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Adobe domestic architecture in California
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Adobe domestic architecture in California
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ADOBE DOMESTIC ARCHITECTURE IN .CALIFORNIA A Thesis Presented to The Faculty of the College of Architecture The University of Southern California In Partial Fulfillment of the Requirements for the Degree Master of Architecture by Clarence Cullimore June 1942 This thesis, written by . under the direction of ht.d.. Faculty Com1nittee, and approved by all its members, has been presented to and accepted by the Council on Graduate Study and Research in partial fulfill ment of tlze requirements for the degree of Dean Faculty Co1nmittee • f TABLE OF CONTE11TS I. INTRODUCTION. • • • • • • • • • • • • • • • • • • Scope of the study. • • • • • • • • • • • • • • The purpose of this investigation • • • • • • • The need for this study • • • • • • • • • • • • Sources of data • • • • • • • • • • • • • • • • II. HISTORICAL BACKGROUND • • • • • • • • • • • • • • III. IV. Influences from Old Spain ..•. New World flowering in M exico .. California's architectural heritage • • • • • • • • • • • • • • • • • • • • Eastern American influences •.•....••• Historic adobes of California ........ . CONSTRUCTION M ETHODS ...........••.. Cajon or wall-filling material • • • • • • • • • Poured adobe • • • • • • • • • • • • • • • • • • Rammed earth or Eise de terre .•. The English cobb ..•••••.•• Sun-dried adobe bricks • • • • • • • THE PATIO IDEA. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Spanish patios. ~n:oorish gardens • • • • • • • • • • • • • • • • The M exican inner courtyarct • • • • • • • • • • Patios of California .. 9 • • • • • • • • • • • PAGE 1 3 4 5 6 7 8 17 27 35 36 48 48 49 52 52 53 55 55 59 59 63 iii CH.APTER PAGE 70 70 72 75 76 80 82 82 83 85 V. MODERN PATIO ACC~ SORIES • • • • • • • • • • • • VI. VII. VIII. Patio furniture • • • • • • • • • • • • • • • Floor treatme.nt for patios • • • • • • • • • • Fountains • • . . . . • . • • . . • . . . . • The patio fireplace .•••••..•••.• Planting ••••.•.••..•. • • • • • • PRECED~NT FOR ARCHIT~CTUR AL D ETAILS • • • • • • Gateways . • • • . . • • • • • • • • • • • • • Doors and doorways •• • • • • • • • • • • • • · v indows Balconies • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Fireplaces and mantels. Floor tlle and wainscot The charm of wrought-iron lDw-pitched tile d roofs • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 89 95 97 99 CONTE1Il'ORARY INTERIORS • • • • • • • Floors . . • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • e • . 100 • 105 . 108 fulls and ceilings Lighting fixtures • • • • Furniture and furnishings CONCLUbION •••...•• • • • • • • • • • • • • .••• 112 .••• 114 • • • • • • • • • • Architecture inspired by fa.r-flun trends No slavish copy of tr ditiona l styles .. • • • • 122 124 126 CHAPTER .Advantages of construction 1 improvements Architectural quality of expression • • • BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • J.V PAGE 127 • • ..l.28 . • 151 FIGURE LIST O F ILLUSTRATION Photographs and drawings are by the aut or unless otherwise noted l. An Old Adobe Church near Taos , N ew ~exico, photographer is not known • • • • • • • • • • • • 2. The Casa de las Viveros at V alladolid, Spain, --------- Containing the Marriage Chapel of Ferdinand and Isabella. • • • • • • • • • • • • • • • • • • • • 3. The . Cajon or V iall-tilling Type of Ado be ork in an Old House at Aranda de Duero, Spain, photogr aph PAG 9 11 from Petits Edifices Espagn~ ........ ~ .. 13 A Garden in a W indow Grille at Seville, Spain • • • 5. Home and Gardens of El Greco, Toledo, Spain • • • • 6. One of the rvider Streets in vordova, opain • • • • • 7. Mexican Ornament on the Taxco Church Contrasts with the Plain Walls of the Houses • • • • • • • • • • 8·. One of the Three M udejar Tiled Domes of the , Carmelite Convent at San Angel , 1 exico , Begun in 1615 • • • • • • • • • • • • • • • • • • • • • , 15 18 21 22 23 9. Hillside Houses, San Angel photo r aph by Portilla. 26 10. A Modern Patio in the Adobe House of M r. and Mrs . Clarence Cullim ore at Ba er field, California, Clarence Cullimore, Architect, photo rah by Dorman. • • • • • • • • • • • • • • • • • • • • • 28 • Vl FIGURE PAGE 11. Plan of the California Patio-house of Mr. and Mrs. Clarence Cullimore . • • • • • • • • • • • • • • • 12. A Typical Early Settler's House • • • • • • • • • • 13. The Indian Pueblo near Taos, New Iv!exico, photographer is not known • • • • • • • • • • • • • • • • • • 14. The Estudillo Old Adobe House at Old Town, San Diego, California, photograph--courtesy P. T. Getz • • • 15. The Adobe Flores at Pasadena, California, photograph by Historical American Buildings Survey • • • • • 16. The John Temple Adobe House at Long Beach, California, photo raph--courtesy Llewellyn Bixby. • • • • • • 29 33 34 37 39 40 17. The Camulos Adobe Ranch House near Piru, California. 42 18. The Chapel of the Camulos Ranch as it appeared in 1900, photogr aph--courtesy Mrs . lm . Forker • • • • The Garden Fountain of the Camulos Ranch in 1900 • • 20. The Ado be and 'food-Frame House of Ir. and 1ars. Asa c. Dimon at Bakersfield, Cal ifornia. Clarence Cullim ore, Architect .• • • • • • • • • • • • 21. Constructin~ the Castro Valley Kindergarten photograph--courtesy .American Bitumuls Co pany 22. The Castro Valley Kindergarten, Built of Adobe. hotograph--courtesy • • • • Mario Corbett, Architect. .American Bitumuls Co pany • • • • • • • • • • • 2J. The Patio of the House of Fil teat Seville, • pain. 43 44 47 50 51 58 FIGURE 24. A Patio in Cordova, Ornamented by Tropical Plants and Superb Statuary, photograph--courtesy Patronato Nacional del Turismo, M drid, Spain • • 25. The Garden of the Lindaraja, Granada, Spain • • • • 26. Moorish Details on an Arcade of the Generalife at Granada, Spain .• • • • • • • • • • • • • • • • • , 27. A Patio in San Angel Inn, once a Conventual Estate vii PAGE 60 61 62 Erected in 1610, near the City of Mexico • .... 64 28. The Hilltop Patio of the Adobe House of Mr. and lv!rs. Earl Houghton near Lindsay, California . Clarence Cullimore, Architect. Photo 0 raph by Hammond ••• 66 29. The Patio of the Old Adobe House of Don Jose Antonio Julian de le Guerra y Noriega at Santa Barbara, Calif'ornia. • • • • • • • • • • • • • • • • • • • JO. An Adobe House Built around a Patio • • • • • • • • 31. 32. 33. An.other Patio Plan. • • • • • • • • • • • • • • • • • A Patio Bench • • • • • • • • • • • • • • • • • • • A Typical Mexican Chair • • • • • • • • • • • • • • 34. An Adobe Patio ireplace at the Glarenoe Cullimore Home in Bakersfield, California • • • • • • • • • 35. A Fountain at the Path Intersection in a Spanish Garden, photo. raph--courtesy Pc.'tronato Nacional del Turismo, Madrid, Spain • • • • • • • • • • • 67 68 69 71 73 74 77 FIGURE J6. An Adobe Vall-Fountain in the James Dorrance Garden at Bakersfield, California ••• • • • • • • • • 37. An Iron Gate in an Adobe .Archway. • • • • • • • • 38 • .Architectural Treatment of a Mexican Doorway at ; San Angel, Mexico • • • • • • • • • • • • • • • 39. A Restoration on Paper of the Hospital Building at Old Fort Tej6n, California • • • • • • • • • • viii PAGE 78 84 86 88 40. A California Balcony Su ported by Posts from Ground Floor to Roof, photograph--courtesy J. D. Long. 90 41. A Cantilevered Balcony in California .• • • • 42. An Old Farmhouse at Pamames, Spain, Suggests a Type of Building in l onterey, California, • • 91 photo Jraph from Petit~ difices Espagne • • • • 92 43. A Peasant Family at Home in the Province of Navarre, Spain, hoto 0 ra. h by Joe Sola • • • • • 44. A Recessed Picture over an Adobe Fireplace in the Home of Mr. and Mrs. Cla ence Cullim ore at Bakersfield, California • • • • • • • • • • • • 45. The Madonna of Guadalupe has been iched into the Jdobe ~all of the Judge and 11rs. All n Bruce Campbell House at Bakersfield, California. Clarence Cullimore, .Architect .. • • • • • • • • 46. An Eastern Colonial Fireplace in a California Adobe • • • • • • • • • • • • • • • • • • • • • 94 96 101 102 FIGURE 47. The Dining Room of the Eyraud House, Bakersfield, photograph by Dorman ••.•••••••••• 48. A Modern Cement Floor in the J. T. Sullivan Adobe ix PAGE 103 House at Los Altos. Leslie I. Nichols, Architect. Photograph--courtesy Leslie r. Nichols . • . • 104 49. A Hallway in the Adobe House of M r. and M rs. Eyraud at Bakersfield, photograph by Dorman • • • • • 50. A Modern Tiled Floor • • • • • • • • • • • • • • 106 107 51. A Modern Wood Floor in the Adobe House of M r. and 52. Mrs. Kemper Campbell at Victorville. John Byers, Architect. Photograph--courtesy John Byers. . 109 Painted Adobe V alls Show the Brick Texture in the . Home or Judge and Mrs . Allan Bruce Campbell at Bakersfield, California. . • • . . • • • • • • 111 53. Board Ceilings are Supported by Beams in the Adobe House of Mr . and 111-s . Earl Houghton at Porterville. Clarence Cullimore, Architect • • • • • • • • 113 54. 55. Lighting Fixture s that Capitalize on the Oil Lamp 115 Gate Lanterns in the Provincial Spirit • • • • • 116 56. An Old Spanish Chair f ro Granada. • • . . • • . 118 57. A Padre's Chair at Capistrano, photographer is not knovm . • • • • • • . • • . • • • • • • • 119 58. A New ngland Chair of 1800 in a ~dern Adobe • • 120 FIGURE 59. The Adobe House of Mr. and :Mrs. Alfred Ames at Bakersfield, California. Clarence Cullimore, Architect • • • • • • • • • • • • • • • • • • 60. The Adobe House of ~ 1r . and 1!lrs . Ralnh Smith at .- X PAGE 125 Taft, California. Clarence Cullimore, Architect 129 61. The Adobe Ilouse of Mr . and :Mrs. James Dorrance at Bakersfield, California. Clarence Cullimore, Architect • • • • • • • • • • • • • • • • • • 62. The Adobe House of M r. and · s. Clarence Cullimore, at Bakersfield, California. Clarence Cullim ore, Architect. Photo raph by Dorman • • • • • • • 6J. The Adobe House of Mr . and M rs. Elwood Joses at Bakersfield, California. Clarence Cullimore, 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. Architect Adobe House Adobe House Adobe House Adobe House Adobe House Adobe House Adobe House Adobe House Adobe House Adobe House • • • • • • • • • • • • • • • • • • Nurnber 1 • • • • • • • • • • • • • • Number 2 • • • • • • • • • • • • • • Number 3 • • • • • • • • • • • • • • Number 4 • • • • • • • • • • • • • • Number 5 • • • • • • • • • • • • • • Number 6 • • • • • • • • • • • • • • Number 7 • • • • • • • • • • • • • • Number 8 • • • • • • • • • • • • • • Number 9 • • • • • • • • • • • • • • umber 10 • . • • • • • • • • • • • • 130 131 132 133 134 135 136 137 138 139 140 141 142 FIGU!IB 74. Center Unit of an Adobe Village • • • • • • • • • 7 5. 76. 77. 78. 79. 80. 81. Details of Doors for the Adobe ••. A Patio Fireplace Built of Flagstone • • • • • • • • • • • • • • A Chinese Motif in a Door of a odern Adobe •... Deep Reveals Characterize Adobe Architecture .•. The Reveal on the Inside Affords Useful Shelf Space • • • • • • • • • • • • • • • • • • Ent~ance to odern Adobe •.•...