.
148
“Los Angeles’s Newest Historical-Cultural Monuments,” Office of Historic Resources, City of Los Angeles 3, no.
3 (2009): 5.
51

CHAPTER FOUR:
The Clinton & Gerry Marr Residence #2
The Modern House
The modern house had early beginnings in Southern California, through the work of
Rudolph Schindler and Richard Neutra in the 1920s, among others. The California modern school
gained recognition when Neutra was included in the Modern Architecture - International
Exhibition at the Museum of Modern Art (MoMA) in New York. The MoMA exhibition, opening
on February 9, 1932 and curated by Henry-Russell Hitchcock and Philip Johnson, exhibited the
work of several architects from around the world. Among these architects were the fathers of the
European modern movements, Walter Gropius, Mies van der Rohe, Le Corbusier, and Erich
Mendlesohn. One of the things this exhibit did was to bring attention to the work of Neutra and
thereby show the potential for modern architecture in Southern California. At the time, much of
the modern movement was centered in Europe.
149

Following the MoMA exhibition, Los Angeles became a hub for experimentation with the
modern house. The first wave of this occurred through the work of the “Second Generation.”
Coined by Esther McCoy, the “Second Generation” refers to Harwell Hamilton Harris, Gregory
Ain, Raphael Soriano, and J.R. Davidson. They also drew influences from other masters such as
Wright and Schindler, who Soriano apprenticed under. Harris looked to the works of the Arts and
Crafts movement and the work of Greene and Greene. Throughout the 1930s and ‘40s, this group
of architects, along with others, continued to experiment and revolutionize modern housing.
These three architects taught at USC and influenced yet another generation of later architects.
150

Probably one of the biggest influences on the modern house movement in Los Angeles
was the Case Study House project. This was the brain child of John Entenza. In 1937, Harris was
commissioned to design a house for Entenza. This was really the beginning of the program
because it fostered Entenza’s interest in modern architecture. Entenza became the editor of
California Arts and Architecture Magazine, in 1938. This was a minor magazine at the time, but
under the oversight of Entenza its influence began to grow, even changing the name to Art &
Architecture Magazine. This magazine became very influential to the work of architects
throughout the mid-century.
151
The Case Study House program, introduced by the magazine in
149
Hines, Architecture of the sun: Los Angeles modernism 1900-1970, 309.
150
Esther McCoy, The Second Generation (Salt Lake City: Peregrine Smith Books, 1984).
151
Hines, Architecture of the sun: Los Angeles modernism 1900-1970, 506.
52

1945, created a laboratory for experimentation in housing design. The program continued until
1966 and showcased designs of Richard Neutra, Raphael Soriano, Craig Ellwood, Charles and
Ray Eames, Pierre Koenig, Buff, Straub, and Hensman, and many others. This program pushed
the boundaries of the modern house. The houses were often designed with a steel post and beam
frame that allowed an open plan and larger walls of glazing. They also became showrooms for
new technology and materials.
152

Southern California was perfectly suited for this modern house experimentation. The
climate and culture allowed for a modern indoor-outdoor living which broke down the boundaries
of interior and exterior. This breaking of boundaries was one of the main tenets of the modern
house. This often manifested itself as houses with glass walls. The mild climate also gave rise to
experimentation with roof structure, although the roof was often flat. Beyond these climate driven
experiments, the modern house also worked on opening up the spaces within the house and
creating a free flowing plan. Part of this was centered on opening the kitchen to both the exterior
and to the family living space. Post-and-beam structural systems became the dominant framing
method because it allowed this openness. Early modern houses were also often characterized by
bright white stucco walls.
153

This dominant form of the modern house, which is characterized by flat roofs, wood or
steel post-and-beam structural systems, and a combination of glazing and stucco, was not the only
form of modern housing to grow out of this time period.
154
One such concurrent style was the
USC style. This style was given attention by Esther McCoy, who coined the name. It is also
known as the Pasadena Style. The style is named the USC Style because of the dominant amount
of USC graduates and professors who practiced in this style, including Whitney Smith and Buff,
Straub, and Hensman. The USC Style has similarities to the dominant modern housing designs
such as post-and-beam structures, open plans, and large amounts of glazing. Where the style
differed was from its influence grounded in Craftsman architecture and the work of Greene and
Greene. In talking about the style, McCoy states, “The houses were based on a panel system and
152
McCoy, "Arts & Architecture Case Study Houses," 55-73.
153
Michael Webb and Roger Straus, Modernism reborn: mid-century American houses (New York: Universe, 2001),
10.
154
Alan Hess and Alan Weintraub, Forgotten modern: California houses 1940-1970. (Layton, Ut: Gibbs Smith,
2007), 47.
53

framed with 4 by 4-in. posts 4 feet on center. Roofs were gabled and low pitched, and glass often
followed the gable line. Decks and porches were oriented to the mature trees of Pasadena.”
155

The Neighborhood

Figure 4.1: Map of Riverside. Courtesy of Google, Inc.
Marr’s second residence is located four miles south of downtown Riverside in the
Hawarden Hills neighborhood. [Figure 4.1] The neighborhood is within the city’s original
boundaries. It has deep connection to the city’s citrus industry. In the early twentieth century,
parts of the neighborhood were parceled out to create large lots for citrus groves. These lots were
used as family farms. Several of these farms had homes built in the early revival styles, such as
Classical Revival and Tudor Revival. Today there are still active citrus groves in the nearby
areas.
156

Much of the neighborhood’s development occurred between 1970 and 1990. During this
time period, the large lots were subdivided into mid-sized and estate lots. This often produced
155
Esther McCoy, "Arts & Architecture Case Study Houses," 72.
156
“Hawarden Hills Neighborhood,” City of Riverside, accessed June 1, 2015,
https://www.riversideca.gov/athomeinriverside/neighborhoods-hawardenhills.asp.
54

individualized houses rather than the repetitive nature of planned communities. The hillside
nature of the area lends itself to curved streets with picturesque landscape.
157
[Figure 4.2] The
people in the area fall into the upper middle income. They are generally empty nesters who are
reaching retirement age.
158

