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Chris Choate, architect</text>
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                <text>The idea for Cliff May Homes, a business of selling designs for prefabricated tract houses, was born in 1950 out of discussions between Cliff May and Chris Choate, an architect working in May’s office. May and Choate did field research, visiting other low-cost housing developments throughout California and in Arizona to assess their competition.&#13;
They named the first prototype of the panel system the “Factory Model” and built it on a plot of land May owned in Sullivan Canyon, above Riviera Ranch. By the end of the day, a group of about ten skilled laborers had assembled the shell of a two-bedroom house using both post-and-beam construction and a system of pre-assembled panels</text>
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                  <text>Cliff May, known as 'the father of the ranch house,' was an early proponent of the California style ranch house. He first built hacienda style houses in San Diego in the 1930s, then moved to Los Angeles to create some of the most widely recognized ranch-style houses in the country.  His early custom ranch houses of the 1930s follow the compact designs of his hacienda-style houses, but with central courtyards and face inwards. After the WWII years and the boom in tract housing through the 1950s, the custom houses Cliff May designed became larger, more open to the outside world, and sprawled through the home site with large motor courts and swimming pools.   These changes reflected the needs of a different clientele-- as land prices increased, the wealthy wanted grand homes on large, expensive lots and the later houses reflect the changing wants and needs.</text>
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The house was unusual, especially for Riviera Ranch, because it did not sprawl but was rectangular and compact in its plan. May and Choate brought the patio inside the dwelling and covered it with a large skylight, about 30 feet by 50 feet, which had a retractable glass cover that was opened and closed by a motor. May collapsed most of the rooms into a single space that could be customized by moving around cabinets on wheels that served as temporary walls.</text>
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&#13;
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                <text>Cliff May house 5 represents the final stage in his design of the custom ranch house in its scale, large areas of glass, and high ceilings. The large central living space (over 1,600 square feet and 53 feet long) was a combination of living room, dining room, and music room separated by a kitchen from the bedrooms. Enclosed on three sides by the house and carport, the terrace had radiant heating so it could be used for entertaining.&#13;
&#13;
Elizabeth Gordon declined to publish this house in House Beautiful, saying that the size, over 7,000 square feet with nine outdoor living areas, was out of scale for her readers. May brought it to House and Garden, where it was published as the first “Hallmark House.” The magazine described how the Mays lived in the house and its innovative features, such as kitchen island counter with sink and a sprinkler system for the skylight.</text>
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Maynard Parker, photographer</text>
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                <text>Maynard L. Parker, photographer. Courtesy of The Huntington Library, San Marino, Calif.&#13;
&#13;
Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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                <text>Hiram and Violetta Lee Horton built four of the six speculative houses May designed for them on Hillside Drive in La Jolla, a seaside community in northern San Diego. Violetta Horton also commissioned May to build the Sweetwater Women’s clubhouse in nearby Bonita.&#13;
Where May had the chance to work on a corner lot or to orchestrate a number of dwellings together, he was less constrained by the need to separate the porch and court from the sight of neighbors, and began to find more varied ways to organize the house plans. Once out on more spacious exurban sites, May varied the shape and orientation of the courtyard with splayed and open plans.</text>
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                <text>The plan that evolved into May’s widely publicized Pace Setter house for House Beautiful was first designed by May during the war as a Postwar Demonstration house, in anticipation of an expanding upper middle-class housing market. He wanted to build the Postwar Demonstration house (he also called it the “After the War house”) in a planned community of luxury homes called Woodacres. This was a parcel of land north of San Vicente Boulevard near the extension of 14th Street in Santa Monica that he and John A. Smith had purchased around 1940.</text>
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                  <text>Cliff May, known as 'the father of the ranch house,' was an early proponent of the California style ranch house. He first built hacienda style houses in San Diego in the 1930s, then moved to Los Angeles to create some of the most widely recognized ranch-style houses in the country.  His early custom ranch houses of the 1930s follow the compact designs of his hacienda-style houses, but with central courtyards and face inwards. After the WWII years and the boom in tract housing through the 1950s, the custom houses Cliff May designed became larger, more open to the outside world, and sprawled through the home site with large motor courts and swimming pools.   These changes reflected the needs of a different clientele-- as land prices increased, the wealthy wanted grand homes on large, expensive lots and the later houses reflect the changing wants and needs.</text>
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                  <text>Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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                <text>Cliff May papers, Architecture and Design Collection. Art, Design &amp; Architecture Museum; University of California, Santa Barbara.</text>