•.. ,futerproof Versus Old-Fashioned ~~obe Bricks, photograph--courtesy of .American Bitumuls • • • • • • Company • • • • • • • • • • • • • • • • • • • • xi PAGE 143 144 145 146 147 148 149 150 CHAPTER I INTRODUCTION The popularity of the adobe structure in California and the Southwest 1s no temporary fad. It is almost indige nous to the sunny slopes of the Far W est, although its roots extend as far back as the solid walls, deep-embrasured win dows, and bright inner courts of Old Spain. For over a hundred years these thick-walled buildings of sun-dried adobe brick have added a sturdy note to the charm of the California countryside. Architecturally, they are the natural outgrowth of the construction of the first settlers who came here from Spain, bringing memories of picturesque patios and the Moorish splendor Jf colored tile and wrought-iron grille. In a similar environment and climate, California Spaniards, even as the Moors in Spain had done on the Mediterranean, built around a court or patio with potted flowers and fountain or ornamental wellhead , and, too, fol lowing former custom, provided themselves with gardens, secluded spots of rare charm. The walls of their buildings were, on the whole, constructed of adobe bricks, although certain portions were occasionally built of stone. Sometimes kiln-baked tlat bricks were used in the construction of arches and arch piers. Rock foundati ons mortar ed with adobe 2 mud were the general rule. Structural stability of walls was gained simply by mass thickness and comparatively low ceiling height. This was the type of architecture the affluent Spanish dons used for their hospitable and connnodious homes, which they glorified with a transplanting of the warmth and color of their ancestral lands. The deep-revealed openings and the ever-present patio added a charm to the thick-walled construction. A new note was introduced when sturdy Yankee citizens came to live in California haciendas. Keen-eyed Americans married dark-eyed senoritas, and to the seductiveness of Moorish architecture was added the vigor of colonial New England. Many of these early settlers were world travelers and felt no urge to build or furnish their homes in adherence to any arbitrary style of architecture. The result was a quaint picturesqueness that did not pretend to be anything but homelike, and has come to be almost universally admired not only as a relic of a golden age but also as that which is truly attractive. Some of these early California adobe houses to be referred to here have served their purpose well for m ore than a hundred years and are still charming, livable homes. They do not go in and out of style but possess a romantic charm and sturdy character that, unlike a dress or a hat, may be in fashion for a century or more. J Many adobe houses are now being built in California and the Southwest, but they are of a stabilized and water proofed adobe brick. The real or fancied stigma that has so long been associated with adobes ecause of their solubility in water has been removed. Thia newly acquired impervious ness to moisture, together with an unsurpassed insulating quality and resistance to fire, have placed this improved product in the forerank of building materials suitable for the construction of homes. The contemporary adobe houses shown here are built naturally along the architectural lines of their historic predecessors. No doubt an honest expression of both the old and new houses, built of similar materials in the same climate, has had as much to do with this simi larity of appearance as has any desire on the part of the architect to perpetuate an historic style. Scope of the ~tudy. This investigation of adobe architeature involves not only aesthetic considerations which lead towards the final architectural expression of the build ing itself, but also the recognition of that subtle quality which determines the fitness of the structure in relation to its environment. The immediate garden, an intimate patio, and plot planting add their contribution to the finished architectural product. Interior decoration and furnishing, in both the houses and gardens, have played a considerable 4 role in developing a fuller unity of adobe architecture. It has not been advisable to include in this study a detailed examination and appraisal of purely structural con siderations which rightfully fall within the scope of en gineering. Such considerations have been meticulously dealt with, by the author, in a previous study on adobe construc tion.1 As structural principles may not, with impunity, be divorced from considerations of architectural design, it should be continually borne in mind that the architectural expression is ever dependent upon those principles of construc tion which underlie it, and that no flowering of architectural fancy is of real value unless based upon the true principles of honest construction. The ~urpose of this investigation. In view of the fact that adobe architecture has often been misunderstood, misused, and much maligned, it became necessary, in a previous study by the author, to show the fitness of adobe for domestic architecture of modern construction. The structural integrity of modernized adobe being established, it remains for this investigation (1) to pursue a detailed study of the various influences which through the years have contributed to the 1 Clarence Cullimore, "A Study of Adobe Construction in Domestic Architecture of California," (typescript , The University of Southern California, 1941), pp. 45-59. 5 aesthetic architectural development of this ageless material, resulting in modern adobe domestic buildings; (2) to form an appraisal of the present architectural expression of adobe, in which the desirable elements shall be segregated from those of negative value; (3) and finally, to point the way towards an appropriate use of this material, which shall be in con formity with present architectural needs, with a desire for comfortable living, and with certain intangible satisfactions which spring trom an architecture which has, in turn, sprung from the soil and may be rightly moulded to use in the life and social orcter it must represent. The need for this study. As a result of years of scientific investigation relative to the manufacture of adobe bricks made waterproof by the inclusion of emulsified asphal tum, certain definite standards for modernized adobe construc tion, in so far as domestic architecture of the one-story type is concerned, have been established8 This has placed modern adobe on a structional basis comparable with that of common brick or of wood-frame construction. In the southwestern part of the United States and in California there have been built innumerable adobe houses, ranging from the Mexican workers' huts to the haciendas of the most affluent citizens. Within this range many crimes against adobe construction and architectural fitness have been com mitted. It would seem, therefore, now that stabilization of 6 adobe has opened the way for a broader use tor this material, that a definite need for the study of architectural adobe design is at hand. It is hoped that a thorough investigation may assist in evolving principles of architectural expression that may be pertinent to a general improvement in the char acter of adobe architectural design. The need for this is pressing. Sources of data. - In making a detailed study of the antecedents of modern adobe architecture as it has developed in the southwestern United States and in California, the ancient practices in adobe building have been included and an investigation has been made of printed works dealing with the history of architecture. In addition to this, the author has, during his travels made a firsthand study, recorded in notes, drawings and photographs, of the adobe architecture of Spain, Old M exico, New M exico, Arizona, Texas, and California. This has been the chief inspiration for this work. Since the Spanish pioneers in our southwestern states and in California came from Spain, through a M exican detour, a detailed study of the arcl itecture of Spain and of those influences that contributed to its development, forms an im portant factor in this investigation , and assists in a fuller understanding of Spanish architecture as it was transplanted in the New World. CHAPTER II HISTORICAL BACKGROUND Archeologists agree that soil has played an important part as a building material for primitive peoples. Ancient civilizations in almost all of the countries of the world are known to have used natural earth for construction purposes. There is considerable data available relative to the use of bricks fashioned from earth in old Egypt, Mesopotamia, China, and India; and subsequently in Germany, France, England, Italy, and Spain. In the Americas, also, such practice may be found among relics of prehistoric man. The ruins at Chan Chan, Peru, and at Casa Grande in Arizona are among the oldest of these earth built structures to be found in the New World. 1 In certain localities in North America with appropriate environment, there is evidence that the primitive art of adobe construc tion progressed to the point where buildings were well and beautifully built. It is generally known that the first structures built by white settlers within the present boundaries of the United States, were in New Mexico, in and near Santa Fe. Most of 1 J. D. Long, Adobe Construction (Berkeley, California: University of California, 1941), p. 4. - these buildings were of adobe, and many having survived the ravages of time, are now prized as historical landmarks. 8 (See Figure 1.) In all of the early Spanish settlements of the southwestern United States, this type of architecture prevailed, the most famous examples being the San Xaviar in Arizona and the missions of California, constructed largely of sun-dried adobe bricks. Although the antiquity of adobe is well established in the Far West, it is not so well known that earth-walled houses were also erected . by some of the early settlers on our Atlantic seaboard. Scattered examples of such structures have been found in New Englana and in South Carolina, while in W ashington, D. C., a two-story house of rammed earth, said to have been erected in 1773, is still in use. Another two-story, sun-dried brick house, built in Illinois eighty years ago, is still occupied. 2 Since 1920 , modern homes with earth walls have been built in most of the states of the Union, the majority being in the Southwest. Influences fr~ Old Spain. The builders of the great cathedrals and castles in Spain, that followed the M oors, vied with each other in developing the prevailing architec tural mode. Spanish architecture then possessed a vividness of invention and a dramatic contrast that expressed itself 2 Ibid., p. 5. l dL I J. • J ~- I L r ..... -.. .. l , , . • I j } ) , L./ 10 best in the exuberances of the Gothic, Plateresque, Churriguresque, and Baroque Renaissance.3 Many nations of Europe and some from the Orient have contributed towards an overlapping of architectural styles in Spain. The elaborate structures of ancient Toledo in the north contrast with the African, flat-roofed, adobe houses in the south. Differences of climate and environment were added factors in causing architectural variances. Although Spain borrowed extensively, she anaged to infuse into much of the architecture a warm sumptuousness all her own. The cathedrals of Toledo and Burgos, although Gothic, could hardly have been built except in Spain. The great Burgos structure was affected ·by many influences other than Gothic. Artists of several centuries have expended their enthusiasm to make Burgos a museum of all the arts. The evolution of the more elaborate types of domestic architecture, the so-called "Castles in Spain," may be traced from classic beginnings, through Romanesque, to the rectangu lar fifteenth-century palaces built around arcade-surrounded, interior patios, often two-storied. The present Palacio de Justicia at Valladolid is a good example. (See Figure 2.) This, it is interesting to note, is the palace where Queen Isabella lived, and in whose chapel she took the marriage vows 3 Talbot Hamlin, Architecture Through the Ages {New York: G. P. Putnam's Sons, 1941), pp. 452-456. ( I-_ ( !- - C I-· • t- r-r ,-, ,. r C ~ ~ ( ,. . ;,;_ ~ ~ __. n 0: :J) tj rn t- r-' ~ ;/; C jj ,,... .J'l --ri y h1 P- ·9 (D --- 7-o (/' - z tj _ < r-H ,2_ ;,d h10 rr-t f../) < - :v ?J '=-i rJ ~ Hi H '-' - _;;, .._ ~ ( ~ ... /-) ~= ~ \ ~ . .. . .... - ~ · =: r , ~ ' . ' . I~ ( - . ,_ - ?;.J r ( - rr I I I , 't, ~ - -"-" ' , ,. - - - . -~ ,, ~~,, ~ - w ' . - ~ . . ~\ - >--- - - :.'-=- ~ - - ~ ··- -- ~.r, -,, ;;::; ; w - .. ' ··-. '?!!! I I -, ,- , ' t '" t'r .-, 7,_ - -- - I I I I '·. . ... I I / ~-..., r~ ~--:;. ' . I --j \ . ":]J ~ .. / Ii _ . • j I I '\_ ..J • r r :. · - IJi• ... -: n· \ ~-· ~ r 1• - . · • J = . - - -- I 1 , , 4' t , . ~ : f • · , .. • ! ; l . · •~ • .'J ; .