Figure 4.2: Aerial View of the neighborhood. Courtesy of Google, Inc.
When Marr built his house, in 1960, there were only a few houses in the immediate area.
Citrus groves still dotted the neighborhood. Several of the houses along Hawarden and
neighboring streets were designed by Marr, an indication of the influence he had in the shaping of
the community in which he lived.
159

Description of the House
The house is seated in the center of a keystone shaped lot along a bend in Hawarden
Drive. [Figure 4.3] It is surrounded by trees and vegetation that were selected and arranged by
157
Ibid.
158
Demographic and Community Profile found on ESRI website, http://www.esri.com/data/esri_data/ziptapestry.
159
Erin Gettis, Riverside City Historic Preservation Officer and owner of Marr Residence, interviewed by author,
Riverside, CA, April 22, 2015.
55

Marr’s wife Gerry.
160
The house is z-shaped in form. The house is oriented slightly off, counter-
clockwise, the cardinal axes. A long driveway runs along the western edge of the property and
terminates at a turn-about that is enclosed by the house on the eastern edge and a garage at the
southern edge. On the western edge of the property next to the driveway is a seasonal creek.

Figure 4.3: Aerial view of the site. Courtesy of Google, Inc.
The house is a wood post and beam constructed bi-level house that is built on the side of
the hill. The living spaces are on the upper level with a carport and office tucked underneath the
house. [Figure 4.4] The house is wood posts with stucco infilled walls on the west side of the
buildings. This creates privacy on the public side of the house. Clerestory windows allow natural
light into these spaces. The house has a flat roof with large over hanging eaves. The house is built
using a three foot module, which is accentuated by the three foot breaks in the clerestory.
160
Ibid.
56

Figure 4.4: Entrance and carport, view looking northeast. Photo by author.
The main entrance is at the center of the house, at the top of a set of stairs. Marr
masterfully extended the beams and lines from the house to create a pergola to cover the lower
landing of the entrance, which begins the main axis of the house. The roof extends over the entry
terrace. The entry terrace continues the main axis of the house that began with the pergola and
extends through entry and out to the rear terrace. [Figure 4.5] One of the ways Marr continues
this axis is by continuing the tile flooring from one space to the next. Another way is through line
of sight. To the south side of the double doors, glazing spans the wall from the floor to the height
of the door jamb. This allows a visual connection between the front terrace and rear terrace as the
rear is separated by glazing. The southern floor joist of the rear terrace extends past the terrace to
the east to enclose a planter that is covered by a pergola, continuing the lines of the roof. This
use of continuous flow further strengthens the main east/west axis.
57

Figure 4.5: Pergola and stairway, view looking west. Photo by author.
Passing through the double doors one arrives in the entry and dining room. The definition
between the entry and the dining room is created by raising the ceiling above the dining room.
[Figure 4.6] The high ceiling facilitates a clerestory to allow light to enter the space. Marr also
chose to use jalousie windows. These windows allow for natural ventilation as the heat rises to
the elevated ceiling. Along the south wall is a built in cabinetry unit flanked by pocket doors.
This wall separates the public and private space. To the north the dining room opens to the living
room. [Figure 4.7] The living room originally had sliding glass doors which opened onto a deck,
but a number of years ago Marr extended the living room and enclosed part of the deck.
161
At the
north east corner of the dining room a doorway leads to the master suite that extends eastward
from the living room.
161
Erin Gettis, interviewed by author.
58

Figure 4.6: Dining room and entry, view looking west. Photo by author.

Figure 4.7: Living room, view looking northwest. Photo by author.
59

Passing through one of the pocket doors, one arrives into the private living space. The
kitchen is along the north of this space. It is a linear shaped kitchen with appliances along the
north and an island along the south. In the kitchen the ceiling is raised with clerestory jalousie
windows to match the dining room. This private space is an example of a modern open plan. The
kitchen and family room seamlessly flow between each other. The west and south walls are a
series of sliding glass doors and glazing. The glazing and doors are capped with clerestory
window similar to the Schindler framing method.
162
[Figure 4.8] Along the west wall there are
built-in shelving units in family units and a sliding door pantry in the kitchen. In the center of the
wall a door leads to a narrow hallway that provides access to two bedrooms, a laundry room, and
a bathroom.

Figure 4.8: Kitchen and Family Room, view looking southeast. Photo by author.
162
This framing method, developed by Rudolph Schindler, was a simplified balloon framing method with a wall
assembly cut to the height of the doors and windows header. A platform roof with overhangs then rested on a
clerestory above the wall assembly.
60

Unlike the north and west sides of the house, the public side, which uses glazing
sparingly, the south and east side of the house, the private side, is predominately full glass walls
with wood and stucco infill panels to give privacy in specific spaces, such as bathrooms. This
was done because Clint and Gerry wanted to “live in a garden.”
163
Marr masterfully
accomplished this goal. The selected use of glazing specifically focuses on views of landscaping.
[Figure 4.9] Even the glazing on the north edge of the living room causes the viewer to look over
a large lawn that is edged with shrubbery and cut off from the street by trees. Several large trees
cut off the views of the neighboring properties and surround this house to make it feel like an
oasis in a forest.

Figure 4.9: West elevation, view looking west. Photo by author.

163
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
61

Possible Influences
The Marr residence strongly reflects Marr’s USC education. While this house is not a
USC Style house it has similar characteristic. Like the USC Style, the Marr residence is
dominated by wood construction. This is highlighted by the exposed wood beams throughout the
house as well as wood paneling. The pergolas on both the front and rear of the house also reflect
the exposed wood structures, a common feature in the USC style. In the interior, the built-in
cabinetry and shelving units throughout the house reflects the Craftsman Style houses, where the
USC Style drew its influences. Finally, use of decks and glazing oriented to nature can be seen in
this house.
Where the Marr residence differs from the USC Style is with its flat roof and its module.
The USC Style uses a 4, 4, 4, module, meaning 4x4 inch post at 4-foot on center. Marr chose to
use a 3-foot module. He later regretted this decision because he felt it was too restrictive and
created tight spaces in the hallways. This led him to be more flexible with his future designs.
164