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                <text>Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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                <text>May designed these unbuilt minimum houses, a large set of model plans for low-cost ranch houses, for Sunset magazine. May’s strategy was to create garden-oriented, two-wing plans. The entrance was indirect and understated. Thin partitions defined the interior spaces. The houses were oriented away from street lines and toward an interior open space, and the rear facades were punctuated by terraces, porches, or courts.&#13;
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                  <text>This collection features images used in the book &lt;em&gt;Tremaine Houses: One family's patronage of domestic architecture in midcentury America&lt;/em&gt; by Professor Volker Welter. The book explores the commissions of two brothers, Burton G. Tremaine and Warren D. Tremaine, and their wives Emily Hall Tremaine and Katherine Williams Tremaine. &lt;br /&gt;&lt;br /&gt;Professor Welter utilized the Architecture &amp;amp; Design Collection (ADC) extensively and many of the photographs and architectural renderings from the book are from the ADC. &lt;br /&gt;&lt;br /&gt;Please contact the ADC for information about rights and reproductions: adc@museum.ucsb.edu</text>
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Cliff May, architect</text>
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The clock had been inoperative for many years prior to the renovation of the building into loft apartments. In 2005, the clock was ceremonially re-started to celebrate the 75th anniversary of the building. As part of the condominium conversion, a pool and spa were added to the roof-- with views of the famous clock and sign.</text>
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Claud Beelman was born in Ohio in 1884 and apprenticed in the Midwest and South before moving to Los Angeles. Once in Los Angeles he obtained his building license and went into partnership with Alexander Curlett, whose father was an established architect in the Los Angeles and San Francisco areas. Curlett was born in San Francisco in 1881, attended Columbia University's School of Architecture, and was in partnership with his father William Curlett from 1908-1916 as William Curlett and Son, Architects. After the firm Curlett &amp; Beelman dissolved in 1932, Curlett became the project manager for the Federal Public Housing Authority and worked on federal building projects in Southern California until his death in 1942. Beelman continued as a solo architect, working on many commerical buildlings until his death in 1963.&#13;
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                <text>Case Study House #11 shows the progression of thought in the program since J.R. Davidson designed CSH#1. This house is smaller, more efficient, and is sited at an angle on the lot to still provide ample outdoor living areas. Both Davidson and Art and Architecture Magazine were hampered in their design and building of the CSH program by continued building supply shortages in the immediate post-war years. They were, however, able to use some of the new modern conveniences like plywood and in-floor radiant heating.&#13;
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                  <text>The Case Study House program was started by Art &amp; Architecture Magazine in 1945 as a way for architects to begin to formulate ideas for post-World War II housing. There are a few Case Study House architects whose collections are housed at the ADC:  J.R. Davidson, Whitney Smith (of Smith &amp; Williams),  and Edward Killingsworth (of Killingsworth, Brady, and Smith). Additionally, our Ester McCoy collection of papers also contains drawings and materials pertaining to the design of some of the Case Study Houses. &#13;
The housing designs showed that good architecture and good design could be scaled up to produce low cost houses, since the need for single family homes was of paramount importance after WWII. As the Case Study House program evolved throughout the 1950s and into the early 1960s, the houses became more modern, with less emphasis on low-cost, but rather cutting-edge design.</text>
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                  <text>University of California, Santa Barbara Campus Building records, Architecture and Design Collection. Art, Design &amp; Architecture Museum; University of California, Santa Barbara.</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="881">
                  <text>Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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                  <text>The University of California, Santa Barbara was founded on July 1, 1944 and located in Santa Barbara proper, where the University took over the facilities of Santa Barbara State College. It was not until 1954 that the University moved to a 406-acre tract of land about nine miles west of the city, where it stands today. A portion of the 406-acre site was a World War II Marine air base, the barracks and other structures and facilities were renovated and adapted for instructional and dormitory uses. &#13;
&#13;
After the Regents acquired the land, two permanent buildings were subsequently constructed, the library and the science building, designed in 1952 by Chester Carjola and Windsor Soule, respectively. A year later in 1953, the architectural firm of Pereira and Luckman of Los Angeles (later to become Charles Luckman and Associates in 1958) as well as landscape architect Eric Armstrong were chosen to create a master plan for the University. The construction of Santa Rosa Hall marked the establishment of a new architectural style, which consisted of patterned cinnamon colored concrete block (colored by volcanic ash) and flat tile roofs, intended to be a blending of modern and Spanish aesthetics. It was followed by the Arts Complex, Residence Halls, Dining Commons, Music Building, and Library additions. &#13;
&#13;
In 1968 the Faculty Club, which was designed by Moore and Turnbull, was completed. A year later in 1969, Storke Tower and Communications Plaza, designed by Clark and Morgan, were built. Over the history of the University there have been nine Campus and Master plans undertaken to guide its growth. Recent additions to the collection include computer-generated renderings of newly constructed buildings, preliminary renderings and correspondence pertaining to the design and construction of Henley Gate, and additional working drawings and master plans.</text>
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                <text>A rendering of the exterior of the dining hall highlights the patterned concrete block, the hipped roof, screen walls (to protect the students from the ocean wind), and dentil mouldings along the bottom of the concrete overhang. These pieces of the Pereira &amp; Luckman architectural vocabulary were combined in various ways to create a cohesive architectural style for the new campus buildings.</text>
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After the Regents acquired the land, two permanent buildings were subsequently constructed, the library and the science building, designed in 1952 by Chester Carjola and Windsor Soule, respectively. A year later in 1953, the architectural firm of Pereira and Luckman of Los Angeles (later to become Charles Luckman and Associates in 1958) as well as landscape architect Eric Armstrong were chosen to create a master plan for the University. The construction of Santa Rosa Hall marked the establishment of a new architectural style, which consisted of patterned cinnamon colored concrete block (colored by volcanic ash) and flat tile roofs, intended to be a blending of modern and Spanish aesthetics. It was followed by the Arts Complex, Residence Halls, Dining Commons, Music Building, and Library additions. &#13;
&#13;
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Julius Shulman, photographer</text>
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&#13;
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&#13;
After the Regents acquired the land, two permanent buildings were subsequently constructed, the library and the science building, designed in 1952 by Chester Carjola and Windsor Soule, respectively. A year later in 1953, the architectural firm of Pereira and Luckman of Los Angeles (later to become Charles Luckman and Associates in 1958) as well as landscape architect Eric Armstrong were chosen to create a master plan for the University. The construction of Santa Rosa Hall marked the establishment of a new architectural style, which consisted of patterned cinnamon colored concrete block (colored by volcanic ash) and flat tile roofs, intended to be a blending of modern and Spanish aesthetics. It was followed by the Arts Complex, Residence Halls, Dining Commons, Music Building, and Library additions. &#13;
&#13;
In 1968 the Faculty Club, which was designed by Moore and Turnbull, was completed. A year later in 1969, Storke Tower and Communications Plaza, designed by Clark and Morgan, were built. Over the history of the University there have been nine Campus and Master plans undertaken to guide its growth. Recent additions to the collection include computer-generated renderings of newly constructed buildings, preliminary renderings and correspondence pertaining to the design and construction of Henley Gate, and additional working drawings and master plans.</text>
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&#13;
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Born in Pennsylvania on February 22, 1876, George Washington Smith began his education with the study of art and painting at the Pennsylvania Academy of fine arts, and later attended Harvard University (1895-1987) where he studied architecture, but never graduated. After leaving Harvard, Smith took a position supervising construction with Newman, Woodman and Harris, but, unhappy with the work, left to join the Francis R. Welsh bond company, where he made enough money to retire to a life of painting by 1912. After marrying, he travelled through Europe, eventually settling in Paris where he studied painting at the Académie Julian of the Ecole des Beaux Arts. Smith and his wife left Europe in 1914 at the outbreak of World War I, and settled in New York, where he continued to paint and exhibit his work. In 1915, Smith and his wife traveled to California to see one of his paintings exhibited at the Panama Pacific Exposition in San Francisco. While in California, the two decided to take a trip to Santa Barbara. &#13;
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                <text>Architecture and Design Collection. Art, Design &amp; Architecture Museum; University of California, Santa Barbara.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1937-1939</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="9909">
                <text>Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Copyright restrictions also apply to digital representations of the original materials. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. University of California Regents.</text>
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            <name>Relation</name>
            <description>A related resource</description>
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              <elementText elementTextId="9910">
                <text>adc_104</text>
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          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="9911">
                <text>image/jpg</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="9912">
                <text>English</text>
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            <name>Type</name>
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                <text>Still Image</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>adc_104</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Los Angeles, Calif.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The Scharlin house in Silver Lake was built for the founder of one of the first co-operative nursery schools in Los Angeles, Rose Scharlin. The house sits at the top of the ridge, on a sloping site far back from the street, with views in multiple directions. The children's bedrooms, as well as the living room and den had sliding walls for flexible living arrangements. </text>
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