• ~ --~ =~ -,s .Angeles: Title Insurance and Trust Company, 1941), pp. 1-43. 36 and beauty. Historic adobes of California. few of the old - California houses, built under the combined influence of Indian, Spanish, and Eastern Colonial precedent, may well be n8ted here. All are relics of a romantic past, yet in spite of structural weaknes~es, they continue to serve their origi nal purpose as livable dwellings. At Old Town in an Diei o is the Casa de Estudillo, popularly known as Ramona's Marriage Place, consisting of m ore than a dozen rooms and a chapel. It 1s a well-preserved, one-story adobe, built about three sides of a commodious patio in the typical Mexican and early California manner. (See Figure 14.) The Estudillo house as built about 1825 by Don Jose Antonio ~studillo, a pure Castilian.17 Today it is a rendezvous for tourists and is open a s a museum full of e arly California interest. On the main facade, the three-foot thick ' walls show deeply recessed, double-hung windows, paned after the ~astern Colonial fashion by slender muntins. The three paneled heavy wooden shutters tha t hang on the walls outside the window openings are meant for use and may be closed over t he o enings. Rafter s of round, barked poles sup ort the wide, overhanging, low-pitched, red-tile roof. The exterior plaster, 17 H. E. Rensch and • G. Rensch, Historic Spots in California: the Southern Counties {Stanford, California: tanford University Press, 1932}, pp . 186~187. I I ,' I Ir ~ - I....• G L l - .r · L 'L T I 1 I ! u I J 11 l) J • " -'"- ... ~ .: 1 L J , LJ_ _L n l. I I \..., t• / L . , J .. 38 al though badly cracked and mutilated by inscriptions and nitials, adheres tenaciously to the adobe bricks under it. Some of the exterior doors of the studillo house are reminis cent of Old Spain, vith eight m assive square panels in two rows of four each. Although entirely on one floor, this an Die o landmar k reminds one of r rmhouses in Andalusia. In Pasadena, the Adobe Flores has been recently restored, but retains its ori~inal structural elements. (See Figure 15.) There are also interesting old adobes in Los Angeles, San Gabriel, ·an Fernando, and other localities near Los Angeles. In IJJn Beach, the adobe house built by John Temple is now the home of Llevvellyn Bixby. lllr. Bixby says: "There is some doubt as to the actual date of its erection but the probabilities are that it ,vas built in 1843, possibly 1844." (See Figure 16.) The main portion of t he house is t wo stories in height with the wins one story. I t is a 1~r e house, the vings being approximately 140 feet in len th. The walls in the main portion are three f eet thick nd of t he upper story to feet thick. The, ings are buil t on a slope, nd the fl Jor levels in the v rious r ooms accommodate themselves so !evvhat to t his slope so that the height of the walls from the floor to ceilin v ries from about nine feet to eleven feet. The highest walls are in the wings t the west where the hei ht from ground level to the top of the wall is J ""'T'"' , T .J. l. u 1 1 .J.. .! o..) 1 1- -'- . ., , j [ .... l J l [ t . l .1. r 0 1 ) j_ • .... .. U , ' .. 1J lh .J •...J I .,._ L J 1 ,1 L _.f- approximately fourteen feet. In the reconstruction of the house, ]tr. Bixby added reinforced concrete tie beams, ap roximately four inches thick and of a width to correspond 41 to the width of the wall. This house survived the earthquake of 1933 with v ery little damage. 18 On the way north towards Santa Barbara one encounters at Piru the Camulos ranch house, built by Don Ignacio del Valle on a exican gr nt of l8J9.l9 The Camulos r anch house i s not only of interest on account of its s ervice as a setting for the story of Ramona, by Helen Hunt Jackson, but is even more fascinating on its own account. 2 0 (See Figure 17.} It is built of adobe blocks and constructed about three sides of a large patio, Its open corridors, small frame chapel, kitchen, and winery still preserve the spirit of its builder. In the private chapel, a separate buildin 0 , where many notable churchmen have officiated, religious accouterments of r are interest are found. (See Figure 18.) The stone fountain in the :)arden is reminisc nt of Spanish M oorish influence. (See Fi~ure 19.) The open corridors with square chamfered wooden columns, exposed vooden roof construction, double-hung, 18 Information obtained fro Llewellyn Bixby, Lon each, May, 1941. Janu l9 Rensch and Rensch, 212.· cit., • 242. 20 Interview with August A. Ruble, Piru, California, ry, 1938. I .u 1. L - , .. uiT 1 . ... .i...J J. . ,. L r L -' .... r u v J .._ l r I l ) l i ... J .. T ..... t-' J • .I.. l 1 V r L l..J l r J 1 45 many-paned windows with shutters, savor of an Eastern C olonial influence. At intervals heavy adobe buttresses add to the stability of the massive walls. At the rear of the house, the enorm ous spreadin 0 W clnut tree, whose shade once t empered the summer sun for Lieutenant del Valle, completes t he spell o~ early California. 21 At Montecito, on the edge of Santa Barbara, in 1902- 1903, the author lived in the Hosmer house, an adobe perhaps ei 0 hty years old. After the Santa Barbara earthquake of 1925, he revisited this old adobe to find that it passed through t he earthquake practically unharmed. Several adobe houses i n Santa Barbara tailed in this earthquake, due, in every case, to faulty construction. Some did not have sufficient foundations, others did not have proper roof framing and still ot hers lacked a tie-in of the roof structure to the adobe w alls. To the City of Monterey, however, belongs the distinc t ion of havin within her limited area the greatest number of early California adobes. Here one finds houses of the period bet ween 1820 and 1840 built for comfort and convenience, many of them two-storied with full-fronted overhangi ng wooden bal conies. At that time, M onterey wa s not only the capital of Cal ifornia but its center of trade and social activities . 1941. 21 Interview with irs. W i l liam Forker, Bakersfi el d , 46 Here, also, the traditiins of New England were fused with those of the Spanish settlers, thereby forming the inspira tion for that particular type of domestic architecture that is now called Monterey. 22 (See Figure 20.) The Robert Louis Stevenson house, the Larkin house, the Escalles house, the McKinley house, the Old ~ ~aling Sta- tion, the Soberanes house, the Serrano house, the home of Vasquez, and Governor Castro's headquarters, all contribute to the dignity of adobe building as found at ~nterey. In the main, all the early adobe buildin sin California that have endured are thick-walled, low-ceilinged structures, sometimes on rock foundations but often with none . They were cool in summer and retained vell the heat from braziers or open fireplaces in the winter months. A scrutiny of the architectural character of these s imple homely adobe houses that were fashioned from the soil by the patient padres and the early dons of Californi a shows quality of architecture particularly suited to the landscape and the people of Californi a . In the coming years, they will row richer in tradition and romance, intriguing the histori cally minded and the casual passer-by with their f ascin ting history and local lore. 22 .American Institute of Architects, Residential !',.rchitecture in Southern Calirornia, Los Ansele~ Cha7ter (Los Angeles: American Institute of Architects, 1939 , pp. 27-44- --. -----;~--;.71[~ ~~ ~..;_~ ' ::::--:::::0 ~ ~ ~ r I,) is: < ' I fl \w l I ,.r rl z o I I Z: Q ~ I { ' Ir o J3 i ,.._, I .. u ~ % ~ ~ I I ! - It I ~ ; ! i'- ,L - L V I A " ,: • w \, I J ... ...J ~= ~ v , ~ I~~ '" o ~ lft I 'I• r I '} ~ « .. 1 ~ t:_11~1,111 _ 111iiiii"k11_11H· , 0 "' .f'. • /'v ) - .i.;. V. _. ' ,j 11111 I \ ) ., ! I ~ · -•I' I: j ., L...., ... . -- ~, I I • CHAPTER III CONSTRUCTION METHOD As the architectural expression of adobe is dependent upon the type of earth wall construction, it is well to ex amine here the characteristics of constructional methods employing adobe as one of the principal materials. It is presumed that if stabilized and waterproor adobe were used in each of these methods described, the result in each case would be ore satisfactory. Caj6p 2.!: wall-filling material. Perhaps the first thought of primitive engineers seeking to improve the struc tural stability of mud houses was to introduce into their structure a more rigid framework to carry loads and stiffen the building. The Spanish word Cajon signifies the filling of such wall framework with adobe.l (See Figure J, page lJ.) In a broader sense, the term Cajon may be applied to all adobe construction, both ancient and m odern, which is de pendent on materials other than adobe for its structural stRbility. Undoubtedly the earliest adaptation of this Cajon m ethod relied on the timber post and lintel for constructional supports, and consequently needed less sturdy filler walls of sun-baked ear then blocks than when those walls themselves 1 J. D. Lon, Adobe Construction, p . 9. 49 ere the supports. The fact that the use of metal or reinforced concrete columns and beams, concealed in the adobe, are substituted for timber does not alter the type. The modern reinforced concrete fr ame ha s been used rith distinct success in this Cajon type of adobe construction. The concrete is, by the use of metal ties, secured to the adobe and thereby overcom es the lack of natural bond between the two m aterials. In California, the continuity of the structure is important in resisting lateral stresses that occur in the event of an earthquake. Such structures are of a high order when designed to meet stringent seismic requirements. The thou ht arises, however, that it would be a ha ier structural solution if the adobe, itself, mi ht be of such a nature and of adequate pro portions to be entrusted with some of the structural responsi bility. In Castro V~lley, California , the kindergarten and connnunity center designed by Tu rio Corbett, architect, is a splendid example of the reinforced concrete frame and filler wall type of modern .9.9-1§.!! adobe. (See Figures 21 and 22.) Poured adobe. In pl cin poure adobe bet een forms, t he process is similar to that of pourin concrete. Since the soil is handl ed but once, this met hod is perha~s the uickest and ost econo ical ay to construct adobe ,alls . ovever, s m ost soils have a high r ate of shrinkage they l ' ( .J.. J . • .. \.., I' ... J. ! j t ...) .11 T T .. _.__, ;, , • ' J 1 • .. :1 , . J \ J ~ , .. I L ' I j ' ) . ... . .. 52 will not prove satisfactory in this poured method. A careful study of the soil to be used and the requisite amount of straw to revent undue crackin are items that should be carefully determined. Next to the sun-dried brick, masonry type of construction, the most popular is this method of poured adobe. 2 Rammed earth 2.£. pise de terre. The French term pise e terre (rammed earth) method of soil construction caused - considerable interest subsequent to the , orld War. The principle of the rammed earth is the tamping and pounding of moist earth into a solid mass, held between forms for the alls. Interest was focused on this method in 1924 by Doctor H.B. Humphrey of the United States Department of Agriculture, , ho built his own home near W ashington, D. c., of pise de terre. Although the method possesses certain advantages w here good drying weather is not to be depended on or the climate is humid, it is not in general use.3 The En 9 lish cobb. Cobb is stiff mud piled in rela- tively thick layers directly in the wa 1 without the use of orms. The name 'cobb" may be derived from the custom of lacing cobble stones occasionally in the l ayers of m ud. The 2 Ibid., p. 10. J Ibid., p. 21. 