The 3-foot module Marr used was based on the Japanese tatami mat.
165
This is an
example of the Japanese inspiration that can be found in Marr’s Residence. The Japanese house
became the model of simplicity that can be found in the modern house. It used straight lines and
exposed materials. The houses were designed for flexibility and between the interior spaces.
Gardens were a major part of the Japanese house. They were built to have a strong relationship
between the interior and exterior.
166
Many of these elements can be found in Marr’s residence.
The raised decking on the rear of the house also mimics the way the Japanese houses were
designed. [Figure 4.9]
One specific possible influence comes from the work of Calvin Straub. On September 14,
1952, the Los Angeles Times published an article by Calvin Straub entitled, “A Flexible House
for Family Growth.” The article was published at the beginning of Marr’s final year at USC. In
this article Straub analyzes the various elements of the modern home. He explains how too often
family life is forgotten when designing a home and instead “monuments to art” have been created
through the use of ornamentation. He then explains how the students at the USC School of
164
Ibid.
165
Ibid.
166
Heinrich Engel, The Japanese house: A tradition for contemporary architecture (Rutland, Vt: Tuttle Publishing,
1964).
62

Architecture have undertaken the challenge of redesigning the home while taking into account the
needs of family life.
167

The design of this home looked at the four basic components of a house, circulation,
social living, private living, and work. The kitchen becomes the center of the home because “no
other part of the house was found to be so completely related to all other elements.”
168
He further
explains that the kitchen is also central to family living and therefore belongs at the core of the
house and should be connected to the room where daily life can take place.
Now once again we find the family returning to the home and so to the kitchen, for the
kitchen has always been the core of family life when the house really functions as a home
and not just shelter.

The kitchen, then, in order to take its rightful position as the center of family living, must
be expanded into a room with full social standing including more than just the functions
of cooking and laundry. These of course must be provided for first, simply and efficiently,
but in addition it should include the following necessary activities: informal
entertainment, hobbies and small projects, informal family eating, the care of
convalescents, sewing, ironing, household administration and general daytime living.
169

These principles are represented in the Marr residence. The kitchen is at the center of the
house and connects one side of the house to the other. It also opens up into the space where
family life occurs. This creates a seamless connection between the family room, informal dining,
and the kitchen. It would be logical to think that these beliefs and concepts were instilled in Marr
during his time at USC, so much so that they manifested themselves in the design of his own
home.
One aspect of this flexible home visually represented in the plan is a strong central axis
adjacent to the core of the house which is represented by the kitchen and work space. [Figure
4.10] This axis contains the family living. It also connects the interior with outdoor spaces on
both sides of the house. This axis is where life takes place.
170
Marr took a different approach to
this axis. In Marr’s design the family room is still the connection between the kitchen and the
bedrooms, but it is no longer an axis that connects outdoor spaces. Instead, the axis is moved to
the opposite side of the kitchen, while still being adjacent. Now this axis serves to connect the
public space and the private space. With the exception of the master suite, all of the private living
167
Calvin C. Straub, “Flexible House for Family Growth,” Los Angeles Time, September 14, 1952.
168
Ibid.
169
Ibid.
170
Ibid.
63

is on the south side of this axis. [Figure 4.11] The living room that serves as the public living
space is on the north side. He then turns this axis into the dining room, one room that needs the
connection to both the public and private space, specifically the kitchen.

Figure 4.10: Stage 2 of the Flexible Home by Straub. Image from LA Times, Sept 14, 1952. Courtesy of
ProQuest. Permission pending. This image demonstrates the central core of the kitchen and family
room.

64

Figure 4.11: Floor Plan, by Clint Marr and Associates. Courtesy of the Riverside Metropolitan Museum. In this
plan the strong axis begins at the stairs and runs through the house ending at an enclosed garden.
The grid on this axis also shows the 3-foot module that the house was built on.

What we learn from this building
There are several things that this residence demonstrates. First and foremost it
demonstrates Marr’s ability to take ahold of what he learned at USC and reinterpret it around the
interest and needs of his client, his family. He even pushes the concepts to new levels – for
example, he keeps the kitchen as the core and the family room as the connection between the
kitchen and bedrooms but reinvents the axis as a connection between the public and the private
family living.
However, easily noticeable is his adaption to climate. While his addition of lush green
landscape can be seen as a counter response to the arid climate, there are a couple simple things
65

he has done to respond to the high temperatures of the area. First, the roof has large overhanging
eaves on the southern walls. This causes the south facing walls and, most importantly, glazing to
be shaded during the hottest part of the day. The west wall, which receives the hot evening sun,
has the least amount of glazing. These walls mainly have clerestory windows tucked up close to
the eaves, which let in light but not much sun. Finally, as previously mentioned, Marr uses
jalousie windows high in the clerestory of the raised ceiling. This allows heat to rise in the core of
the house and then be released. As it escapes it pulls air in from other areas and naturally cools
the house.

66

CHAPTER FIVE:
Provident Bank, Redlands, CA

Reacting to the International Style
By the mid-1950s, the International Style, which was the dominant form of modern at the
time, had become common place to architects. The architects of the time saw it with the same
perspective that the previous generations of architects saw the styles they were rejecting. “The
‘victory’ of modern forms certainly brought with it the onus of representing the establishment;
and once the devalued International style became a tired orthodoxy, a new rejection and re-
evaluation became absolutely necessary.”
171
Architects such as Louis Kahn then sought to bring
meaning back to architecture. A new monumentality which re-evaluated functionalism and
rationality was therefore born. It sought to create architecture that had a presence and a purpose.
Some examples of this include Le Corbusier’s Notre Dame du Haut and Jorn Utzon’s Sydney
Opera House. While these two buildings are vastly different in design, they both give a sense of
purpose and meaning. The Sydney Opera House demonstrated through its design that it is a
center for the arts and Le Corbusier’s Notre Dame shows a showcase the meditative nature of the
chapel.
172
The rejection of the International Style and the search for a new monumentality led to
two different styles: Expressionism and neo-Formalism.
173

