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Robert C. Cleveland, photographer</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>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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              <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>The Education and Social Sciences buildings house the Gevirtz School of Graduate Education, offices for the College of Letters and Sciences, the Center for Film, Television, and New Media, and the Pollock Theater. This image is a design sketch of the buildings, with the Pollock theater in the foreground. The sloping tile roofs and covered walkways echo the original campus design, while adding post-modern elements. The buildings had to fit within a prescribed footprint, in order to leave pedestrian circulation, bike paths, and roads in place, while keeping the massing from overpowering the site and also maintaining a north/south view corridor to the mountains.</text>
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                <text>Kallmann, McKinnell, &amp; Wood, architects</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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                <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>Drawer 56, flat file 5</text>
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                  <text>Kem Weber (1889-1963): Interiors</text>
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                  <text>Architect and designer Karl Emanuel Martin Weber was born in Germany, and apprenticed as a cabinet and furniture maker. He emigrated to the United States, where he eventually established himself in Los Angeles and Santa Barbara, and worked for furniture companies and individuals on commissions across the country. Weber's designs for homes, commercial interiors and exteriors, as well as his hotel and retail work, ushered in an era of modern design in the 1920s through the 1940s. His interior designs also encompass his furniture designs, with his most famous being the Airline Chair and Disney Studios in Burbank. </text>
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&#13;
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                <text>As with many of Lockwood de Forest's commissions, the houses were designed by some of the top architects in Southern California, and de Forest's landscaping was a harmonious compliment to their work. The formality of the house lent itself to the grounds as well, as seen in this geometric fan-shaped garden for William P. Nelson.</text>
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                <text>The de Forest archive contains a large amount of personal papers, including many photographs of Lockwood and Elizabeth de Forest. The photos document their extensive camping trips in the Sierra Nevada mountain range in the 1930s.</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>This site plan shows the pedestrian circulation patterns within this section of San Joaquin. The mixed height of the buildings, break up the massing of the structures which hold faculty apartments, lounges, and study spaces. The plan emphasizes communal spaces by placing them close to the public walkways. The buildings were sited so as not to impede upon the Storke Ranch properties immediately to the north. &#13;
&#13;
San Joaquin follows this model by also including the Portola Dining Commons, a market, outdoor volleyball and basketball courts, as well as a range of social and academic services for the 1000 students who live here and for the 1300 students in the adjacent Santa Catalina Residence Hall. By adding more apartment-style living units and amenities, the University hopes to keep students living in campus housing for all four of their undergraduate years. &#13;
&#13;
Lorcan O’Herlihy Architects (LOHA) designed two of the housing clusters in the northern section of the site. Two more of the clusters were designed by Kevin Daly Architects (KDA), and Kieran Timberlake was responsible for the Portola Dining Commons. Two 6-story towers and the overall site master plan are by Skidmore Owings and Merrill (SOM).</text>
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                  <text>During the Great Depression, Lucile Lloyd (1894-1941) built an active career as a mural decorator.  Her colorful scenes and stenciled patterns adorned the interiors of numerous homes, schools, restaurants, shops, and public buildings throughout the Los Angeles area.  Lloyd lived and worked at a time when murals were at a height of popularity. Hand-painted ornament was fashionable in homes and public buildings alike, and the Works Progress Administration (WPA) provided government funding for public murals to ease unemployment during the Depression.  In 1935, Lloyd became the first woman artist in Southern California to receive a prestigious WPA commission. The resultant mural, California’s Name, was her last major project. Since Lloyd’s death in 1941, many of her works have been lost. Drawn from the Lucile Lloyd papers at the University of California Santa Barbara Architecture and Design Collection, Lucile Lloyd: A Life in Murals provides a rare look at a prolific but understudied artist.</text>
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                <text>Lucile Lloyd: proposed mural decoration for the Ojai Presbyterian Church (Ojai, Calif.)</text>
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                <text>Lucile Lloyd (1994-1941), muralist; Photographer unknown</text>
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                <text>Photographic portrait of Lucile Lloyd holding the proposed mural decoration for the main entrance of the Ojai Presbyterian Church</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="845">
                <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>Ojai, Calif.</text>
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            <description>The topic of the resource</description>
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                <text>murals&#13;
art in architecture&#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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Arvin Shaw, architect&#13;
Cliff May, architect</text>
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              <elementTextContainer>
                <elementText elementTextId="4673">
                  <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>Montecito, Calif.</text>
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                <text>Lutah Maria Riggs 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>Lutah Maria Riggs was born on October 31, 1896 in Toledo, Ohio. She came to Santa Barbara in 1914 and attended Santa Barbara City Junior College until 1917 when she went on to study at the University of California, Berkeley. She graduated from Berkeley in 1919 with a Bachelor’s degree in Architecture. Just out of school, Riggs found employment as a draftswomen and designer for Ralph D. Taylor in Susanville.&#13;
One year later in 1921, Riggs began to work for architect George Washington Smith. She remained in his office until his unexpected death in 1930. Before his death, Smith apparently treated Riggs as a surrogate daughter, taking her on architectural study trips to Mexico and Europe. Riggs became an important member of the office--her renderings can be found in almost every project file. She contributed significantly to the Lobero Theatre, El Paso historical complex, and Casa del Herrero, among other projects.&#13;
After Smith’s death Riggs established a short-lived partnership with William Horning. Horning and Riggs and dissolved in 1931. In 1931 Riggs became the principal of her own firm. In 1946 she formed a partnership with Arvin Shaw (who had worked for the New York firm, Harrison &amp; Abramovitz), which lasted until 1950. Riggs continued her practice until 1981, when she closed her office due to declining health.&#13;
The numerous residential and public buildings designed by Riggs include houses for Wright Luddington, Alice Erving, and for E. Palmer Black; the Vedanta Temple and the library and herbarium of the botanical Garden in Santa Barbara. While most of her work was in the Santa Barbara area, she received several commissions in Los Angeles and in smaller cities south of Los Angeles. In 1966 she was named women of year by the Los Angeles Times; she served on the state Board of Architectural Examiners and the Santa Barbara city and county Landmarks Advisory Committees. She was a charter member of the Montecito Foundation for the History Committee and active in the preservation of Santa Barbara’s historic architecture. Lutah Maria Riggs died in 1984 in Montecito, California at the age of 87.</text>
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                <text>Riggs designed this house on Middle Road in Montecito for herself in the mid-twenties; she lived there until her death in 1984. The house, named Clavelitos or "little carnation," contained two bedrooms, ample outdoor space, and large fireplaces. The Spanish Colonial Revival style was championed by George Washington Smith, who was Riggs' mentor; she worked for Smith up until his death in 1930.</text>
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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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One year later in 1921, Riggs began to work for architect George Washington Smith. She remained in his office until his unexpected death in 1930. Before his death, Smith apparently treated Riggs as a surrogate daughter, taking her on architectural study trips to Mexico and Europe. Riggs became an important member of the office--her renderings can be found in almost every project file. She contributed significantly to the Lobero Theatre, El Paso historical complex, and Casa del Herrero, among other projects.&#13;
After Smith’s death Riggs established a short-lived partnership with William Horning. Horning and Riggs and dissolved in 1931. In 1931 Riggs became the principal of her own firm. In 1946 she formed a partnership with Arvin Shaw (who had worked for the New York firm, Harrison &amp; Abramovitz), which lasted until 1950. Riggs continued her practice until 1981, when she closed her office due to declining health.&#13;
The numerous residential and public buildings designed by Riggs include houses for Wright Luddington, Alice Erving, and for E. Palmer Black; the Vedanta Temple and the library and herbarium of the botanical Garden in Santa Barbara. While most of her work was in the Santa Barbara area, she received several commissions in Los Angeles and in smaller cities south of Los Angeles. In 1966 she was named women of year by the Los Angeles Times; she served on the state Board of Architectural Examiners and the Santa Barbara city and county Landmarks Advisory Committees. She was a charter member of the Montecito Foundation for the History Committee and active in the preservation of Santa Barbara’s historic architecture. Lutah Maria Riggs died in 1984 in Montecito, California at the age of 87.</text>
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                <text>The Santa Barbara Botanic Garden was started in 1926 as a partnership between the Carnegie Institution and the Santa Barbara Museum of Natural History, with land in Mission Canyon donated by Anna Dorinda Bliss. The Garden grew from the initial 13 acres, up to 78 acres today, and is filled with native and regional plants. In 1942, space was needed for the growing library of books on horticulture in the Garden's collection. &#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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