53 mix must be of sufficient stiffness to prevent any tendency to slump. After straw has been mixed with the mud, it is laid in position along the len th of the wall in layers about as high s they are thick. After being solidly com pacted to the required width the mud is allowed to dry partly and then a board is placed on to p of the layer. This serves as a strai ht edge a. d the sides of the layer are trim.med plumb with a sharp knife. The process is continued in this manner. The English cobb method is quite primitive and little used at present.4 Sun-dried adobe bric ' s. The sun-dried adobe brick masonry type of construction which treats adobe brick as a structural material, is the one that has been most widely used and is at present most popular and satisfactory for residential construction of the one-story type. The details of making and laying adobe bricks have been covered in a previous study on adobe construction by the author, and so will not be discussed here . The use of dobe bricks a s a veneer attached to a wood frame does not merit consideration. s this is so evidently a surface decoration, it has no place in a study of genuine adobe construction. This treatise take s for granted that the sun-dried adobe masonry type of 4 Ibid., p. 12. 54 construction is the one most commonly used, and the following chapters are devoted to the largerconsideration of the archi tectural problems involved. CHAPTER IV THE PATIO IDEA The vital part of any domestic architectural expres sion is a functional floor plan. This is more or less con trolled by climate, available materials, and the character and customs of the people. In the remote days of ancient Greece and later during the Roman Empire, the house built around an inner court or peristi~lium, found favor with a home-centered, luxury-loving people. The ruins of palatial houses at Pompeii afford a vast storehouse for the study of the characteristics of this classic plan. In the Iberian peninsula, a modified expression of it has persisted throughout the ages and still meets the requirements for the modern Spaniard's mode of living. Spani~ ~a~ios. The secluded patios of southern Spain are of particular interest to Americans who are familiar with the adobe dwellings of California, for they help to explain a characteristic and increasingly popular note in that part of our country where the Spanish influence is especially pro nounced. The adobe architecture of Ca l iforr ia owes much to the influence of the Spanish patio. In Andalusia, the patio is the center and soul of the home life. The private well with its ornamental wellhead adds its charm. In this mild 56 climate, social intercourse is carried on in the patio. It is as much a necessity to these Spaniards as is a living room to Americans, an indispensable feature of the house plan. Urban houses in southern Spain possess no front yards. They are placed directly on the sidewalk line. From the street a gatew~y, ample for a cart or laden burro, opens into an entry and from there into the main patio. Such gateways are customarily barred by iron gates or by massive wooden doors, thus affording security to the householder. Here, the patio is more than a garden. It is also a general utility space, where various household duties are performed. Here, also, is the congregating place for family and friends. Even the most recent houses in Seville are often plain to the point of severity on their blank whitewashed exteriors. The principal entrance, barred from the street by a wrought iron grille, gives through its exquisite design and workman ship the first intimation of the glories within. These patios invariably possess a surpassing charm through the graceful use of flowers, most of which are in curved tapering pots and gayly tiled boxes. Always there is the tiny fountain, for water must be conserved in this dry land, but exquisite effects are obtained by single silvery jets or the splash of a tiny stream into a roc k basin. Some of the patios of Seville are many centuries old. Such is the patio of the house of Pilate, which had its 57 beginning in the fifteenth century and is popularly believed to have been copied after the house of Pilate in Jerusalem, its designer havin sojourned in the Holy Land previous to starting its construction. (See Figure 23.) It resembles strongly patios that are now seen in the ancient city of ompeii, which was in its prime at the time of Christ. This patio is surrounded by a charming cloister of semicircular arches supported by slender m rble columns. Here the classic feeling is intermingled with the more romantic Moorish influ ence, as is evidenced by decorative wainscots of bright colored azulejos and by tiled floors that, by their subdued colors, tend to soften the sun's bright rays reflected from the white walls. Delicate and intricate geometrical, cast plaster designs, also after the ·oorish mode, ornament en t rances, archways, and ceilings, while iron grilles and balustrades add a touch of romance. At lovely Cordova, the ch rm of private gardens pre- vails. The narrow, winding, shady streets often make it necessary to ste p inside an adjacent doorway to allow a heavily laden burro to pass. Through these doorways may be lj_ psed many of the exclusive patios, where palms nd flowers grow, and colored tile an unobstrusive, playing fountains add their ch rm. It is here that patios are heavily scented with flowers. oorish-tiled garden benches be eath the vines and tropical trees make a picture-book ./ '\ ,. ,,. .) 'U I} 1 n. ~ r ~ ~ ~ ' i .., .,_;'; D' ....... ii"\,> J:_ ('A? l ~ =- ~ ~ 1t....1t, '· '-·! a. ra ~~. ? ; '\ J. ' .,,. -: ~ . ¾. . ~~t~~~a.;;c;;;;;;;; ~f.t u ' J ~ , k~ ~J...~J lit~., f .e- i _, A.__.,....-r · ~ ·Tl r>., ,., ~=~:::--..... -~ et: '}~ . ~~~:==;ffi~, .... iiiiiie -~- ' 9 ...,"".,--\, ,, .. '~~~- , __ \l-- re '1te.. \ ul 11-n <::> re_ 1J 4 · ·-'r r-,. IQ \2 , _ G. ,,- f-l '<:' • · • ?\ '~ ·~ . -~ ~· r ' 1 , I I ' ' I - t\}. - .. '\ ' ~ H \. '- \ ... • • I U, -~ ''. '~ --x-· - 1J : -. / J. ,~ . _[_ • • ♦ ~ - ~£ ,---., ""'./ I . ,· . . :,. . t 59 scene. The Cordovan displays artistry in the use of plants, even i n a wrought-iron grille. W indow grilles are everywhere and no upper story is without its balcony. In olden times, it was contrary to the religious laws of the Moors to use the human form or the figures of livin animals in their archi tectural ornamentation. It is not so now. Som e of Cordova's m0s t attractive patios do not rely on garden pottery alone for ornam ent, but also display statuary. (See Figure 24.) Moorish garden~. t Granada there are a variety of Spanish oorish gardens and patios. It is pleasant to linger beside the rhythmic murmur of water in the Generalife garden, as a small stream, near by, runs in a miniature cataract down a flight of stone steps. To sit here beside a shallow chan nel of water into w hich ribbon jets intermingle their spray is pure delight. The Garden of Lindaraja, the Court of the ions, and the prison of Dona Juana la Loca in the Alhambra and ·the Generalife gardens all have their gurgling fountains and an atmosphere of quiet restfulness. (See Figures 25 and 26.) Here there are no grand displays or attempts at imposing effects, but secluded spots for rest and contemplation. The Mexican in er courtyard. In ost of M exico's Spanish Colonial houses the spell of the Moors from Andalusia still exerts its influence in the patio, even as it does in Spain. In an old colonial monastery, later an hacienda, and .L J j vl 1 j J_ . J-, T • r. l L L J lJ..t 1 1. l . ... . • .,.# • ~~ it-' . ffl ,, , ••• , iJJJff.11 \'!©'iii ,ilj t~ .. i) ' t ------ ... ~. -. . l !1 .. , . ~ i:~ i i~ ' ~ l = ... ' . ~,!~ ~ t • 'f . , t -- ' -· ---- ~ _ _.:,:-- ~~~iit:'_" ..._ ~~ Tttc GrNETIALif-r 63 # now an inn, at San Angel, on the outskirts ot the City of M exico, there is to be found such a patio, with its fountain, tropical plants, and flowers. (See Figure 27.) In even the humblest houses of most .exican villages there has been per petuated this idea of the inner court or patio, used as an out-of-doors living room. The most retentious Spanish Colo nial houses have also included the natio as an important feature . In M exico, the patio has become a characteristic feature of domestic architecture. There, i n a land of handicrafts and minor arts, the patio often assumes the role of a studio or workshop. If seraEes are the project upon which the family is engaged, l ooms occupy a vantage point. An aged grandmother is found in her corner, carding wool. Nearby the wool is spun into yarn. Dyeing to the desired colors and other steps in con nection with the anufacture and merchandising of the finished product are all performed in the family patio. In the smaller Mexican houses, all rooms open directly int o the patio and life takes on a very simple routine. In he more elaborate dwellings, there i s an infinite variety of room arrangements, including not only one, but often sev eral patios. atios of California. In those states of our Union where Spanish and exican tradition and precedent are strong est, there are likewise any mansions and numerous smaller r ... .. ... • I I - 1. 65 houses that trace their architectural ancestry directly back o Old Sain in the u e of the patio. odern American adobe architecture unaer the Spanish and exican spell, here, takes advantage of the intimate home garden. (See Figures 28, 29, and JO.) The charming patio of southern Spain may be said to have taken root on our own Pacific Coast and the spell of the ... 1 oor still revails. In California, such charmin spots are f ound in M ontecito, or in a garden a l l and gate at Bakersfield, or in a patio fountain in the hills of Altadena. In California, this cla s sic plan has been modified by br oadening , world influences in architectural styles. Here t he U-shaped plan is a result of opening one side of the patio-centered square building . (See Figure 31.) This ar rangement retains the patio as a garden or for out-of- doors l iving but discards the work-a-day, utilitarian function. The i ntercommunic ating rooms of its prototype are here connected by inner halls or corridors, where privacy or comfort are concerned. It is this version of the classic plan that has been set back i n spacious surroundings and adapted to the m odern needs of gracious living in the present-day adobe a chitecture of California. \..I 1,...., .) T ) r J v? T ,._ 0 <tj C' T 0 n a p O Iii\. c.. " [J ll f LO O L A ,0 5<. A = T M A 0 - :::- - - ... - ,.... . ,... ,... ~ .::.. "=' r;: c.. OT \JLA G. RAGE w L V OK C C. H L" t LL LI l.) 001 DI 11- ,. 14 p ~ c_ I I p n tl r l I 0 I O !:) <... A CHAPTER V MODERN PATIO ACCESSORIES The patios of modern adobe houses in California have developed beyond the purely ornamental stage in which the enclosed garden with the music of falling water from a central fountain, and the aroma of rare shrubs and exotic blossoms delight the senses. They have become intimate areas where these celestial delights but .heighten the more mundane satis factions of actually romping with the youngsters, or the entertainment of friends about the open-air fireplace, where steaks or fowl are grilled to a turn. Patio furniture. In the early mission days of California, the furniture of the padres and in the houses of the dons was, of necessity, imported or of a rude, homemade type. The so-called ] ission and onterey types of furniture are trade names, only, for innovations that are not actual co ies of early examples. However, the California mission benches afford authentic examples fro w 1ich modern replicas are made or similar designs evolved. (See Figure 32.) Mis sion benches seem to fit well i nt o the a t osphere of the odern adobe patio. A simple rustic table of ample propor tions for patio entertaining is usea successfully. Perhaps a f olding affair of plain unpainted boards that can be stowed r,, ( l.. I I 1 .. J. .J 72 away 1s more suitable if spac e is limited. In fact, a varied selection of informal pieces for the patio proves in teresting and satisfactory. Ladder-back, thong-bottom chairs of natural wood fit into most occasions for natio use . • ~ oaern , Oriental wicker is comfortable and suitable, while a peacock chair is an added delight. Brightly painted exican, hand-fashioned wooden chairs with rush-bottom seats are most colorful, attractive, and serviceable for patio porches in adobe houses. (See Figure 33.