New Formalism (neo-Formalism) was a style of architecture that began in the 1950s with
Edward Durrell Stone's New Delhi American Embassy (1954). It lasted into the 1970s. It looked
back to classical design and used these concepts with new technology and materials.
174
This style
was often used in the 1960s for governmental and institutional buildings, but it was also used for
small commercial buildings such as banks. The buildings created were monumental and often sat
on podiums. The plans were symmetrical with grand axes. The designs put modern twists on
classical forms including arches, colonnades, columns, and entablatures. The walls were often
smooth surfaces with delicate details. The buildings were set in plazas with formal landscapes
with fountains and sculptures.
175

171
Curtis, Modern architecture since 1900, 261.
172
Norberg-Schulz, Principles of modern architecture,107.
173
Curtis, Modern architecture since 1900, 261.
174
“New Formalism,” Fullerton Heritage, accessed June 1, 2015,
http://www.fullertonheritage.org/Resources/archstyles/formalism.htm.
175
Curtis, Modern architecture since 1900, 309.
67

The Neighborhood

Figure 5.1: Map of Redlands. Courtesy of Google, Inc.
Redlands, nicknamed the “Jewel of the Inland Empire,” is one of the oldest communities
in Southern California. The city was founded by Frank E. Brown and E. G. Judson in 1881. It
was later incorporated in 1888. The city became the winter home for several wealthy East Coast
families, including the Kimberly family of Kimberly-Clark Paper Company and the Smiley
Brothers, who were New York educators and resort owners. Through the 1880s and 1950s
Redlands was a major citrus growing community. It became known as the Washington Navel
Orange Capital of the World. Redlands has a strong sense of community and is proud of this rich
history.
176

The city is home to about 70,000 people. The median annual income of the community is
in the mid-$60,000. The median age is about forty years old. The best term to use when
describing the people of Redlands is “Exurbanites.” They are described as hard working people
176
ESRI. ESRI’s Guide to Redlands: A Unique and Livable Community. Redlands, CA: ESRI, 2008.
68

who have an interest in the arts. They maintain an urbane and cultural lifestyle despite living in a
community with a small town feel.
177

The Redlands Provident Bank is located in the heart of Downtown Redlands at 125 E
Citrus Ave. [Figure 5.1] It is one block south of E State St. State Street is a picturesque tree lined
street where many of the city’s historic commercial buildings reside. Local boutique shops and
restaurants make up the downtown business district.
178
[Figure 5.2] This business district was
created by a group of early settlers who called themselves the Chicago Colony. In establishing the
district they named State Street after one of the major streets in Chicago.
179
State Street plays host
to a well-established weekly Thursday night farmer’s market which has been a staple of
community life for nearly thirty years.

Figure 5.2: Aerial View of the downtown business district. Courtesy of Google, Inc.

177
Demographic and Community Profile found on ESRI website, http://www.esri.com/data/esri_data/ziptapestry.
178
Nathan Gonzales, “Redlands Tourism,” City of Redlands, accessed June 1, 2015,
http://www.cityofredlands.org/tourism.
179
“Brief History,” Redlands Web, accessed June 1, 2015, http://redlandsweb.com/brief-history/.

69

The Client
Provident Bank is the largest Riverside County-based independent bank. It was founded
in 1956 by Gordon A. Blunden. Blunden headed the bank as Chairman and CEO for over thirty
years. Blunden’s son, Craig, is the current CEO. Provident Bank prides itself on high levels of
customer service and community involvement.
180

Through the 1960s, Marr worked closely with Gordon Blunden to design the bank’s
headquarters and several branches as the bank expanded. The relationship between Marr and
Blunden is a good example of Marr’s client focused philosophy. In an oral history with members
of the Riverside city planning department, Marr describes this relationship.
… [I] met with Gordon several times. We talked about the need and his needs and wishes
and we started our schematic drawings showing the relationship of how they wanted to
work in the building. Gordon was a pilot and he had an airplane. He would call me and
say Clint how about lunch today. Sure let’s do it and he said okay I will pick you up. So
the first time he did that we drove out to the airport … and we would get into his airplane
to fly down to Desert Oasis. It has a grass runway, I think it was in Palm Desert, and taxi
up to the restaurant later have lunch and get back in his airplane. I thought that was kind
of neat. I had so many conservations with Gordon. They were working lunches so we
talked many times and that is how I would get the information.
181

Preliminary Design
The Provident Bank that sits on the corner of Citrus Ave and Sixth St was not what was
originally designed. Through 1965 Marr developed several schemes for the bank building. In all
of these schemes Marr used a basic gridded system with an overall square design. [Figure 5.3]
The original design was a two-story post-and-beam style building with a hipped roof. One or two
corners were cut out of the grid, depending on the design, to create an entry into the bank. The
design was simple and straight forward. Similar to Marr’s other post-and-beam designs, this
design exhibits his combination of wood structural members, stucco wall panels, and glazing.
[Figure 5.4] This scheme also shows Marr’s use of clerestory windows, as is common in
modernism. It was elegant for its simplicity but lacked the monumental quality present in the
final design.
180
“About Us,” Provident Bank, accessed June 1, 2015, http://www.myprovident.com/aboutus.asp.
181
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA, Riverside, CA: City
of Riverside, 2009.
70

Figure 5.3: Preliminary Floor Plan, by Clint Marr and Associates. Courtesy of the Riverside Metropolitan
Museum. This floor plan was dated May 21, 1965.

Figure 5.4: Preliminary South Elevation, by Clint Marr and Associates. Courtesy of the Riverside Metropolitan
Museum. This drawing was dated June 16, 1965.

71

By the end of 1965 this simple but elegant design was abandoned for a design closely
resembling the current structure. This design took on a monumental quality to create a more
“permanent presence.”
182
For a bank the new monumentality would suggest that the design
convey strength and longevity. This was Marr’s goal with the new scheme. [Figure 5.5]
This scheme, like the previous designs, also used the grid, which is the hallmark of Marr’s
designs. In this case, he took the grid to the extreme and had the grid create a square design. The
roof and windows demonstrate this grid as the building is a perfect square. Like previous schemes
this design was a two-story design with a tall atrium in the center. [Figure 5.6] This scheme was
simplified and refined into what was actually built.

Figure 5.5: Preliminary perspective, by Clint Marr and Associates. Courtesy of the Riverside Metropolitan
Museum. No date, c. late 1965.