} Pigskin-topped M exican tables and pigskin armchairs with hourglass, palm rib bases add to the Mexican intrigue. (See Figure 34.) For actual lounging, ultramodern, tubular-framed chairs with bright-hued canvas backs afford luxurious comfort as w ell as color. Floor treatment for yatios. In the patios of most of the adobe houses in California, a grass lawn is used for ground covering. On the floors of the surrounding corridors, brick is laid in one of the patterns customary to American pr actice or tile is arranged in the f ashion of the Moorish precedent common to Spain or • exico. There are occasional patios in California where the entire floor is tiled in the m anner similar to 01 Spain. This is a particularly advan- a eous treatment in the less arid coastal regions, espe cially where the patio is an in er court that takes advantage ..... ln T V \.J "' .. ) 1 .J ... T ... ... .. . ... . T I L • I 1 .) • ... J_ 75 of the light and warmth reflected into adjacent rooms. In these tiled patios, potted flowers and es aliered plants often play a dramatic role in the architectural effect. In ore spacious and less formal patios, flagstones are used in place of tiles for corridor floors. These flat stones in pleasing color ranges prove most effective when used in patios of adobe houses. The combination of two such natural earthy materials is a happy one. In but few instances have pavements been laid of river pebble stones after the mode of Old Spain. Perhaps American workmen find pebbles of various shades too difficult to work into graceful designs, but it is more pr obable that the householder finds them too difficult to walk upon. The pebble pavement is, however, most attractive when placed in a suitable spot, surrounding a fountain or bird bath, or out of the general line of traffic where it is seldom trodden upon. Fountains. The patios of Andalusia are the most pro l ific source for fountains and pools for the gardens of modern adobe homes in California. These fountains attract the ear as well as the eye of those who have fallen under the Moorish s ell . In Seville, Cordova, and Granada, the traveler 1s im pressed not only by the Spaniard's innate sense of archi t ectural beauty and his happy combination with it of the planting of trees, flowers, and shrubs, but also by his 76 mastery of the use of a small amount of water to add a fas cination to his home garden, where a bubbling fountain or a ribbon spray of water makes ceaseless melody. (See Figure 35.) An infinite v riety of 1 oorish, geometrically shaped, t ile basins and elabor ate, stone-carved ones have been copied i n America. Shallow, tile-lined pools of crystal- clear water fe d by tiny jets find especial ravor in the patios of adobe houses where grand effects are out of character with the simple setting. Then there are those wall fountains whose m usical cadence possesses a lulling influence as the gently t rickling water falls to the pool beneath. (See Figure 36.) I n such pools, aquatic plants and goldfish have their home. k ong the historic foutttains of adobe homes in early California is the bricked-in fountain in the garden of the C amulos ranch house near Piru. (See Figure 19, page 44.) This shows in its variance from formal design an origi nality of its own. The ~atio fireElace. In California, the patio fire place is often called a "barbecue." Here, it is a more im portant accessory to out-of-door living than the time-honored fountain or the patio pool. Climate has combined with estern informality of living to make the open-air fireplace almost a necessity. This is particularly true where an adobe house is the setting for such a characteristic of the Old W est. .. .I ' ..L. ,I J l l ? L • ) I • T , , ..L. .... .. "'--" • _, . T ) L- vli I r ) L~ 1 l ,. ,..,, J 1 J. ~ ~ 1 .... .. .L .! .J .. I. L " l _.I , ✓ I w_ _) l l 79 l though these fireplaces are not uncommon in m any states of the Union, they are nowhere quite so fitting architecturally as in a California patio. (See Figure 34, page 74.) There are no set rules or favored details for their design, and so they have come to be a free expression of the individuality of their builders. If placed on a straight garden wall or in a corner, or even on the house wall under the corridor, their proper position of necessity depends upon their f unctional location in the general house and garden plan . The revailing breeze also largely influences the selection of t his position . Plain surfaces of adjacent adobe walls enhance the effect of decorative tiles, bricks, or fi eld stones used around the firebox opening. Thick adobe m asonry affords an opportunity for useful set-back shelves to a ccommodate the dishes, utensils, and materials necessary in t he preparation and serving of the food. Round tops, square tops, oval Indian openings or hooded openin s to the I i r eplace are equally well adapted to the adobe scheme. Cor belled brick shelves that are to support the iron grill at the sides of the firebox are placed at a convenient height so that the chef does not find it necessary to bend too low in the operation of grilling the steaks. The pothook is so arranged that it will swing out of the way when not in use. A odern innovation included in these outdoor kitchens is a m echanized revolving spit for roasting. Several ingenious 80 devices have been concocted for this purpose. The design of patio fireplaces affords a variety in informal architec tural expression. Planting. Between the extremes of formal classic gar dens and informal natural planting, there have been achieved various delightful results suitable for adobe patios. Modi ficat. ons of the form.al garden are more suited to the smaller patios where the imitations of the irregularities of nature are less easily accomplished. In such patios, the box hedge or myrtle, a close-clipped lawn, and bright blossoming plants in pots add their detail in regularity and color to a formal composition centering about the geometrical patterns of a ~oorish-tiled fountain. Here, espaliered citrus trees with exotic charm hang their golden fruit against white walls in sheer loveliness. The landscape type of garden with nature as its model has been used with fine effect in more spacious patios where an imitation of nature in her informality has been achieved. A sort of careless freedom gives these patios a romantic aspect. An olive tree in its circular, built-up basin of brick or stone presents a semiformality reminiscent of Old exico. (See Figure 28, page 66.) In April, the lavender blossoms of the trailing wisteria permeate the air with an aro a of the Orient. One specimen of cestrum nocturnum, during the summer nights, fills the patio with its exquisite 81 fragrance. The magenta bougainvillea, a flaming eucalyptus, or the rich blue of the jacaranda tree each in its season provides a burst of color supremely entrancing. With an avoidance of spectacular creations, the adobe patios of California possess a restfulness and cheer which is one of their finest attributes. CHAPTm VI PRECEDENT FOR ARCHITECTURAL D.uTAILS The adobe houses now being built in California, al though a contemporary expression or modern living within mas~ sive, earthy walls, possess, in most instances, characteris t ics that have, as pointed out in an earlier chapter, evidently been inherited from Old Spain, Mexico, and an American Eastern Colonial ancestry. The refining effect of these architectural influences in both exterior and interior details add to the character of these buildings. Gateways. Except in public gardens or palatial estates, the gateways in the garden walls of Andalusia are generally as free fr om ostentation as the wall itself, and give little in dication of the luxury and beauty that lies secluded there. In Mexico this same characteristic prevails. In the New W orld, walls ware at first rudely constructed of stone or adobe, and plastered or merely whitewashed. The gateway was generally designed in conformity to the wall structure. The gate often consisted of a pair of massive wooden doors made of slabs held in place by cleats secured by rows of hand-forged iron nails clinched on the inner side. he hinge straps, bolt lock, or l key escutcheon often make works of art of such gates. In 1 Richards. Requa, Old Vorld Inspiration for American rchitecture (Los Angeles: The Monolith Portland Cement Company 1929), pp. 133, 134, 135. 83 An alusia, the gates from the street entry to the patio are generally of ornamental iron. Their design ranges from simple bars to the most elaborate ornamental iron effects. In early days, craftsmen and metal tor such elaborate wo ks were not available on the Pacific Coast. In more recent times, the architectural use of ornamental iron has found its way into the houses in California where today it adds fascina tion to modern adobe homes. (See Figure J?.) Doors and doorways. The Moors in Spain developed the 2 door to a fine art, a thing of ex~uisite beauty. Most elab- o ate examples are far too extravagant to serve as models for American work, yet there are certain features of old doors in Spain that are responsible for much of the beauty to be found in Spanish C . olonial doors in Mexico and in California.. Old W orld doors of the more important buildings are generally very la ge, and, consequently, are often inset with a smaller door or more human proportions. The decorative principle of leav- ng the treatment of the door simple when the architecture surrounding it is elaborate creates pleasing effects. In a like manner, carved or inlaid doors become generally more ef ec ive when placed in openings that are practically devoid of o namentation. Plain doors have often acquired character, 2 Richards. Requa, Arohiteotural Details, S~af} and he editerranean {Cleveland, Ohio: J. H. Jansen, , p; 4g-72. • . u 1 1 v L- J .1 l . - .. 1 • • T 1... 85 hrough an embellishment of ornamental hinges, escutcheons, atches, and knockers. Then, too, ornamental nailheads of various designs, when placed in effective patterns, have 3 glorified many common doors. In the humbler doorways of the m inor buildings of the Colonial period of Mexico there is often fou d a quaint beauty reminiscent not only of the grander examples, but also of stone carving that makes use or native Aztec influences. Such doorways, unpretentious, yet pleasing n proportion and decorative treatment afford a definite in spiration that in some instances appropriately influences similar details for adobe houses in California, houses that catch some of the warmth and flavor of an historic background. {See Figure JS.) Windows. The architectural aspect of windows in the cities of Andalusia is somewhat subordinate to the ornamental rilles that bar them from the street. Grilles are not so universal in the rural sections. but are quite generally used i the towns. The windows, which are almost always casements, open in, against the deep reveals. Inside shutters form an architectural feature. Screens are unknown. The first win dows or the Spanish settlers in California were probably of this same type but with the iron grilles generally omitted. 3 Ibid., PP• 50, 52, 54, 55. ...) .. ',. ,u L I ru T • I l J.. • .!. \_ ~ 1 \ l.J • 1 V 1 J I l ._ • • • ' .... .. . . .. .... . . .... ... / I ' . ... _ , , J. • L, 7 Soon after the turn of the nineteenth /century, when the Yankees first came to trade and some of them were so enamored o the lovely daughters or the affluent dons that they made t heir permanent adobe homes in the new land, the English Colonial double-hung window was introduced to California. It was considered a distinct practical in1provement and quite generally replaced the old type of Spanish or Mexican casement windows previously in vogue. The double-hung sash became so completely fused with the adobe architecture ot early California that there remains no sense of incongruity. (See Figure 39.) The refinement in window details formed a start ing point for later changes and further introductions of Eastern Colonial details. Balconies. Since the Roman era, balconies have been a feature of domestic architecture. In the north of Spain, balconies of wooden construction are quite commonly used, and form a picturesque feature. The Spanish balcony often serves as a miniature garden with its potted plants contributing a olorful adjunct to the architectural treatment. These Old fTorld balconies are of wood, stone, or iron or a combination of these materials. 