Figure 5.6: Preliminary section facing east, by Clint Marr and Associates. Courtesy of the Riverside
Metropolitan Museum. No date, c. late 1965. This section exhibits the center atrium.

182
Clinton Marr, Interviewed by author, Riverside, CA, April 22, 2015.
72

Description of the Bank
The bank building sits at the southeast corner of a rectangular shaped parcel. [Figure 5.7]
The building is a perfect square measuring 60’x60’. It is slightly set back from sidewalk along
Citrus Ave to the south and Sixth St. to the east. Separating the building from the sidewalk is a
planter and a dry moat. The moat runs along the east, south, and west facades and allows light to
enter basement of the building. Small “bridges” cross the moat to provide entry on the east, south,
and west facades. Today only the western entrance is open to allow entry, the others are locked.
On the west side of the property is a parking lot and a driveway runs along the north side of the
building. This driveway served the original drive-thru teller window which was a common new
service feature in the ‘60s and into the ‘80s. It has now been modified to feature an ATM.

Figure 5.7: Aerial view of the site. Courtesy of Google, Inc.

The bank was constructed in 1966. Marr blends the two forms of new monumentality in
this building. [Figure 5.8] The stark white walls with fins to give the impression of columns,
exhibit the principles of New Formalism. The bank is slightly raised above the sidewalk level.
This, along with being separated from the street by a moat, continues New Formalist tradition.
73

This formality is contrasted with a slight hint of whimsy. The roof does not fit with the traditional
flat roof of New Formalism. Instead its dynamic quality evokes the forms of Expressionism.
While these are two opposing reactions to the international style, Marr masterfully blends them
together in a manner that creates a monumental building.

Figure 5.8: Provident Bank, Redlands, view from the corner of Citrus Ave and Sixth St looking northwest.
Photo by author. This photo exhibits the monumental quality of the building. The New Formalist
walls blend with a dynamic roof.

The building is constructed with a combination of precast and poured in place concrete.
Each façade is identical with the exception of the north facade, where part of the basement is not
visible. The building is built on a five foot module. [Figure 5.9] There are three fifteen foot
precast concrete panels separated by two five foot windows. Corner windows connect the
facades. Each panel has two and a half foot long, six inch thick fins extending out perpendicular
from the edges of the panel. A two and a half foot ledge also extends out and the floor height,
signifying the separation between the basement and ground floor. Flood lights were originally
intended to be inset into these ledges to illuminate the flat wall. The windows are full height
74

window and run from the floor to the roof. They also house the glass doors which provide access
to the interior space. The glazing is a smoked color, which contrasts the stark white concrete
panels and helps to reduce the heat infiltration from the sunlight. The bronze colored window
frame and mullion are thin with the exception of at the height of the door header, even if there is
no door. This causes the frame to almost disappear.

Figure 5.9: Floor plan, by Clint Marr and Associates. Courtesy of the Riverside Metropolitan Museum. This
floor plan shows the perfect square of the building along with the 5’ module that is seen with the 5’
foot windows.

The roof is one of the most noticeable features of the building. [Figure 5.10] The roof is a
six inch thick poured in place concrete and over hangs the building by ten feet on each side. This
overhang, along with the fins, casts a shadow on the windows throughout the day. The shadows
reduce the direct sunlight and therefore reduce heat in the building. The roof is corrugated with
three semi-flat peaks at the wall panels and two valleys at the windows. The peaks and valleys
run in a north-south direction. The valleys are at the same level as the overhangs and the peaks
75

rise three and a half feet above the valleys. Working with his structural engineers, Johnson &
Nielsen, Marr chose a corrugated roof because it added strength to the concrete and allowed it to
span the required sixty feet without any additional columns.
183

Figure 5.10: South façade, view looking north Photo by author. This photo was taking at the peak of the
summer solstice, June 21, 2015 at about 1:00 PM. Notice the building is in complete shadow,
showing that all the direct sunlight has been blocked.

The interior space is a large volume with a twenty five foot high ceiling. The exposed
underside of the concrete roof serves as the ceiling. [Figure 5.11] Florescent light fixtures span
between the valleys of the roof. The fixtures reflect light upwards as well as downward. This
illuminates the roof and draws attention to it. The light fixtures also serve to accentuate the grid
used to design the building and are placed every ten feet on center so they line up with the edges
and center of each concrete wall panel.
183
Clinton Marr, Interviewed by author.
76

Figure 5.11: Interior, view looking north. Photo by author.

Free standing partitions separate the space for offices, and the bank tellers. These
partitions are made of dark wood paneling and dark painted metal. The frames of the light
fixtures are also painted dark. These dark tones serve as a contrast to the bright white walls.
[Figure 5.11] This contrast allows the building to make a statement as it encloses the spaces. Near
the middle of the east wall, stairs led down to the basement. So that adequate parking was
supplied, the building needed to be two stories to provide all the space needed.
184
Earlier designs
had a second story with a grand staircase with an atrium in the center. In the final design a
basement was added to allow as much of the space be open instead of just the atrium. The
basement contains private spaces such as the mail room along with a kitchen and a community
meeting room.

184
Clinton Marr, Interviewed by author.
77

Possible Influences
Marr sited no direct influences for this building but there are a few possible influences.
First of all, the work of William Pereira appears to be a possible influence on this building.
Pereira’s work had a monumental quality. One such example of this was his design for the Los
Angeles County Museum of Art (LACMA). Pereira designed a series of building for this museum
that opened in 1965. These buildings are an example of New Formalism. The buildings are large
cubical volumes. Each build has flat facades ornamented with columns and pilaster. The
buildings are all elevated on platforms which overhang ponds.
185

These buildings are group together to form a series of plazas and staircases which further
invoke monumentality. Pereira’s LACMA buildings were published in the May 1965 issue of
Arts & Architecture. This is right around the same time Marr was working on the design for
Provident bank. While no direct influence to the future design can be stated, Marr does state Arts
& Architecture did exert some influence over his work.
186

The Provident Bank building has some similarities to Paul Rudolph’s addition to the
Sarasota High School (1959). This building was widely published. Architectural Forum describes
it as a “dance of architectural shapes.” With breeze ways and sunshades, Rudolph’s design
responds to the hot climate of Sarasota, Florida. Rudolph’s design also reflects the “energetic
educational program” of the school.
187
The smooth white walls and corrugated roof structure has
some similarities to Marr’s design. Rudolph’s response to climate is also similar Marr’s
approach.
One building having a similar fusion between New Formalism and Expressionism is E.
Stewart Williams’ Coachella Valley Savings and Loan #2 (1961) in Palm Springs. The
symmetry, flat roof, raise platform, rhythmic columns, and front fountain all exhibit the New
Formalist nature of design. However, the drama that comes from the inverted arches shows the
Expressionist dynamics.
188
This is a Southern California example of blending of these two styles
185
James H. Langenheim, “William L. Pereira & Associates, Architects,” Arts & Architecture 82, no. 5 (1965): 16.
186
Modernism Context Statement, Oral History Interview, Interview with Clinton Marr, FAIA.
187
“School in the Sun,” Architectural Forum 112, no. 5 (1960): 94.
188
“DoCoMoMo Architectural Bus Tour Highlight: Coachella Valley Savings #2,” Palm Springs Modernism (blog),
October 2, 2012, http://blog.modernismweek.com/docomomo-architectural-bus-tour-highlight-coachella-valley-
savings-2/.
78

in a bank. With both of these architects working in the same areas it is likely that Marr was aware
of this building.
Art & Architecture possibly played major influence on Marr’s Design. If nothing else the
magazine exposed Marr to what was being done in the architecture community. One such
building, published in the August 1963 edition, was Phillip Johnson’s Sheldon Memorial Art
gallery. This art gallery is a box-like building with smooth walls. Along the walls, modernized
pilasters and entablatures reflect classical forms.
189
Another architect whose work shows similar
form was William Wilson Wurster. In a July 1964 article, Esther McCoy, states that he creates
architecture “in a style that is both human and timely.”
190
In this article she describes how
Wurster takes the trend of neo-classicism and merges it with the regionalism of the San Francisco
Bay area. One particular building of interest is his design for the Bank of America, A. P. Giannini
Branch in San Mateo. [Figure 5.12] This building demonstrates the use of New Formalism in a
small community bank.
191

189
“Art Gallery by Phillip Johnson, architect,” Arts & Architecture 80, no. 8 (1963): 18.
190
Esther McCoy, “West Architects II: William Wilson Wurster,” Arts & Architecture 81, no. 7 (1964): 20.
191
Ibid., 25.
79

Figure 5.12: Bank of America, San Mateo, 1963. From Arts & Architecture July 1964, pg 25. Permission
Pending.

Different types of roof forms were common among the pages of Art & Architecture. The
types of roof forms often published included roof made of repeated barrel vaults such as Welton
Becket’s Tradewinds Supermarket. However, one article is interesting to note. In the October
1958 edition, an article on a Research Park by Victor Gruen showcases multiple buildings and
structures with unique roof forms. Among these designs is a covered walkway featuring a
corrugated roof structure that is similar to that of the Provident Bank.
192
[Figure 5.13]
192
“A Research Park by Victor Gruen Associates,” Arts & Architecture 75, no. 10 (1958): 15.
80

Figure 5.13: Concept sketch of a research park by Victor Gruen. From Arts & Architecture October 1958, pg
15. Permission Pending.

What we learn from this building
This building demonstrates a few things. First it shows Marr’s ability to keep current with
architectural trends. While there is no direct influence evident for Marr’s design, it is clear that
this movement to monumentality and New Formalism was being published in the architecture
magazines of the times. So what we see is Marr keeping himself current with these growing
trends and bringing them to the Inland Empire.
Next we see Marr continuing to experiment with roof forms, as he did with Wesley
United Methodist Church. His unique style roofs are not for simple style purposes. These roof
forms are tied to function. In both cases Marr used a different style of roof to span great distances
and create open spaces.
Once again we see Marr responding to the climate. Marr fully demonstrated his ability to
track sun angles and cast shadows. The limited windows are shaded during the hottest times of
the year. Marr was mindful of the hot arid climate he was building in and responded to it by
blocking the direct sunlight.
81

CONCLUSION

Recognition and Reception
These three building brought Marr vast amounts of attention and recognition. Both the
Wesley UMC and the Provident Bank were showcased in local newspapers. Wesley UMC was
said to be “the subject of much interest to passersby as it has taken shape.”
193
Another article
spoke of the new structural methods and how it created a beautiful form in the chapel. The people
of Riverside were intrigued and in awe of Marr’s church.
194
The Provident Bank was described as
“exemplifying modern design and construction at its best.”
195
As with the church, the bank was
seen as innovative and dramatic.
Two of the buildings were given awards: Provident Bank and the Marr residence. In 1967,
the Southern California Portland Cement association selected the Provident Bank among six other
buildings to receive an award. “Basis of the award is good architecture, unusual design ideas,
structural innovations, and outstanding construction techniques.”
196
Furthermore, Marr’s building
was selected because of its “creative use of concrete.” This award recognized Marr’s ingenuity in
design.
The Marr Residence was given an award by the Southern California Chapter of the AIA
for good architecture in 1960. In 2013, Marr’s Residence was designated as a local landmark by
the city of Riverside. It was also determined to be eligible for listing on the National Register.
The Clinton and Geraldine Marr Residence #2 retains its integrity and continues to convey
its historic significance. In addition to eligibility as a City Landmark, the home is eligible
for listing in the National Register of Historic Places at the local level of significance and
the California Register of Historical Resources. Therefore, a status code that represents
the residence’s eligibility for designation has been assigned: 3S — individual property
that appears eligible for the National Register. The home is an excellent example of Mid-
century Modern residential architecture in Riverside. It represents the work of significant
local architect Clinton Marr. It also exemplifies the tenets of Modern architecture
embodied in the Post-and-Beam method of construction, and is one of the few examples
of custom, architect - designed homes of this style in Riverside.
197

193
“Wesley Worships in New Chapel,” Daily Press (Riverside, CA), September 19, 1959.
194
“New Structural Aids Open Way to Beauty,” Press & Enterprise (Riverside, CA), June 15, 1958.
195
“Concrete industry gives award to local building,” Redlands Daily Facts (Redlands, CA), March 13, 1967.
196
Ibid.
197
Community Development Department to Honorable Mayor and City Council, memorandum, December 10, 2013,
Riverside Community Development Department, Planning Cases P13 -0459 and P13 -0474 – Historic Designation of
The Clinton and Geraldine Marr Residence # 2 and approval of a Mills Act Contract - 6816 Hawarden Drive, City of
Riverside, 12-10-13 CC RPT 14.
82

From newspaper publications to awards, it is clear that Marr’s work was admired and
respected. This shows the important role Marr played in the development of the Inland Empire’s
post-war architecture. His can also be seen as an example of the regional architecture being
constructed.