4 In California the balcony, as it developed at ]o terey, anta Barbara, San Juan Bautista, Los Angeles, and San Diego 4 Ibid., PP• 73-84. ' • --- "q"' , . .. •::.,, ·.\'l'. 1 ),t\ll .. t to ,, .... .'~1 •• ,J,.... ' 1 ,. ,,, • •• ,. • • .. ... .. "" • "· ·~, .. ~\~ : 1 '·'i ' .:..·~.\,a. ~ ·· .. , \,olf'h'~ '~"•• ,i,,11 •,'"• "' .. , ... ,; .... t\ .. r, ',, .. ""' .. , •••,u \,,., j 89 in the forepart ot the nineteenth century is partly responsi ble for the distinction given to these old adobe houses. 5 There were two noteworthy types of balconies. One type used posts from the ground to the roof with the balcony placed at t he second-story floor level. (See Figure 40.) The second, and perhaps more truly Monterey style, is the type with posts 6 f om the balcony floor, only, to the roof. (See Figure 41.) Although modern adobes are properly confined to one story, sometimes a second story of frame is superimposed upon t he adobe first story. In this case, the Monterey balcony often forms a pleasing contribution to the design. The old farmhouse at Prunames, Spain, shown in Figure 42 , possesses a striking similarity to the type of house, with overhanging balcony, that was common in California during the first half of the nineteenth century and which is now popularly cal led Monterey. Fireplaces and mantels. In the sixteenth century, in t he palaces of Spain and also in those of Italy, magnificent examples of cut-stone mantels were numerous. However, in the minor domestic architecture of Spain fireplaces have not 5 American Institute of Architects, Southern California Chapter, Residential Architecture in Southern California, 1939, ------ ------- - --------- p . 27. 6 Donald R. Hanniford and Revel Edwards, S~anish o onial or Adobe Architecture of Cali~ornia, 1931, p. 5. - ---------- - ----- L ,.. . .... ' I J. ~ l 1 ' ) .l 1 • .J . J l. JJ. I .L 1 I .. l / I i_ l i.1. 1 .(, I .l. L. I \.. I 1 , 1 '.J .._ l 1. · ·-- J.. 1 j_' I; ,, \... • .L \... . l J J,, 1- .1 V .,. .l T' I.) I J.. 'T , , I. 1. J..J .) r 93 o cupied a conspicuous place. They were usually scarcely more t han a hole in a projecting wall. 7 In Mexico, fireplaces as a method of heating or with ornamental mantels as an archi t ectural feature are also rare. When used at all, fireplaces in t he ordinary homes are generally utilitarian in their as pect . The mildness of the climate in ost of · Spain and much of M exico has been largely responsible for the customary use of portable brasiers for heating the various rooms. The sec ond purpose of the kitchen stove, built of brick or stone, ith its oven for baking and spit for roasting is sometimes found in its heating function which makes the kitchen the cen ter of family life in the colder seasons. In many of the poorer houses in northern Spain fire is still built on the floor in the center of the room. This often suffices for cook- ng and heating as well. (See Figure 43.) In such instances a roof vent in the center of the room exhausts some of the numes of combustion. It was, therefore, to English Colonial precedent that ear ly California home builders looked for new improvements in f replaces, and new ideas in fireplace mantels. The typical G orgian fireplace with its characteristic wooden mantel sel dom reached the western seaboard in &11 the purity of its de sign or the minuteness of its detail. Although the idea of 7 p. 109 . Requa, Old World Inspiration for American Architecture, ,.. l \_ .1 ) ... ' l 1, I I . .... t- 1 '' J. I l;--, 1 . T 'T l .d [. e .L r" I 95 wooden mantels, with wooden pilasters at the sides of the opening, and a wooden mantel shelf was popular with Californians following the advent of Yankee sattlers, these fireplaces when built in the adobe houses of California re tai ned less of the delicacy of detail than those nearer the inspiring source. In modern adobe houses in California, the Yankee fire place fits well into the adobe environment t i at has made ether free use of other architectural details, such as the double-hung window, entrances and stairway balustrades ema nating from our eastern coast. If, however, a Spanish or [exican or contemporary atmosphere prevails, the fireplace is treated simply as an opening in the wall, tile bordered or plain. A niche above it is sometimes carved in the adobe. Such niches were used according to Spanish custom for the figures of saints. A slightly recessed panel over the fire place opening often provides a setting for a cherished picture that contributes to the color scheme and character ot the room. (See Figure 44.) Floor tile and wainscot. In the design of modern adobe houses the use of tile floor s is an i mportant consideration. looden floors are less permanent and are less economical in adobe houses than in frame ones. Because of the thick adobe wal s there are e qually thick foundations which are carried o a gr eater depth for ventilating under wood floor s than for l .L • f' I . _ .I J t ,.J i J .J - ) ' - L °L I .. ~L I • I • .J. . .__ ·- ... ~ - .. .L .J.. .. ~ .. ... - J.. - • I I ~ •--- L1 J L l· l 1· r -....t... v ' .L. I I Ll I l. , .. .. ..... .. l ""-1- ..._. _ 1 . • 97 t ile. The latter are laid directly on a concrete slab on the earth itself. Tile floors involve also a consideration of t ile wainscots. Patterned tile floors are often as soft in color and as rich as Oriental rugs. In Andalusia and in 1exico there are a profusion of decorated colored tile floors and wainscots of Moorish origin. This use ot tile is not confined to the interior, but quite commonly adds color and character to patio floors and walls as well. Plain-color tiles, in various shapes laid in geometrical patterns, are a variation from the decorated tiles. Floors covered with tile, although rich in color are often selected to harmonize with the architectural treatment of the room. The use of decorative tile in adobe houses is one phase of architectural expression that is in perfect accord with the basic material. The charm of wrought iron. The excellence of Spanish wrought-iron work is well exemplified by the wellheads which race alike private patios and the gardens of monasteries and churches of Spain. The Spaniard shov,s his aesthetic feeling in the treatment of so homely a device as the utilitarian wellhead. The curb is generally of stone, but combined with the rail and pully supports, it has become a thing of beauty as a result of the Spanish art of forging. ~rought-iron crosses on roof tops, spires, and domes display a wide variety 98 8 of ingenuity and craftsmanship. eather vanes, too, claim a considerable share in the field of pani s h ,vrought iron. Mexico, also, is noted for its iron grilles. Simple scrolls, used in repetition, create a continuous pattern t or grilles or gates. As the main street doorway of many Mexican t ovm houses leads to an entryway and then into the patio, it is here that both the iron grilles and wooden gate become an important architectural characteristic. These grilles are often of elaborate and intricate wrought-iron patterns. The ar abesque Moorish designs have furnished inspiration for many of these exquisite entrance grilles, both in Spain and M exico. Balconies have been in vogue since ancient times; but it was not until the M iddle Ages that they became an important architectural characteristic. In Andalusia, no second-story w indow is complete without its balcony. Flower bedeck. ad, i t i nvariably becon1es a spectacular feature contrasted with a plain wall surface. Balcony floors are frequently covered with brilliant tile so that the soffit shows as a colorful spot when viewed from below. The ornamental iron window grilles universally used nn windows of the first f l oor are 9 seldom found on second-story windov1s . In many of the ordi- nary buildings of Andalusia, the wrought-iron work i s 8 Ibid., PP• lJJ-144. 9 Ibid., PP• 61-84. 99 a principal feature of the architectural des i gn. Low-pitohe~ tiled roofs. The low-pitched tiled roofs of Spain, brown in color and with a fine sense of proportion, are characteristic of Spanish architecture. The climate and the tile topping have regulated the pitch of the roof, and t here is scarcely an isolated example to violate their logi cal and effective proportion. Roots and cornices are gener ally harmonious with neighboring roofs. In M exico, although t he flat roof is used in arid sections, the low-pitched tile roofs, reminiscent of Old Spain, predominate. In Calif ornia, w here Spanish precedent has prevailed, it is the architectural effectiveness of these low-pitched, red-tiled roofs that does most to differentiate the adobe design of this region from t hat of New Mexico where the flat roof has been derived from t he Indian precedent. CHAPTER VII CONTEMPORARY INTERIORS The decoration and furnishing or the interior or adobe houses offers unusual opportunity for the development of original ideas. The designs of furniture appropriate to these simple structures of sun-baked soil are not bound by any ornate heritage. While free use of historic precedent is made, there is also a freedom to use recent designs that conforms to the sturdy character, beauty, and co:mrort of the home. The point of view of the adobe dweller, as may well be imagined through hi s selection of this type or home, displays a certain freedom from conventionalities. This is the spirit of the modern pioneer, in so far as the art and the architecture of the home is concerned. It opens a vista of infini.te range in the se lection and arrangement of decoration, fabrics, and furnish ings. (See Figures 45, 46, 47, and 48.) This was the procedure evidently followed by the builders of the old adobe houses of the Spanish and M exican periods in California. ![any of these early settlers, being of seafaring stock, collected ideas and actual f urnishings for their homes from not one but from s everal for eign lands . As onl y the rudest comforts were then made at home , many of the refinements of the interiors of early adobe houses were imported from Spain, New England, or the Orient. It was thus l 1 l \. u ( l ·, f' ~ , .. 1 I 0 1 i1:..L , ,. 1 1 I r 'T v.1., T ' J.l l lJ.J ' l. ..1. 11 1 w 1· l.J \..4 ..... . r, .Li l L ,c L 1 1.- • .L-· (_, J ··LL 1 -. • , If ... Gf u • 1 t l ... , - - I - t END . LINING» AND HE"ARTH BURNED BR.~C.~ E L E V A T . I O N O I . ;>_ I ~ I 5 C A LE .:-----------~-----, SEC TI ON ti M I L -PLAN /' r-1 f L JV .J J u .J 1. J1 I ...... • 1 1 • f I u .J J I . ~ 1 --- c ·IUJ. 