Marr’s Regionalism
The developing of regional architecture must look at both culture and climate. The
excitement and growth of the Inland Empire during the post-war construction boom fueled the
desire for things that were new and innovative. These buildings represent this innovative spirit.
Marr sought out to create unique designs using new structural methods. With the design of the
Wesley UMC and Provident Bank, Marr was on the “cutting edge” of what was new and exciting.
We was experimenting with new methods and fusing styles. His residence, on the other hand, was
a modern integration of an old design method. He designed the house to integrate the outdoors
into the house. These early designs showcase Marr illustrating the architectural excitement of the
era with him as he returned to Riverside.
Climate poses a great challenge to architecture. Each of these buildings has specific
adaptations allowing them to provide comfort in the hot climate of the Inland Empire. Two
specific traits these building showcase are the use of shading devices and air flow. Marr’s
buildings also show his understanding of sun paths and the need to block the sun during the
hottest time of the year. He used roof overhangs and fins to do this. Marr used operable windows
both high and low to allow air to flow through the building, which gives the opportunity for fresh
air to cool the building. These adaptions to the climate appear in varying degrees throughout
much of Marr’s work.

83

Where do we go from here?
This thesis has been a short introduction to the work of Clint Marr. It is only a small piece
of the context necessary to evaluate his buildings. There are still many other areas of his work to
be explored. For example, Marr did not only design buildings in these three building types. He
also designed schools, civic buildings, and industrial buildings. It would be important to see how
Marr addressed the design of these building types. Did he approach them in the same manner?
Marr’s career spanned forty years. This thesis only addressed buildings built in the first
ten years of his career. There is no question that Marr’s designs changed over time and that his
later career needs to be studied. Beginning in the 1970s, Marr shifted to a more Brutalist form of
architecture using concrete blocks. In the 1980s and 1990s, he began to take a more Post-Modern
approach. To get a better understanding of Marr, it is necessary to look at these different eras and
see how he adapted to the changes in architecture. All of this information builds the foundation
for understand why Marr remains an important architect in the region.
This thesis only looked at one architect that practiced in the Inland Empire. His work was
predominantly on the east side of the region. The buildings analyzed in this thesis are in only two
cities, Redlands and Riverside. In order to get a better understanding of the regionalism of the
Inland Empire, it is necessary to investigate the many other architects who practice in the area
and the cities in which they practiced. Different nuances may appear based on the city. For
example is the modern architecture in Upland different than Riverside or Claremont? This region
saw a vast amount of growth during the post-war era and is filled with excellent examples of
modern architecture. These buildings and architects need to be identified and researched to see
how they compare to other modernist buildings.
Preservation can only happen when people start to care. It is necessary for individuals and
organizations that advocate for modern architecture to begin to take notice of what the Inland
Empire has to offer. Until this happens, the full story about why these buildings and architects are
important will not be discovered. Without this context, the preservation of these modernist gems
can’t take place and many of them will be lost forever.

84

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90

APPENDIX I:
Partial List of Projects

Building Name Address Date Notes
Civic
County of
Riverside
Administrative
Center

155 E Hays St. Banning, CA
Larson Justice
Center
46187 Oasis St. Indio, CA 1996 With Don Wexler
Post Office 42222 Rancho Las
Palmas Dr.
Rancho Mirage, CA
Riverside County
Clerk, Recorder,
and Registrar of
Voters Facility
2724 Gateway Dr. Riverside, CA 1997
Riverside
Municipal Airport
Terminal

6951 Flight Rd. Riverside, CA 1968
Riverside Hall of
Justice
4100 Main St. Riverside, CA 1991
Roy C. Hunt Park
Pool & Park
Facilities
4015 Jackson St. Riverside, CA Altered

Commercial
American
Securities Bank
250 N G St. San Bernardino,
CA
1974
Bank of America 305 E State St. San Bernardino,
CA
1975
Best, Best, &
Krieger Building
4200 Orange St. Riverside, CA 1958 Today: Riverside
County public
defender’s office

Clayson, Stark,
Rothrock, &
Mann Law Office
601 S. Main St. Corona, CA 1971
De Anza
Chevrolet Sales
and Service
8200 Auto Dr Riverside, CA 1965 Today: Singh
Chevrolet
Dutton Motor
Company
8201 Auto Dr Riverside, CA 1965
91

Kinkle, Rodiger,
Graf, Dewberry,
& Spriggs
3393 14
th
St #100 Riverside, CA 1969
Kinkle, Rodiger
& Spriggs
3333 14
th
St.

Riverside, CA 1994
N.K. Bear
Medical Office
4024 12
th
St. Riverside, CA 1961
Press Enterprise
Building
(addition)
3512 14
th
St. Riverside, CA
Provident Bank 1690 E Florida
Ave.
Hemet, CA 1971
Provident Bank 125 E Citrus Ave. Redlands, CA 1966
Provident Bank 3756 Central Ave. Riverside, CA 1962
Riverside Auto
Center
(cooperative)
8000 -
8201
Auto Dr. Riverside, CA c.
1965
Master Plan
Santa Ana
Watershed
Association
450 E Alessandro
Blvd.
Riverside, CA 1984
Security First
National Bank
(University
Branch)
1680 University
Ave.
Riverside, CA 1957
Sunset Hills
Medical Center
3120 S Hacienda
Blvd.
Hacienda Heights,
CA
1963
Standard
Insurance
Building
3380 14
th
St. Riverside, CA 1961 Today: Riverside
Unified School
District
Swarner,
Fitzgerald, &
Dougherty Law
Offices
4200 Orange St. Riverside, CA 1966 Today: Travis Law
Firm
Town Square
Building
4033 Chicago Ave. Riverside, CA 1969
Warren Anderson
Ford Sales and
Service
8000 Auto Dr. Riverside, CA 1965

Industrial
California Water
and Telephone
Co.