'l , , ' ~ l • 11.J..1 ' 105 that a diversity or styles furnished sources of inspiration to early California interiors. To these borrowed influences the settlers, of necessity, added ideas of their own in con structing for themselves such furniture as they needed and which was not obtainable by importation. Many of the new adobe houses are refreshingly distinc t vein their furnishings. Occasionally the owners are arti sans or craftsmen who are able to create an atmosphere of individuality with handmade art objects, hand-woven drapes for the living room, rag rugs, attractive wall hangings, and oc casional pieces of pottery that belong in the niches reserved l for them. (See Figure 49.) . Floors. The choice or floor and floor-covering in the new adobe is an important consideration. ~ vith a view to per m anency and beauty, tile or brick floors provide a logical treatment for most rooms. A glossy sheen is given to these by he periodical use of wax. (See Figure 50.) However, concrete floors, plain or marked and colored in pattern, give somewhat similar effects with greater economy. Some home builders have voiced an objection to brick, tile or concrete floors. This is largely due to a sense of coldness and the lack of resili ance. The use of well-padded rugs overcomes this real or l Interview with Mrs. Firman Eyraud, Bakersfield, D camber, 1941. tl . l • ) . u L .. l , r .J I l ·Ut L ) 10 fancied objection. Wood floors, also, are used with success in the adobe house. They are not only traditionally correct in American houses but the natural color and pattern of the grain pre serves a quality or genuineness. (See Figure 51.) The softer woods , when waxed in a natural finish, are particularly at t ractive, although they show wear much more readily than do the harder woods. Floors of parquetry, although attractive or a vestibule or hallway, are perhaps too intricate for the arge floor expanse of the living room. Here, oak planks af ford a practical and appropriate floor. Boards varying in width from narrow to wide and laid at random give a pleasing effect. When selected for color and pattern of grain, they m ake a distinctive floor. These oak planks are often pegged to a subfloor by v.ooden pegs near the ends of eacl1 board. The end grain of pegs takes on a slightly darker tone than that of t he planks themselves, creating added interest. For the kitchen and bathroom floors, where all tradi tion gives way to progress, heavy quality linoleum is used in p ain or patterned types. Modern linoleum floors, when de signed with inset border lines and appropriate inlays, are the ast word in beautiful, practical, and sanitary floor cover in s. Walls and ceilings. The treatment of the interior wall s o the adobe house depends largely upon the character of the 0 L: L t .: 1 l .__, J \ 1 J. J ) ' ~ I u ,,. • ) .1. j. •.a. J u __ r · l . ' ' -. .i 110 room. Adobe is generally plastered 1th ordinary, hardwall plaster and when desired is roded until it is plwnb and true. M athematical precision is sometimes required of the plasterer, especially when the walls are to be covered with cloth or papered. The same type of plaster material is often applied with the hands (through the use of' rubber gloves) the plaster follows, even more closely, the brick irregularities and re tains a handmade texture. Still another wall treatment is that in which plaster is entirely omitted In this case the brickwork, after having been pointed with adobe mortar, is painted with an approved adobe wall paint. Walls treated in this manner show the rough brick texture which provides a pattern for the play of light and shade in absolute accord with the construction. (See Figure 52.) 1th this wall tex ture there is a pleasing awareness of the fact that the house is built ot adobe. The thick walls permit the cutting ot recesses to serve as bookcases, shelves for china, or niches. In the kitchen and bathrooms, however, where, as mentioned previously, sanitation of the laboratory type prevails, the walls and ceiling are plastered, plumb and true, and rec eive a canvas covering or a final gloss of enamel. Ceilings are generally flat, plastered, or of plain boards. Wide, V-groove boards, beaded at t he joints, give a Pleasing effect. Beams are often placed at intervals to sup port the boards. Suoh ceilings are effective when painted a I . , . .r, ) 1 l·,l 1 J[ J ·,dJ..,I ' L ~ Ir I I , 1 1 • 1 'I "11 / .1..l V: 1. t 1 -' I. v .1..). . .1 ... I t J ~ ) •• l. J.!.. JU~ , L ' J.LLJ 1' - .,. I 1~- ) . 1 J".i..w ~ .~ l J I' JI . ~ .l ..I. l.: t .LJ L.t:. 11 soft shade or stained an illuminated by painted decoration on the beams. (See Figure 53.) In a small room or entry a coffered ceiling of wood, decorated in colors, is used to advantage. In the more te~perate climates, open timber fram ing or trussed roof construction is often left exposed over the principal rooms of an adobe home. In the localities where there are excessively hot summers, the rooms with flat ceil ings with attic space above are more easily kept cool. Lighting fixtures. Although the science of illwnina tion has made rapid advances in the field of indirect light ing and the use of florescent fixtures, the avoidance of glare is not a new idea. Too much light in the wrong place proves qui te as deplorable as insufficient light. In the present per iod of increased light diffusion it is inevitable that electric fixture design undergo radical changes. In the new adobe house the location and design of these fixtures is of the utmost importance, not only that the illumination may be orr ect, but also to assist in crAating an atmosphere that adds immeasurably to the attractiveness of the interior. A use of one or many of the historical trends or an avoidance of them all may be the proper solution, depending upon the spe cific adobe house and the atmosphere that is to pervade it. Now that ceiling lights and wall lights that shine i ectly into the eyes have been outmoded by baffle plates to regulate the direction of light and several- ay switche s that l ~ l , r • , f tl u . _: I . L • , ' ' . ....,, I t ... J 1 I I I I lJ _I I 114 regulate intensity, it may upon first thought seem appropriate to remove from all electric fixtures every vestige of past inadequacies in the field of illumination. Such a procedure is too arbitrary. Although the tallow candle and the oil lamp have served their day, there still remains a mellowness in candle light and a quaintness in the oil lamp that is ap propriately retained, in spirit, in the design of more modern lighting fixtures, the partial function of which is to create an atmosphere suitable to the adobe house. {See Figure 54.) In the simple dignity of the modern adobe these traces of earlier days find a place. In these fixtures, however, ade quate lighting is the prime consideration. In a gate light, f ant entrance lantern, or corridor lights for the patio it is especially fitting that the fixtures carry out the general atmosphere of the specific adobe house. reminiscent of early California, earl y W hen the house is odes of lighting are often the source of inspiration for the design of its fixtures. (See Figure 55.) Furniture and furnishings. In selecting appropriate furniture for the new adobe house there is a wide range of choice. In contrast to the furni shings of the English Colonial house of the Atlantic seaboard, which were generally of English C olonial or Early American design, the western panish Colonial adobe houses were furnished in no particular historic trend. £LE T R.IC. WIR. !> "TO PA!>!> THROU Ii t:NT£R... OF LEA,HE" THON<..!> H A G I G LA MP h L A M P .. C.TI O .. L .. /:. .. J. • • • ~ ~ - ~ .:.. · .. ~ L ~ l\ ~~~~=- -=-=-=-~~-= .::~~~==- =::.===--- =- - ===- - _ -:-. ~ = =-=-= l- . - . ' 1 ii- -\~ C>:) ►- I • ll ~ L J ~.r- /4~ c-- 'i ~ 0~ ' ~ - ( " ..... --. I c TE LAMPj J 117 I n fact, the furnishings were very meager and most of them of pr imitive craftsmanship, for there were no skilled artisans and cabinet makers in California at this period. Spanish dons, however, boasted a piece or two from Old Spain and Mexico. {See Figures 56 and 57.) The Manila galleon had brought pr ized bits from the Orient, and the arr val of the Boston ship was eagerly awaited on account of the household comforts of New England manufacture that its cargo offered in exchange f or hides and tallow. (See Figure 58.) Of the cherished Spanish pieces the most common was the (vargueno) secretary, w hich consisted of a chest elevated on legs. Doors opened on t he front to reveal drawers and com].llrtments. These affairs w ere often made of walnut. The legs were generally turned and braced with wrought iron. The more elaborate ones were heavily inlaid. A monk's chair, high backed and with side arms , was not uncommon. The use of leather upholstery, wrought iron, and glittering nail heads of exquisite designs were some of the M oorish characteristics that gave to Spanish furniture of t his period an appearance disti nctive from that of other European styles. Modern adobe dwellers , as t hose of the early days, select their furniture at will from Spanish, Oriental, English Col onial or other historic sources. To these are added recent nnovations that provide the utmost in comfort and enjoyment o the home. The adobe of all houses, is the least insisten I L llu l -, 7 ' !. L' I .L.i I I ., L I I t () 121 upon adherence to an arbitrary style. Here the master of the house, with perfect freedom, enjoys a world-wide selection of furniture. That it is well designed and sturdy in character 1s essential to the role it plays in making the adobe house genuinely attractive. Modern manufacturers, through the em ployment of skillful designers are providing furniture well adopted to today's living requirements and at the same time appealing in line and form, and of enduring construction. New techniques and fabrication have evolved design motifs of dynamic grace, that find a place in the new adobe house. CHAPTER VIII CO CLUSION In California, where the climate is suitable for out of-door living, the patio, it must not be forgotten, has been fitted into a purposeful plan. Here, too, where men have seen the quaint sturdy ruins of the golden era of the days of the Spanish dons, thick earthy walls, fashioned from the soil under foot, have become the dominant characteristic of the new adobe house. This is a direct expression of the people among whom it has grown. In this modern day of glass bricks and a variety of new and useful materials of construction, it seems at first a far cry to the simple, homely sun-dried adobe construction that ceased being popular in the Gold-Rush days of California when Midwestern types of frame construction and jig-saw creations outshone the old Spanish and Mexican homes. Upon closer examination, it is observed that the old type of adobe house in California has never entirely gone out of fashion, and when well designed and properly built, with due regard to engineering principles, it still vies with the most ultra fashionable homes. In many notable examples, it has, for more than a hundred years, served well its purpose for comfortable living and still does. The present interest, on the part of builders, in adobe construction in California and in the 1 23 southwestern United States is, as has already been intimated, largely a result of recent advances in the science of water proofing this material and the improvement of techniques in its manufacture and fabrication. The architectural design possibilities of this modernized adobe have hitherto not been recognized by many architects. The old-fashioned adobe was beneath consideration by architects whose purpose was to create European imitations. Now, fashions have changed. The younger architects, who are consumed with a desire to be classed among the ultramoderns, have their attention focused on t~e works of recent eminent European pioneers in the de velopment and use of new materials of construction as applied to more advanced manners of living. This is the New Archi tecture. There is, however, a place in those parts of the United States where Spanish precedent is well rooted, for an honest, homey type of architecture that not only expresses its construction principles and purpose but also reflects the manner of life and culture of the people whom it serves. This simple, undated, new-adobe architecture is, therefore, not at all out of line with the principles that underlie the best practices in any sound and logical architectural trend. The contemporary adobe houses that are pictured in this study possess the outward characteristics of the material f rom which they are built. They are planned to meet the needs of modern life and for a gracious enjoyment of it. Furthermore 1 4 they cling to traits which for many generations have char- acterized their ancestry in this and forei gn lands. (See Figures 59-76.) Architecture inspired~ far-flu~g trends. The solid adobe walls date back in the East to the civilization of the Pharaohs, and in the West to the Pueblo Indian civilization of the United States. The Orient, through Moorish channels, has cast its spell over the patio fountain; Andalusia has brought the charm of white walls and red-tile roof; M exico has added the lure of a free use of color. Even the English Colonial trend of our eastern seaboard has contributed many fascinating details in the shaping and decorating of entrances and fireplaces. The new-adobe architecture needs no apology because it seems different. After all, it is basically true, as we have seen, to the roots of its heritage, and it 1s the flower of many lands and many civilizations. Yet here in California it possesses, in addition, an architectural integrity all its own. In it, more recent materials and m odern architectural trends are manifest. The rloor plan itself has been restudied with a view to a more functional arrangement. This new-adobe architecture, then, is something more than the expression, i n a practical way, of the best in building skills today. It is a combination of modern func tionalism with the warmth and beauty of the past. It 1s L " ...... ...._ ___ ....., ___ -.. ·---... ►--- - ---- --- ~ :1 a· - - .... ~ - ----- .. . .-- .. -- ~ - . .. - .-- . - J:' - - - - - .- - - - - - - r- --- ,.- .. -,.. ., -(~ _ .. l • C L • • r 1 6 because of this happy fusion of the old and the new that adobe architecture has acquired those appealin characteris tics that give it permanency and distinction. No slavish COEl of traditional styles. Adobe, on account of its sturdy character, cannot pretend to be any thing that it is not. Wood-frame houses have, in the past, been built double-walled to simulate in appearance the thick walls of adobe; but never has adobe counterfeited frame con struction. It would be futile to try to throw tue cloak of an historic pattern, foreign to adobe characteristics, about this type of building. Adobe lends itself poorly to a copy of traditional styles. Its massive aspect, low ceilings, broad wall-surfaces, and deep reveals for doors and windows are in herent and belong to it. (See Figures 77-80.) Although adobe architecture, as previously noted, has developed in most of the countries of the world and has acquired many characteristics common to them, it may never be mistaken for anything else than what it is, a solid structure made out of good earth. This study has been mostly concerned with the adobe architecture in Spain, Mexico, and in the United States, where at different times and under various architectural influences it has absorbed local differentiations in its development without loss of its own identity. The adobe style has demon strated its conformity to the sunny open slopes of Andalusia; but it is equally at home to the rugged hills and wide valleys of California. 7 Advantage . -1.. constructional improvements. The actual manufacture of stabilized adobe bricks and the fabrication of them into waterproof buildings has come as a result of years of research, extensive laboratory tests, and the devel opment of practical constructional processes. (See Figure 81.) This is described fully in the author's article on ' "Adobe Construction." The achievement of imperviousness to moisture in a material that is already repellent to fire gives it two of the attributes most prized in building materials. In California, however, this is not enough. Here, a building material must be capable of resisting seismic disturbances; and so, to the knowledge of the research worker and laboratory technician, and the skill of the builder has been added the science of the structural engineer. Th; s technic a l colla bora tion has resulted in the formulation of building codes that are applic able to t he use of this new a dobe, which may with stand not onl y fire and flood but earthquakes as well. Progressive architects have also shared in providing further interest in the constructional development of t he new adobe. They have given to it an aesthetic quality of design, that, while retaining a defi ni t e identity emanating fr om a romantic past, has allowed the new adobe to stand upon its own merits and dem and attention f or i ts m odern expression as well as for the age-old, earthy quality in herent in it. 128 Architectural quality of exEression. The very nature of such an earthy material as adobe presupposes a quality of design that is intrinsic but not insistent in its architec tural expression. In the employment of a material that springs from the soil itself, it is logical to initiate rather than to imitate a style in the expression of the life and re quirements of the people who are to use it. Imitations of types, as such, are at best transient fads, while a genuine and logical expression of a building material used with scientific precision and in conformity to the times may have an architectural quality of expression which is more permanent because truly its own. ( F ' - - - ·- -,_ - ·-- .. ,.._ l l .tfl> c.: M 14 ., I L ,l V I N c .. 16 • 2 G c.. tf lt ) l.l S \ I IC Cr L ....; # A LL () () I L\ , I 6 I\I TC t1I \3 ,. 13 ,, I , ( ' I , I•, .J I • I I I , I I I I ' -- \ : \j \ I~ • . j' - . . ' - -- - - ·- --- - - , _ ./. /~~~ / . - . , .. --- ~ --/~~,. .. :, - - • : ~~~ . - ~ -""!,. -- - ------------- - ;.-; !""" .. . . . •' - - - -------·· -- ~ - ·- - l J F .J h.J T - r: ' Ju T l ,.uJ_ t T L- .l. J .L , J: J .~tl:t . L .. J • - l . . v \...,, 1 ll .,.. 5J 1 I ~-,L - L LL ... LLLI 1 ( ... r /1 l I l ... l,L· _J r..t ~ J .I • l Tr t LI .. U ( , V. L1 L 1 • 1. I l l ~ C C t 1' 0 ;l1 () :t ~ 0 ,- C .I z t1' C ,_. rrr X: ~ m ~ - 0 ;xJ ~ l> r r U' rrt 0 ~ - 0 :z (J\ m ('\ -i - 0 z 0 11 1 ~ z ~ f'1 (} ;o ('I - --f 0 - ,, 0 1- i J> r r u I M- : -& ,0 ,... N .. - ,.. 0 ~ " ,,, -➔ "' 'O - 1' rfl 0 0 \ " 11 ,.. 0 0 fO r :t> z ·, - ,..- . . •. ; I "-. . ~ . ~ · ,. ' ' .. , . . .. , () .. • , 0 - ... . . 7 11 t) .. . .. • _: ': I ., 4 - '- ► ( ! "' - J> 11 ~ -i % .x -i "' 'P ,.. "' ,, .:i "' C 0 --t C .l. r o ~ 11 11 m ii 0 0 ■ IQ 0 0 ■ I 0 JJ () ;l: - (Y - t1J - 0 'I( - ,, '/'Jc C :I 1 I CP. ,:. .,, 1./' -i WATERPROOF ~ 11 8 lTU DOBE" ~ ~ BR l C KS j " 0 • X Ill " : 71 "' z i - fD ,. -, -I "I( CJ) I i r < z 0 01 J> -{ X: r L ,, ' I ::( j - -i ::t rll ;z a '-o" -f-1 tit 0 ~ ,. z ,.. 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I,.> C L _j 0 C. tt _j tt G 1> LC T PLAN 0 POK CH \ \J I G I b .,,_ 2 ~ o· C A'- LA U DI ING 10 ~ I~ G A R.. A , r I ~ I': A . . ' ► LJ '?' L 7 F l rn r I I (\, ~···~ ) .. ' ... . [ .. , "t' • . ' 11 :(_ :x.... ,_, A ~ V l '.," l,.. T t C., ~ l llV ... o... 1 - i. ~Vi • IZZ~ZJ . Y ; ~ ' . ' \. I• ' I \'-<. ' ' I V1 I F 0 C ~ N T R A L OF AIDOJBE I \.., E V P \ I ~ ( I \-: . 1 I vs --- -- I I >, ( ( g 'L 7. .>- , ~ ,-. , ' ' ,o· u pt, 0 L \) • i,. t __g_ \),. I U I -2' V N • I l ; I T f '2222222« 5 ? 2 c 2fl H v ,, u ' '(, \ ,_ VJI JLLA CG E " I ,, l ~N ~o M wHira.e- ~MOWl"f ON ;"L.~'1/A.TION~ ~LA~H AIIT MO"'TA~ AL.L. AlilOV""O SI LL C.AL.. . IA.ON • ~ _, .,S) ~EC.T\ON I Nl"E.f\lOR ELEVATIO 5 SEC T ION l E z . .'-e'' .SV~Alll p,,... ., . ., . . .. • • • • • • • - • • • • . - E)(TERIOR ELEVATlON .. L . . .. .... ...... , ~· .. ' ... . . . . . , . . . . .. . .. .. - . . .. . ' . ·. . . . . . . . . •.· . . . CHIMNEY SECTION b =-=;-;====;=:::~F--=~~~~~~~~~~~.,__-'"" ,, I - r -------==--~ t.:=- -:.....-=- ~ ~ ~ - -=--=-:;--=.~-~-------- '----,,2=~~;:~-=-- ~-=air---' ~=-::;;;;::::::=x=~ - -:-::=ao::::C' ---- ~~~!'--__..=,.-:. POT ttOOK ) ELEV A,\ ON ... - -~----\ : . - A . }.~ :_ . ., . : ::•· . :· _:· .. ·. - -~ . :_ :_. :. - . _:. :,:• .. _:. ·. ·.· :" .. : .. · ·. : · . . ·. ·. ·.-.,· .. ' ' . . . . . .. . . : . - ---- . ........~~ .... ----.....,; .......................... ~ ............ ~ . .. - - - . ' . ,. I { ~ . ; . . . · . . . '"' . : ~ . ·- __, - · .. ~ - .. 2 '- o" I 4• 4- - ? LAN 5C..AL I 0 I ' .. I ,1 z. - 0 ) I I 3 s' l l., i • ,_ , 7 L, ... .I. l. .J I v l L I I I I I i ◄ T . L - LJ 47 ?ci L. T ' ...... v .. 10 ..J u .. r T ... l,.. .LI ( I ) _ j_ . L I --- J::.._ -- "J - " I . ., - - ---=- I ; - ---- .,_7,--- -- .:...c- - ~ / l, .LJ , , ___ _ L- -- ' F- U .. £J du I , 1 ..... ) .. ...... . - T , ... ~. - --~ ..... <~ ,~ 1 ' BIBLIOGRAPHY BIBLIOGRAPHY A. BOOKS American Institute of Architects, Southern California Chapter, Residential Architecture in Southern California. Los Angeles: American Instltute of Architects, 1939. 101 pp. Bancroft, Hubert Howe, California Pastoral. San Francisco: L.A. Bancroft and Company, 1888.1 Pp. 808 _____ , History of Calitornia. San Francisco: L.A. Bancroft and Company, 1881-1888. Vols. I, II, III, IV. Baxter, Sylvester, SRanish Colonial Architecture in Mexico. Boston: J.B. Millet, 1902. 229 pp. Bernard, Augustin, Petits Edifices Espasge. Sixieme s8rie; Paris: Vincent Freal et Cie, 1928. 6 pp. Chase, Stuart, ·Mexico. New York: The Macmillan Company, 1931. 388 pp. , Connor, Palmer, The Romance or the Ranchos. Los Angeles: Title Insurance and Trustcompany, 1941. 43 pp. Garrison, George Richard, and George Rustay, Mexican Houses. New York: Architectural Book Publishing Company, i930. 17J pp. Gess1·er, Clifford, and E. H. Suydam, Pattern of Mexico. New York and London: D. Appleton-Century Company, Inc., 1941. 442 pp. Hamlin, Talbot, Architecture Througq the Ages. New York: G •. Putnam's Sons, 1941. 600 pp. Hannitord, Donald R., and Revel Edwards, Slanish Colonial or Adobe Architecture of California 1800-!8~0. New York:- Archltectural Book Publishing Company, Inc., 1931. 110 pp. Long, J. D., ·Adobe Construction. Berkeley, Calitornia: _ University ot California, College of Agriculture, 1941. 76 pp. Muirhead, ~indlay, Southern Spain and Portugal. London: Macmillan and Company, Ltd., 1929. 337 pp. 1 5.3 Newcomb, Rextord, Mediterranean Domestic Architecture in the United States. Cleveland, Ohio: J. H. Jansen, 1928. 223 pp. , The Old Mission Churches and Historic Houses of -~c-a--lifornia. Philadelphia and London : J.B. LippinCOtt Company, 1925. 379 pp. --~-' The SEanish House for California. London: J.B. Lippincott Company, 1927. Philadelphia and 164 pp. Patronato Nacional del Turismo, The Gardens of Spain. r adrid: Patronato 1 T acional del Turismo, 1928. 44PP• Requa, Richard S., Architectural Details, Spai~ and the Mediterranean. Cleveland, Ohio: J •. Jansen, 1927. 144 pp. --~-' Old World Inspiration for American Architecture. Los Angeles: The Monolith Portland Cement Company, 1929. 144 pp. Rensch, H. E., and E.G. Rensch, istoric Spots in California; the Southern Counties. Stanford: Stanford University Press, 1932, 267 pp. Salm-Salm, Princess Agnes, Ten Years of~ Life. New York: R. M orthington, 1877. 385 pp. - Terry, Philip T., Terry's Guide to ~exico. Boston : George H. Ellis Company, 1909. 728 pp~ B. TYPESCRIPrS, LECTURES, INTERVIE "S Bixby, Llewellyn, Long Beach, typed information, 1941. Coy, Owen C., Lectures "History of California, The Spanish Period," presented at The University of Southern California, Summer Session, 1941. Cullimore, Clarence, typescript, "A Study of Adobe Construction in Domestic Architecture of California." The U~iversity of Southern California, 1941. 151 pp. Eyraud, Mrs. Firman, Bakersfield, interview, 1941. Forker, rs. William, Bakersfield, interview, 1941. Ruble, August A., Piru, interview, 1938. 154
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Creator
Cullimore, Clarence
(author)
Core Title
Adobe domestic architecture in California
School
School of Architecture
Degree
Master of Architecture
Degree Program
Architecture
Degree Conferral Date
1942-06
Publication Date
05/12/1942
Defense Date
05/12/1942
Publisher
Los Angeles, California
(original),
University of Southern California
(original),
University of Southern California. Libraries
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OAI-PMH Harvest
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theses
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Language
English
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Digitized from microfilm by the USC Digital Library in 2023
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Weatherhead, Arthur C. (
committee chair
), Annis, Verle Lincoln (
committee member
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Cullimore, Clarence
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