36 S. 4
th
St. Redlands, CA 1964
92

California Water
and Telephone
Co.

57186 Yucca Trail Yucca Valley, CA 1965
Johnson
Machinery Co
800 E La Cadena
Dr.

Riverside, CA 1962
Lily-Tulip Cup
Factory
800 Iowa Ave.

Riverside, CA 1958 Altered
Southern
California Gas

4495 Howard Ave. Riverside, CA

Institutional
Classroom &
Faculty Office
Building for
School of Letters
& Science
Long Beach, CA 1974 California State
University, Long
Beach
Evergreen
Masonic Center
5801 Chicago Ave.

Riverside, CA 1975
George
Washington
Elementary
School
2760 Jane St Riverside, CA 1964 Design plus
additions
John W. North
High School

1550 3
rd
St. Riverside, CA 1964 With Ternstrom &
Skinner
Olivewood Day
School
6212 Pachappa Dr. Riverside, CA 1959
Business
Education
Building
4800 Magnolia
Ave.
Riverside, CA Riverside
Community College
Student Center
and Bookstore
4800 Magnolia
Ave.
Riverside, CA 1966 Riverside
Community College
Riverside County
Office of
Education

3939 13
th
St Riverside, CA

Sunshine School 9390 California
Ave
Riverside, CA 1960
Agricultural
Engineering
Shops
Riverside, CA University of
California,
Riverside
93

Agricultural
Extension Facility
Riverside, CA University of
California,
Riverside
Director's
Residence
Riverside, CA University of
California,
Riverside
Field Utility
Building
Riverside, CA University of
California,
Riverside
Physical
Education
Building
Riverside, CA University of
California,
Riverside -
alterations
Physical Sciences
Building
Riverside, CA University of
California,
Riverside -
alterations
Psychology
Laboratory
Riverside, CA University of
California,
Riverside -
alterations
Social Science
and Humanities
Building
Riverside, CA University of
California,
Riverside -
alterations
Victoria Country
Club
2521 Arroyo Dr Riverside, CA Additions &
alterations

Religious
Calvary
Presbyterian
Church
4495 Magnolia
Ave.

Riverside, CA 1961 Additions
First Baptist
Church-Riverside
5500

Alessandro
Blvd.
Riverside, CA 1964 Altered
First Methodist
Church
4845 Brockton
Ave.
Riverside, CA 1961 Additions
Gethsemane
Lutheran Church
891

W. Blaine St. Riverside, CA

1961
Grace United
Methodist Church
1085 W. Linden St.

Riverside, CA 1965
Hemet United
Methodist Church
530 S. Buena
Vista St.
Hemet, CA
Salvation Army 3695 1
st
St. Riverside, CA 1990
Society of the
Divine Word
11316 Cypress Ave.

Riverside, CA
94

University
Christian Church
1363 Linden Street Riverside, CA

1964
Wesley United
Methodist Church
5770

Arlington
Ave.
Riverside, CA 1959

Residential
C.E. Donaldson
Residence
5496 Pinehurst Dr. Riverside, CA 1958
Chadwick Barrie
Residence

6926 Hawarden Dr. Riverside, CA 2006
Clinton & Gerry
Marr Residence #
1
4566

Jarvis St. Riverside, CA 1955

Clinton & Gerry
Marr Residence #
2

6816 Hawarden Dr.

Riverside, CA 1960
Dr. Donald Corr
Residence
Riverside, CA 1963
Dr. & Mrs.
Edward Neblett
Residence
6744 Oleander Ct. Riverside, CA 1959
Dr. & Mrs. Robert
W. Kircher
Residence
2496 Piedmont Dr. Riverside, CA
Dr. & Mrs.
William D.
Bowker
Residence
Riverside, CA
Fred & Helen
Clark Residence
6720 Oleander Ct. Riverside, CA 1959
Frederick
McGragg
Residence
2050 Elsinore Rd. Riverside, CA 1960
George Lewis
Crafts Residence
6116 Pachappa Dr. Riverside, CA 1961
Howard H. Hays,
Jr. Residence
2750 Rumsey Dr. Riverside, CA 1959 Altered
Mr. & Mrs. Alan
Nixon Residence
2881 Rumsey Dr. Riverside, CA 1966 Addition

95

Abstract (if available)

Abstract The California Inland Empire is rich with post-war Modern architecture. Sadly, this architecture is over looked and underappreciated. This thesis showcases a Modernist architect that was prolific throughout the region, Clinton Marr, and his attempt to adapt the Modernist ideals to the regions climate and culture. In this thesis, three buildings are analyzed and serve as examples of Marr’s early work: Wesley United Methodist Church, Clinton and Gerry Marr Residence, and Provident Bank Redlands. These buildings are analyzed in terms of design influence and how they represent regionalism.

Linked assets

University of Southern California Dissertations and Theses

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Asset Metadata

Creator Watson, Scott K. (author)

Core Title Clinton Marr: bringing Modernism to the Inland Empire

Contributor Electronically uploaded by the author (provenance)

School School of Architecture

Degree Master of Heritage Conservation

Degree Program Heritage Conservation

Publication Date 08/26/2015

Defense Date 08/20/2015

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Clint Marr,Clinton Marr,Inland Empire,modern architecture,modernism,OAI-PMH Harvest

Format application/pdf (imt)

Language English

Advisor Sandmeier, Trudi (committee chair), Bricker, Lauren (committee member), Horak, Katie (committee member)

Creator Email scottwat1981@gmail.com,scottwat1981@yahoo.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-170664

Unique identifier UC11275011

Identifier etd-WatsonScot-3846.pdf (filename),usctheses-c40-170664 (legacy record id)

Legacy Identifier etd-WatsonScot-3846.pdf

Dmrecord 170664

Document Type Thesis

Format application/pdf (imt)

Rights Watson, Scott K.

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA