Summer 2018 Journal of the California Garden & Landscape History Society Volume 21, Number 3 JOURNAL OF THE CALIFORNIA GARDEN & LANDSCAPE HISTORY SOCIETY

EDEN EDITORIAL BOARD Guest Editor: Steven Keylon Editorial Board: Phoebe Cutler, Steven Keylon, Keith Park, Ann Scheid, Libby Simon, Jennifer Trotoux Consulting Editors: Marlea Graham, Barbara Marinacci Regional Correspondents: Bay Area: Phoebe Cutler San Diego: Vonn Marie May Graphic Design: designSimple.com Submissions: Send scholarly papers, articles, and book reviews to the editor: [email protected] Memberships/Subscriptions: Join the CGLHS and receive a subscription to Eden. Individual $40 • Family $60 Sustaining $100 and above Student $20 Nonprofit/Library $50 Visit www.cglhs.org to join or renew your membership. Or mail your check to Julie Arshonsky, P.O. Box 220237, Newhall, CA 91322-0237. Questions or Address Changes: [email protected] CGLHS BOARD OF DIRECTORS President: Christine E. O’Hara Vice President: Libby Simon Recording Secretary: Nancy Carol Carter Membership Officer: Brandy Kuhl Contents Treasurer: Judy Horton Directors at large: Antonia Adezio, Kelly Comras, David Laws, In His Own Backyard: Ann Scheid, Jennifer Trotoux Robert Royston’s Modern Gardens in Marin County Past President: Steven Keylon JC Miller, ASLA ...... 6 HONORARY LIFE MEMBERS Virginia Gardner The Father of Solar Control: Marlea Graham, Editor emerita Robert Deering, Ph.D, FASLA William A. Grant (Founder) Melissa Mourkas ...... 22 Barbara Marinacci Resources for the Uncovering at the The California Garden & Landscape History Society (CGLHS) is a private nonprofit 501(c)(3) membership organization devoted to celebrating the Environmental Design Archive, UC Berkeley beauty and diversity of California’s historic gardens and landscapes; promoting Phoebe Cutler ...... 30 wider knowledge, preservation, and restoration of California’s historic gardens and landscapes; organizing study visits to historic gardens and landscapes as well as to relevant archives and libraries; and offering opportunities for a lively interchange among members at meetings, garden visits, and other events. Eden: Journal of the California Garden & Landscape History Society (ISBN 1524- 8062) is published quarterly. Subscription is a benefit of CGLHS membership. © 2018 California Garden & Landscape History Society

California Garden & Landscape History Society P.O. Box 220237, Newhall, CA 91322-0237 Opposite: Portion of an Abstract Painting by Robert Royston. In his artwork Royston explores forms and relationships that recall his landscape designs. Collection of the author. Photo by JC Miller. www.cglhs.org Above: Leon Lefson Garden, Sacramento, California, 1959. Robert Deering, landscape architect.

2 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 3 Heath garden looking south from top of embankment, a Royston designed outdoor table being set for an al fresco meal. University of California Berkeley, College of Environmental Design Archives (CEDA) Robert Royston Collection. Photo by Robert Royston. 4 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 5 IN HIS OWN ACK YARD Robert Royston’s B Modern Gardens in Marin County By JC Miller, ASLA

6 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 7 early 1950’s, Eckbo, Royston and Williams His formal vocabulary was influenced by local landmark, but it was marred by an ugly had developed into one of the nation’s leading twentieth-century painting and sculpture, middle ground. Also, the space allotted by the modernist landscape architectural firms. and he strove to create environments suitable architect for a garden on the steep slope was At this point in time, roughly eighty for modern living. far too small to be of much use for entertaining percent of the new firm’s commissions were Certainly, spatial manipulation was not and other outdoor activities. Architect Gryffyd residential gardens, which Royston considered a new design concept developed in postwar Partridge’s one-story house was quite small, “fun projects” that allowed him to develop California gardens. The Baroque gardens of consisting of one bedroom, a living room, relationships with clients who were will- seventeenth-century France, the villa gardens kitchen, and garage. Its steep narrow lot was ing to experiment with new ideas. During made by aristocrats of the Italian Renaissance, flanked by houses on either side that looked this period, he produced some of his most and even prehistoric sites such as Stone- into the small, flat, 10 x 30-foot space Par- outstanding designs: the Naify garden in henge enclosed spaces, controlled views, and tridge’s grading plan had provided for a garden Atherton, California (1947), the garden for manipulated perspectives. What was novel at the rear of the house. The view to the west his own home and that of his neighbor, the in Royston’s approach was the application of Mount Tamalpais, was appealing, but the architect Joseph Allen Stein, in Mill Valley of a modernist design vocabulary and cubist middle ground was dominated by a conspicu- (1947), and numerous others. His work was spatial concepts to the suburban California ous road and an ugly four-story apartment frequently featured in such publications as garden. Promotion of these art-driven ideas building at the base of the lot’s steep slope. Sunset, House & Garden, Arts and Architecture, put Royston and his partners at the forefront As was the case with the Naify garden, Architectural Record, Architecture and Engineer- of landscape design in the postwar period. where he created a breakthrough design that ing, and House Beautiful. These commissions In earlier periods art had been incorporated was published widely and gained a great helped establish Royston’s reputation as a lead- into the garden as a static element, and land- deal of professional attention, Royston was ing landscape modernist.1 scape gardening was sometimes discussed as required to deal with the site’s challenging In 1958, Royston, Eckbo, and Williams an artform akin to landscape painting, but the problems. The Wilsons asked him to enlarge parted amicably, and Royston launched his work of Eckbo, Royston and Williams, and the too-small garden, provide privacy for its own firm, building on the collaborative, many of their California peers, changed the users, and do something to improve the view. interdisciplinary model developed with his discourse entirely. No longer was it about art The design that he proposed in response was first partners. The next partnership, Royston, in the garden or artful gardens; the garden (or complex and unusual, so he built a model to obert Royston had a long and included the planning and design of residen- Hanamoto, and Mayes, quickly established backyard) itself was now art. communicate his ideas to the client, a practice successful career as a landscape tial gardens, neighborhoods, recreation parks, itself by acquiring important residential and that was more typical of his work on larger architect, but it is in three of his ear- and urban spaces. Although he and his firms civic commissions. The firm’s expansion into commercial or institutional commissions. liest works, mid-century gardens in worked in many states and a number of coun- public work was particularly meaningful for The usual strategy of expanding the RMarin County, that he was able to explore the tries, his primary creative focus was Northern Royston, who saw his park designs, (he called WILSON GARDEN, garden by terracing down the slope was not dynamic spatial compositions that exemplify California. Royston built his home in Mill them “Public Gardens”), as the natural evolu- MILL VALLEY, an option since the gradient was too steep. his sophisticated understanding of three- Valley, California - an experimental modern- tion of his residential gardens and important Instead, Royston substantially increased the dimensional design. In these gardens, the ist design created by his friend and eventual contributions to the larger framework of the CALIFORNIA, 1948 flat surface of the garden by extending its Wilson, Nelson and Heath gardens, he devised neighbor, the architect Joseph Allen Stein - in urban and suburban environment. width by 5 feet and its length by 14 feet. He innovative modern solutions to address the 1947 and lived there until his death in 2008. In his earlier residential work, Royston This small commission for a young couple was supported its extension with a wood cribbing challenges of topography and to respond to His landscape design career began with developed the sensitive, client-oriented quite challenging.3 The site offered a beauti- structure anchored to the steep slope. At the client need. His design for the Wilson garden part-time work for Thomas Church while he approach to design that would characterize his ful panoramic view toward Mt. Tamalpais, a north end of the enlarged garden space he involved screening an unsightly downhill view was still a student at the University of Cali- career. After interviewing a client and visiting with a horizontal trellis he called a “sky plane.” fornia Berkeley. Following his graduation in the site, he produced a scaled plan based on a In the Nelson garden, he worked with archi- 1940 with a degree in landscape architecture, topographical survey of the property. Next, he tect Joseph Stein to create a structured terrace Royston began working full-time for Church, drew a garden diagram showing areas of use Previous spread: Wilson garden garden with intricate geometry derived from who was at that time one of the country’s arranged to avoid functional conflicts, such as looking back toward the house. the architecture. For ceramicist Edith Heath most prominent garden designers. By the placing a children’s play area next to a quiet The “Sky Plane” was a novel and her husband Brian, he created a garden late-1940s, postwar prosperity, advances in space for contemplation. Royston used the device that Royston used to space that anchored, quite literally, the house- technology, and a surge in population had led diagram to inform his final design, consid- manage the down slope view. ering alternatives as he worked, but always This photo was taken by a brave boat they called home to a steep embankment to the development of new building types that photographer that ventured out that dropped into San Francisco Bay. Sadly, required new landscapes and an approach to delivering a single, finished plan. Presenta- onto the structure. Collection of while the houses discussed in the following design appropriate to the times. Upon return- tion drawings often included isometric plans the author. profiles still exist, albeit all altered, none of ing from a tour of duty in the Navy, Royston highlighting the spatial qualities of the design these innovative modern gardens remains. left the Church office to join the next genera- and perspective sketches to help clients visu- Above: The staff of the Eckbo Royston and Williams office in the Before embarking on an exploration of tion of modernist practitioners. alize their gardens. For clients who enjoyed early 1950s. Left to Right: Garrett these remarkable places, a short introduction In his partnership with Garrett Eckbo gardening, Royston located the planting beds Eckbo, Francis Dean, Edward to the landscape architect and an outline of his and Edward Williams (1945-1958), Royston without specifying individual species. This Williams, and Robert Royston. professional path will provide useful context produced some of his most outstanding resi- was a design strategy he had learned while University of California Berkeley, working in Thomas Church’s office.2 College of Environmental Design for the gardens. Robert Royston was born in dential work. He put the design vocabulary Archives (CEDA) Robert Royston San Francisco in 1918 and moved with his of modernism - grids, arcs, and biomorphic Like his modernist peers, he regarded Collection. family in 1924 to a ranch near Morgan Hill shapes - to practical use, creating engaging, space as the primary medium of his profes- in Northern California’s Santa Clara Valley. functional spaces for outdoor living. His sion and respected the intrinsic qualities of Opposite: Wilson garden plan. After service in the Pacific Theater in World gardens were carefully crafted to his clients’ materials. His use of plants emphasized their This plan was developed from archival materials and period War II, Royston returned to San Francisco increasingly suburban lifestyles, but he also role in defining space and contributing to photographs. Collection and lived and worked in the Bay Area for his strove for a sense of timelessness in his design the multi-sensual dimension of spatial expe- of the author. entire career. His work as a landscape architect that went beyond popular fashion. By the rience, especially color, texture, and scent.

8 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 9 towards the distant view of Mt. Tamalpais. home. He suggested Royston for site planning and the shaping of the hillside to maximize It was purely a visual device to improve the and design of the garden. the useful area for both house and garden. view and create the illusion of an even larger The clients for the new Mill Valley project Even mundane details such as the relation- garden. To add additional visual interest to were a recently married couple, Helen and ship of driveway and carport were worked the structure, Royston designed the sky plane Nathan Nelson. In anticipation of a growing out cooperatively. Stein’s design relied on a with a straight edge on one side and a ser- family, the couple asked Stein and Royston single roof plane connecting the house and rated edge on the other. Functional as well to allow for expansion of the house in the carport. Matching the floor level of both struc- as pleasing to the eye, the serrated edge also design plan. They also desired as much func- tures would have resulted in an uncomfortably responds to the property line. The garden’s tional outdoor space as was possible, given steep driveway and elevating the roof of the seating wall helped to prevent one from ven- the limitations of the sloped lot on which carport would have interrupted the impor- turing out onto the jasmine “groundcover.” they planned to build. Stein responded with tant architectural design line. To resolve the On one occasion, Mr. Wilson, whom Royston a 1,000 square-foot one-bedroom home and problem, the team decided to raise the car- recalled was “quite agile,” deliberately walked designed an addition of two bedrooms to be port floor level 30 inches above that of the out on one of the supporting beams and fell built when needed.9 Royston’s garden plan house and covered patio. The trade-off in this through the jasmine to the slope below. How- provided a series of outdoor rooms that related solution was reduced headroom in the garage ever, he was not seriously injured.6 functionally to the indoor spaces and signifi- and no exit door to the patio. Royston took Having solved the main problems, cantly enlarged the living area of the house. advantage of this situation, making the route Royston turned his attention to the remain- The floor plan arranged the living spaces in a from carport to front door more interesting der of the site. He created a small space for a rectangular volume set roughly parallel to the by introducing a gentle curve to the path as it kitchen garden to be designed by the owners street above. Stein offset the carport fifteen feet makes its way along the perimeter screen. How on the south side of the house and planted and rotated it 30 degrees, creating a covered people moved through the spaces he designed the down slope opposite the front façade with patio area that opened into the east-facing was an important aspect of the garden that he ground cover and shrubs to prevent erosion. back garden. Stein brought light and air into approached thoughtfully. Later in life when It was typical of Royston to consider a site in the covered outdoor area by means of a 6-foot discussing his ideas about design Royston its entirety, rather than confining his efforts to square opening in the roof. With this gesture would talk about the experience of the vertical the design of the garden alone. Stein introduced yet another set of angles to or horizontal curve. Because he believed that The sky plane was not repeated in any his composition, as the opening was turned at people preferred to move through space along of Royston’s future garden designs, simply a 45-degree angle to the carport walls. Royston gentle curves or shallow angles, he avoided because it was not useful to address their in turn expanded the paved patio area and 90-degree angles, both for ease of circulation specific problems. Its one-time application is partially enclosed it with a curved vertical and also to soften the meeting point of vertical typical of Royston’s design process: strive to picket screen, shielding the patio from the and horizontal planes.10 approach each project with an open mind, view of the driveway. This preference for oblique angles and devoid of preconceptions, and produce a Royston and Stein worked collaboratively, geometries can be seen in the exuberant design tailored to the site’s specific opportu- blending ideas so that house and garden func- non-orthogonal paving pattern that Royston nities and limitations, as well as the wishes of tioned as a coherent composition. Especially introduced on the east side of the house. Build- the client. The Wilson garden was published important was the placement of the house ing on the tension that Stein created with the in a number of books and periodicals, further enhancing Royston’s reputation after his suc- installed a gently curving 6-foot-high wooden a few small trees, including Japanese maple, cess with the Naify Garden.7 fence to block lines of sight from neighbor- low evergreen shrubs, and flower planters. ing houses. The fence also served as a buffer The entire western edge of the garden facing from the cold northwest winds typical of the out above the steep slope was bordered by a area’s climate. On the southern end of the low wooden seating wall as a safety precau- NELSON GARDEN. garden Royston created a suntrap to facilitate tion to prevent nasty falls. This far edge of the the garden’s year-round use. This was a small garden was not parallel with the façade of the MILL VALLEY, rectangular seating area partially enclosed house but pointed out slightly to draw the eye CALIFORNIA 1951 by a 10-foot-high checkerboard-like wall of toward the panoramic view.5 translucent plastic panels interspersed with To deal with the problem of the ugly Four years after the completion of the gar- wooden ones of varying textures. The plas- middle ground, Royston created an ingenious dens for their adjoining residences, Royston tic panels allowed sunlight to filter into the device he called the “sky plane.” This con- was again in collaboration with his neighbor space, providing illumination and warmth sisted of a 20 x 48-foot structure at its widest Joseph Stein on a project in Mill Valley. The 4 on cooler days. point supported by steel pipes grounded in pair had worked together on the site plan and To create “a sense of space,” Royston kept the slope below. These poles were supported the first-phase homes and gardens associated the central area of the garden quite open. The on a large frame of wooden beams config- with Ladera, a cooperative housing project ground plane was a small lawn surrounded ured on mostly an 8 x 8-foot grid. Royston proposed for development in 1945 for the Above: Wilson garden looking north by brick pavers. A row of four Karo shrubs strung stainless steel wires from the beams toward Mt. Tamalpais. Management hills near Palo Alto, California, by the Pen- and enhancement of the view was the (Pittosporum crassifolium) in standard tree form to support a thick cover of fragrant Star jas- insula Housing Association.8 Also, recently primary goal of Royston’s design for the planted near the rear glass façade of the house mine (Trachelospermum jasminoides) planted completed was a home and garden that the Wilson garden. Collection of the author. provided much-needed shade to the western behind the perimeter seat wall. The surface pair designed in Atherton for Silicon Valley exposed windows and a foreground, adding of this large green “sky plane” was level with pioneer Kurt Appert. For the Appert garden, Opposite: Nelson garden plan 1951. depth to the view of the garden from the living This plan was developed from archival the ground plane of the garden. It completely it was Royston who introduced Stein to the materials and period photographs. room and kitchen. Royston limited the plant- blocked the view of the unsightly road and client; for the Nelson garden, the process was Collection of the author. ing design for the remainder of the garden to apartment house below, and drew the eye reversed, as Stein was first hired to design the

10 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 11 rotated volumes of house and carport, Royston This move reflects a frugality that is seen used the various angles to create a trapezoi- in many of Royston’s early gardens. Limited HEATH GARDEN, dal lawn panel and an angular terrace that resources for construction and garden instal- draws the eye out from the public rooms of lation in the immediate postwar years often TIBURON, the house to a garden pool backed by a decora- prompted the use of readily-available spe- tive screen wall that also serves to shield the CALIFORNIA 1951 cies that were easily propagated. The Nelson laundry drying area from view. The screen wall garden includes prolific perennial shrubs such From 1940 to 1950, the urban population includes painted plywood panels and decora- as geranium, Nile lily (Agapanthus orientalis), of California grew by nearly fifty percent, the tive relief geometry that reflects the structural and Hahn’s ivy (Hedera helix ‘Hahn’s’); these greatest increase in the nation.12 The World system of the roof. Unfortunately, no docu- plants can also be found in the first itera- War II home-front effort brought industrial mentation or color photographs are currently tions of the Royston and Stein gardens.11 A production to California coastal cities in available to accurately confirm the colors significant portion of the site was also left of the house, screen, or decorative embel- open for native and natural grasses – likely general, and the San Francisco Bay area in lishments of the garden screen wall. Similar a planting decision prompted by limited particular, on a scale many times greater than features in other Royston designed gardens funds available for the initial garden installa- anything seen prior to the war. The influx of this period, including his own home and tion. Accent planting in the garden included of people from other parts of the country the Wilson garden discussed above, allow for dwarf umbrella palm (Cyperus alternifolius) who moved to California to work in wartime speculation that the body color of the house in the raised planters at the garden pool and industry, plus the thousands of returning vet- and screen was likely a red-brown, the trian- northwest corner of the house as well as citrus erans who arrived at the ports of Oakland gular inserts a light yellow, and the plywood and golden bamboo (Phyllostachys aurea) in and San Francisco and chose to remain, per- square an orange-red. This last color was a wooden plant tubs designed by Royston. It manently transformed the Bay region. This Royston favorite that he called “Chinese Red” was not unusual for Royston to design site- boom in growth was nourished by post-war and used frequently throughout his career. specific planters, benches, and other furniture industrial expansion, high-paying jobs, and Existing groves of California coast live oak for his gardens. His interest in this expanded educational opportunities offered by the GI (Quercus agrifolia) and volunteer blackwood to a line of outdoor furniture offered for sale Bill. In response to the acute housing short- acacia (Acacia melanoxylin) provided Royston by Eckbo, Royston and Williams in the early to age, the Federal Housing Authority offered with clear edge boundaries on the north mid-1950’s. Prototypes for many of the pieces home mortgages, which financed the resul- and south sides of the Nelson garden. The from this line can be seen in the garden that he tant housing and construction boom. Booster irregularly-shaped parcel is situated between designed for Edith and Brian Heath in Tibu- rhetoric sustained the alluring myth of the streets running uphill and downhill, so the ron, California. state as a paradise, blessed with a mild climate, property was open on the east and west sides. Along the south edge of the property, presum- ably to address privacy concerns due to the proximity of the closest neighbor, Royston reinforced the grove edge with a 6-foot-tall fence backed by a hedge of Karo (Pittosporum crassifolium). Large-scale trees were restricted to the perimeter of the garden. He called for large-scale evergreens at the street, including Mondell pine (Pinus eldarica) and a dwarf blue gum eucalyptus (Eucalyptus globulus ‘compacta’). Within the garden he specified smaller deciduous trees, including his favorite patio tree, the Japanese maple. An exception to this is a large California native tree, the big leaf maple (Acer macrophylum). This tree was planted quite close to the house on the west side, in the area proposed for the future bedroom addition. This fast-growing tree was likely a temporary measure to provide shade on the dwelling until it was removed for the expansion. A multi-trunked coast Myoporum Top to bottom, left to right: Nelson garden looking south. Royston introduced the screen (Myoporum laetum ‘Carsonii’) is visible at the wall and water feature on the south side of the garden as a focal point for the view out south-west corner of the back garden. The from the living room. Nelson House View from Top of Driveway. Stein’s continuous roof line apparent age and size of this tree are incon- and the higher carport floor level are visible in this photo. Nelson Garden Looking West. sistent with other new planting in the garden, Clearly visible in this image, the covered patio was an important living area for the small home. Nelson Garden Looking North from Covered Patio. Royston’s eye-catching paving and it can be assumed that this tree predates pattern is clearly visible in this view. The space between the paving strips were planted the house. Royston incorporated existing trees with Wooly Thyme. All images from the collection of the author; all photos by Phil Fein. into his planting plans when it was possible, another practice that he learned while working Opposite: Heath garden view from interior to garden room. The garden steps that lead to the upper level carport are visible in the background. University of California for Church. Not native to the region, Myopo- Berkeley, College of Environmental Design Archives (CEDA) rum is known to self-seed in Marin, so it is Robert Royston Collection. Photo by Robert Royston. likely a volunteer that Royston retained.

12 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 13 Clockwise: Heath garden looking north. Garden screens terminate the view along this edge. Concept plan Heath-Leek garden. This Royston drawn plan shows a garden designed to meet the needs of the two couples that shared the home. Heath garden looking south from garden room. The continuous level surface made possible by the bridge deck is clearly visible in this photo. The low table in foreground is a Royston/Heath collaboration that was part of the ERW furniture line. All images courtesy University of California Berkeley, College of Environmental Design Archives (CEDA) Robert Royston Collection. Photos by Robert Royston.

14 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 15 Sausalito to provide two living spaces. In 1949, the barge was floated to a waterfront parcel that the Heaths purchased on the Tiburon peninsula and then lifted to a stable position on shore. After buying out the other couple, the Heaths developed the houseboat, turning it into an on-land-residence and garden. Edith Heath turned to her friend Robert Royston for site planning and design of the garden.16 As was also the case with the Wilson and Nelson gardens, the Heath’s home was located downslope from the nearest road. Because of the unique nature of the structure and its situ- ation on the side of an embankment, it was impractical to build a garage adjacent to the house. On the site plan, Royston located park- ing, a carport, and storage on an upper level that was roughly 10 feet above the house. To To the north of the garden room was a hide the automobiles from view of the house sunken garden that accommodated a stairway and garden, Royston placed a vertical picket to a lower level of the dwelling and a second screen at the top of the slope and planted the stairway to the shoreline. The planting in the side slope heavily with evergreen toyon (Het- sunken garden took advantage of the protected eromeles arbutifolia), a robust regional native microclimate and included exotic species such plant well-suited to the bayside microclimate. as banana (Musa spp.), a choice not typically A broad, gently sloping concrete path and a seen in Royston-designed gardens; it likely set of equally broad garden stairs brought resi- reflects input from Edith Heath. In the ini- dents and guests from the parking area to the tial concept sketch, the sunken garden was living terrace and the entry to the home. located on the south end of the garden as was Above: The color mosaic of planting developed by Royston and Heath As an improvised structure, the houseboat- a lower level deck. Beyond the sunken garden Royston’s paving pattern ended in a gravel area is visible in this photo. University turned-home lacked an obvious front door, so of California Berkeley, College of in the initial concept drawing Royston guided that included a vegetable garden and laun- Environmental Design Archives (CEDA) visitors to the entry by means of another picket dry drying area. The garden room and trellis Robert Royston Collection. Photo by screen that angled dynamically across the cen- functioned as a visually-permeable divider Robert Royston. separating the open public and social spaces tral terrace. This screen divided that terrace Below: Heath garden plan 1951. This into two spaces, presumably to allocate pri- of the garden from more private areas and the plan was developed from archival vate zones for both couples who were to share vegetable beds. Two wood frame screens with materials and period photographs. the dwelling. This feature changed when the solid concrete panels were staggered and offset Collection of the author. Heaths became the sole residents. In the built garden, the entry was shifted from the center a beautiful, unspoiled landscape, and abun- the north, or by circuitous roads that required of the structure to the north end, a location dant economic opportunity. Hollywood films, considerable travel time. Three years after the that Royston made prominent with a strong orange crate labels, and popular magazines completion of the bridge, the county’s popula- paving pattern of asymmetrical rectangles, like Sunset and House Beautiful drew people tion was roughly 52,900. By 1950, Marin had 14 an angled lawn panel, and a dramatic trellis from across the nation for new beginnings in boomed to 85,600 and by 1960 to 146,800. anchored in the hillside. Spanning the entire the Golden State. The resulting growth rate Robert Royston and his family, along with width of the terrace, the trellis terminated in was astonishing. The most volatile growth Joseph Stein and many other architects, a garden room that Royston developed in col- occurred on the edges of existing urban areas, designers, artists, and performers were among laboration with the Heaths. The garden room generating suburbs on what had previously those who sought an ideal suburban life in functioned as a foyer to the house, defining a been agricultural land. In these newly-minted the wooded hills of Marin County. Ceramicist space outside the glass entry with open grids suburbs Royston would design his innova- Edith Heath and her husband Brian relocated of steel and wood, something like a modern- tive parks and would also meet most of his their business to Marin in 1947, when they ist lath house. It was roofed in retractable residential clients.13 Agricultural land within leased a large workspace in Sausalito to house canvas panels to provide shade in summer. a 30-mile radius of San Francisco, including the growing operations of Heath Ceramics. Edith Heath embellished the space with tile Marin County to the north, was especially The Heaths immediately joined in the creative murals (the plywood panels seen in the photos affected by the growth of the postwar suburb. and somewhat bohemian social circle that had accompanying this article would eventually The opening of the Golden Gate Bridge developed in Marin, and it was through that be covered in tile) and a kinetic sculpture of to automobile traffic in 1937 dramatically circle that they met Robert Royston and his ceramic rings. It was furnished with a number Above: Heath house view 15 from beach below. The Heaths improved access to Marin County, altering its wife Evelyn. They became life-long friends. of Royston-designed pieces, including a “sun moved their barge houseboat predominantly rural character. Prior to this Shortly after shifting their business, the sled” lounger and planter tubs. The structure onshore and it became a connection, the small towns and relatively Heaths also relocated their domestic life to was painted in Royston’s favorite color, “Chi- grounded home. University of undeveloped countryside of Marin were Sausalito, purchasing a barge named the nese Red,” and trimmed with black accents. California Berkeley, College of Environmental Design Archives accessed by ferries that crossed the Bay to San Dorothea together with another couple. The This color scheme extended to wooden con- (CEDA) Edith Heath Collection. Francisco and Oakland, by rail service from two couples remodeled the barge anchored at struction throughout the garden.

16 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 17 Clockwise: Heath garden looking north from top of embankment. The space defining trellis and garden room are visible in this photo. University of California Berkeley, College of Environmental Design Archives (CEDA) Robert Royston Collection. Photo by Robert Royston. Pages from ERW Furniture Brochure. Eckbo Royston and Williams offered a line of indoor/outdoor furniture designed by Robert Royston.18 Collection Eden: Journal of the ofauthor. the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 19 a combination of asymmetrical rectangular Apart from the fruit trees incorporated into to address client need. These modern gardens sections with contrasting colors and surface the vegetable garden on the north end, there were closely integrated with the architecture of finishes, suggests sub-spaces that might be are few trees in the garden. A patio scale tree, the home, in many instances supplementing used for garden games or outdoor dining. A likely a flowering plum Prunus( spp) is set the relatively small interior spaces. There is lawn panel with a complementary biomorphic across the path from the garden room and a an appealingly spare quality to these gardens shape further defines the ground plane. The small pomegranate tree (Punica granatum) is created in the aftermath of wartime frugality. strong legible surface pattern is characteristic positioned above the low retaining wall at the And finally, while each design was a response of the gardens and public plazas that Royston west edge to provide afternoon shade on the to a unique place and client, all were guided designed during this period. He often mixed center terrace. by an artistic vision that saw the suburban paving types - in this case concrete and brick Supplementing the toyon introduced for garden both as an important functional space - with irregularly shaped lawn panels and screening on the upslope embankment, are equal to the building and as an opportunity shadow from overhead structures to create medium and smaller scale shrubs that provide for art. Together this trio of gardens typifies the large-scale abstract ground paintings. These textured and colorful edges to the garden. innovative landscape modernism that Royston were first and foremost functional spaces These included pride of Madeira (Echium developed in his own backyard. designed to respond to the needs of those who fatuosum), several varieties of New Zealand occupied them, but they were also large works flax Phormium( tenax), bush germander (Teu- JC Miller, ASLA is a licensed landscape archi- of art. When looking at a Royston-drawn chrium fruiticans), Australian bush cherry tect and writer with a deep interest in the post-war garden plan, the compositional strategies of (Syzygium paniculatum), toyon (Heteromeles California landscape. A partner at Vallier Design fine art painting are unmistakable. Conversely, arbutifolia), Scotch broom, Australian tea tree Associates, a landscape architecture and plan- when looking at a painting by Robert Royston, (Leptospermum laevigatum), calla lily (Zant- ning practice located in historic Point Richmond, the references to landscape design are obvious. edeschia aethiopica), hollyleaf cherry (Prunus California, he is also the former Director for the As was often the case with many of his ilicifolia), and cone bush (Leucadendron spp). Landscape Architecture Program at UC Berkeley Marin County gardens, groves of California The rich mosaic of planting continued to Extension. He is the co-author, with Reuben M. coast live oak (Quercus agrifolia) provide a the ground plane with low-growing blue Rainey, of the 2006 book “Modern Public Gardens: dark evergreen frame for the Heath garden. fescue (Festuca ovina ‘Glauca’), California Robert Royston and the Suburban Park,” (William Royston was an advocate of the Japanese idea gray rush (Juncus patens), yellow-flowering Stout Publishers). He is currently at work on an of borrowed landscape and likely considered Gazania, dusty miller (Senecio cineraria), upcoming book about Royston’s life and career the hillside oaks visible form the interior of wooly lamb’s ear (Stachys byzantina), and for the Library of American Landscape History’s the garden as a part of the scheme.18 Within sunrose (Helianthemum nummularium). Plants “Masters of Modern Landscape Design” series, the bounds of the managed garden, Royston’s in Royston-designed wooden tubs included scheduled for 2019. approach to plant combinations was as paint- Australian tea tree, citrus, juniper (Juniperus erly as his hardscape design. Unfortunately, chinensis torulosa), oleander (Nerium oleander) from each other in this area. These screens The center of the Heath garden is a gen- no planting plan remains for reference, but and jade plant (Crassula ovata). stop the eye, block the wind, and create a ver- erous open and level space paved in a mix close study of period photographs provides The Heath garden shares a number of tical plane at the north edge of the property. of materials including concrete, turf, brick, insights into the planting design. A great vari- important qualities with the Wilson and The combination of the up-slope screens and wood decking. Royston’s plan cut slightly ety of colors and textures are evident in the Nelson gardens. Each of these places was at the carport and at the north end of the into the upslope bank of the hill and used garden and these are arranged for massing and spatially adventurous. Rather than address garden with dense planting reveal Royston’s the material generated to fill downslope, by contrast. By Royston’s account, Edith Heath the hillside locations with stepped terraces design intention to create a secluded space this means expanding the area for concrete was enthusiastic about her garden, and it is or decks cantilevered from the building, protected from view from the street and from paving and turf. As a result of this cut, a seat- certain she had a hand in plant selection.19 Royston found site-specific design alternatives the chilling breezes off the Bay. As the “sky height retaining wall somewhat reminiscent plane” for the Wilson garden demonstrates, of the perimeter seat wall in the Wilson Royston was not hesitant to use built struc- garden defines the west and south sides of to the design of these gardens are 7. See Derek Parmentier, “Land- 8. See, Stephen White, Building 12. See Mel Scott, The San Francisco tures to achieve functional results in his the terrace. Bordered on all sides by upslope Endnotes located in the Robert N. Royston scape Comes of Age,” San Francisco in the Garden (Oxford University Bay Area: A Metropolis in Perspective, collection, 1941-1990, Environ- Chronicle, November 20, 1948, p. Press, 1993) 65-84 “The Houses” 2nd ed. (Berkeley: University of gardens. Vertical picket screens similar to embankment and retaining wall or structures, 1. This collection publications mental Design Archives. College of 11; “Avant Garde Gardens,” San and 81-83 “Ladera Co-operative California Press, 1985), 250-251. those seen in the Wilson and Heath gardens the central space of the garden is focused is representative of the popular Environmental Design. University Francisco Chronicle, Sunday March Building in America”. See also media attention that Royston’s of California, Berkeley. Berkeley, 19, 1950, 3L; Landscape Design, Reuben Rainey & JC Miller, Modern 13. Ibid. are found in many of the gardens he designed inward and protected. The property has a garden designs received in the California. San Francisco Museum of Art and Public Gardens: Robert Royston and in the early 1950’s. The first example of this stunning, unimpeded view of the Bay look- immediate postwar period; Naify Association of Landscape Archi- the Suburban Park (William Stout 14. Ibid. Garden,“Changing Levels Poses 2. Recorded interview of Robert tects, San Francisco Region, 1948 Publishers, San Francisco, 2006) structural approach to controlling breezes can ing north and east which was enjoyed from Few Problems,” Sunset, The Maga- Royston by author, March 14, 2002. (San Francisco Museum of Art), 4; 82-85 “Ladera Cooperative Hous- 15. Author’s recorded conversation zine for Western Living, February and “See How Much Living You ing 1945-1949”. with Royston July 16, 2006. be seen in his 1949 design of the Standard Oil the vantage point of decks that the Heaths 1948, 24-25. The Wilson Garden 3. The narrative description of the Can Get in a Garden 12 x 30,” Rod and Gun Club in Point Richmond, Cali- constructed on the north end and east side of is illustrated in Joseph E. How- Wilson Garden is based on the House Beautiful (February, 1951), 9. In 2016 the author visited the 16. “Edith Heath – A Handful of land, The House Beautiful Book of authors’ conversation with Royston 86. The garden also appeared Nelson home and interviewed the Clay”. An Exhibition at the Univer- fornia. Similar to the situation of the Heath the Dorothea. Given the decks and location of Gardens and Outdoor Living (New July 16, 2006, plans and photo- in Garrett Eckbo, Landscape for current homeowner who had pur- sity of California Berkeley College garden, the project was also on an east facing the home, Royston resisted the temptation to York: Doubleday and Company, graphs in the Robert N. Royston Living (F. W. Dodge Corpora- chased the home from the Nelson of Environmental Design Library, 1958), 56-57. The Chinn Garden Collection, EDA, UCB, and descrip- 17 tion,) 43. While the design was estate. Based on conversations with 2016. Available online: http:// property at the Bay’s edge. The wood and incorporate the view into this garden. There is featured in “Color and Texture,” tions of the garden in the San Royston’s, Eckbo credited it to the Nelson children it was her under- exhibits.ced.berkeley.edu/exhibits/ concrete screens in the Heath garden are set was an initial glimpse of the Bay from the top Sunset, The Magazine for Western Francisco Chronicle (1948 and 1950), Eckbo, Royston, and Williams. standing that a bedroom addition show/edithheath/the-barge Living, August 1955, 44. The second Garrett Eckbo’s Landscape for Living It appeared under the title, “Hill- was made to the house in the mid perpendicular to the adjacent hillside and die of the garden stairway that disappeared as the Appert Garden appeared in several (1950), and The House Beautiful Book side Garden in Marin County, 1950’s. Two bedrooms and a bath 17. See Reuben Rainey & JC current journals and a newspaper of Gardens and Outdoor Living (1958). California, 1948,” and featured were added in the location planned Miller, Modern Public Gardens: into it, a design device seen in other Royston visitor descended into the garden. column, including John Callender, Royston was the sole designer of the two photographs and a plan. The by Stein, but the built structure, Robert Royston and the Suburban gardens, including his Mill Valley home con- The decking that runs the length of the “Six West Coast Houses, Architec- garden as head of Eckbo, Royston, Wilson Garden was also included while following the concept pro- Park (William Stout Publishers, tural Record (November 1951), and Williams’ San Francisco office. in Joseph E. Howland, The House posed by Stein, was not of his design. San Francisco, 2006) 82-85 “The structed four years earlier. The integration of terrace on it’s eastern side is in reality a wide 124-125; Vance Bourjaily, “Serene Beautiful Book of Gardens and Out- Standard Oil Rod and Gun Club, architecture and landscape was always a fun- bridge that spans the gap between the slop- and Livable Modern House,” San 4. Author’s recorded conversation door Living (New York: Doubleday 10. Recorded interview of Robert Point Richmond California 1950”. Francisco Chronicle, March 12, with Royston July 16, 2006. and Company, Inc., 1958), 56-57. Royston by author, March 14, damental goal for Royston and this device of ing ground and the building. Royston did not 1950; and “Seven Outdoor Rooms The garden appeared under the 2002. 18. Author’s recorded conversation Above: Standard Oil Rod and anchoring walls into nearby slopes for visual divide the open central space physically, but Double the Living Space,” House 5. Ibid. heading, “Gardens Work for Us” with Royston July 16, 2006. and Garden (August 1951), 30-31. and “Tiny Scrap of Useless Land.” 11. Author’s recorded conversation Gun Club screen. effect was one way that he achieved it. the paving pattern of the concrete terrace, Plans and correspondence related 6. Ibid. It was not identified. with Royston July 16, 2006. 19. Ibid.

20 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 21 THE FATHER OF SOLAR CONTROL: ROBERT DEERING, PH.D, FASLA BY MELISSA MOURKAS

22 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 23 BIOGRAPHICAL INFORMATION

Born on July 25, 1920, Robert Bowman Deer- ing grew up in Orono, Maine. He received a BS in Ornamental Horticulture-Landscape Design in 1942 from the University of Maine, where his love of plants, design, teaching, photogra- phy and travel was nurtured. During WWII, he enlisted in the United States Navy, first with the Seabees in California and later at Midship- man’s School at Notre Dame. He shipped out from San Francisco to the Pacific as a Naviga- tor on the USS Jaguar. Deering later recounted stories evoking the 1955 movie Mr. Roberts, including keeping plants in his cabin collected from Pacific islands while the ship off-loaded its cargo of aviation gasoline. After the war, he entered Cornell University, where he earned an MS in 1947 and a PhD in 1949 in land- scape architecture. His doctoral thesis, Organic Planning in Landscape Design, “...dealt largely with plant materials in relation to landscape design.”2 While teaching a class on landscape architecture as a graduate teaching assistant at Cornell, he met and then married Alice Dake from Saratoga Springs, NY.3 The Deerings had three children: Carol, Paul and Roberta. Deering began his career in 1949 as an academic, teaching at the University of California, Davis in the Landscape Garden- ing Department; the following year he was INTRODUCTION appointed chairman of the department. He received a Fulbright grant in 1955 to travel to the Netherlands, where he taught pioneer of sustainable landscape design, Robert Deering landscape architecture at Wageningen’s had a broad and lasting effect on landscape architecture, Agricultural Institute and also presented a not just in California, but worldwide. In a career span- paper, “Horticulture and the Improvement planting and site design. His prescient theo- These experiments, carried out from ning 60 years, Deering used Modernist design principles of Hot-Climate Environments,” at the 1955 ries evolved from scientific experimentation. approximately 1953 to 1956, formed the International Horticultural Congress in The Early in his role as assistant professor and basis of much of Robert Deering’s teachings and an approach to site design based upon environ- Hague. In travels throughout Europe he department chair of the landscape architec- and early design work. He published many mentalA factors to create landscapes for numerous private residential continued his studies of drought-resistant ture department at Davis, he and his students, papers, some in conjunction with his peers plants. Deering left UC Davis in 1957 to open projects in and around the Sacramento Valley. In addition, he designed along with other agriculture department fac- at Davis, and an instruction manual, Planning his professional practice. In 1960 he began ulty, constructed a simple cabin-style trailer, the Garden, for students as well as the general several college and university campuses, as well as commercial projects, his twenty-year career with the California which could be moved around as needed for public, reflecting his research into heating collaborating with some of the finest architects of the day. Even more Department of Parks and Recreation. research purposes. The trailer had two rooms: and cooling through site design.4 Planning the a control room and a larger room where vari- Garden laid out the basics of site selection, significant than his fine executed works was his role as an educator, ous sensors were placed to record temperature sun and shade patterns, placement of outdoor transmitting his innovations in sustainable landscape design and influ- THE TEACHING changes throughout the day. A weather micro- living areas, public versus private spaces, play encing generations of students of landscape architecture. station was sited near the trailer. spaces, and the use of devices such as fencing, YEARS: COOLING Students and faculty recorded the pergolas, water and tree cover to control the Deering’s impact on his profession was recognized in 1995 when THROUGH SITE changes in room temperature based on garden climate.5 This site design work was he was named a Member of the Council of Fellows of the ASLA, due DESIGN location, coverage by trees and foliage, and enhanced by his love of horticulture, includ- orientation relative to sun and sun angles. ing research into both the cooling effects of Previous spread: Dahl largely to the efforts of Donald Fox of the National Park Service. Fox house entryway. In the 1950s, before air conditioning units In one example, significant cooling effects plants and drought tolerant plants, as well summarized Deering’s contributions to the field of landscape archi- were common-place, and long before cities were noted when the trailer was sited to the as his enthusiastic embrace of the “modern Above: Dahl house private like Sacramento in California’s hot Central east of a grouping of eucalyptus trees which design” aesthetic of the time. E. Gregory outdoor seating space. tecture as an educator, his pioneering research in solar control, and his career in public service with its legacy of protecting California’s Valley enacted tree-shading ordinances for provided protective shade from the hot mid- McPherson described Robert Deering as the Opposite: Deering parking lots, Robert Deering was teaching his day and afternoon sun, while also offering “Father of Solar Control” in his 1984 book, in his garden. cultural and natural heritage for future generations.1 students about the cooling effects of strategic morning sunlight. Energy-Conserving Site Design.6

24 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 25 restaurants, shops, and amusement park-style EARLY entertainment. Most of the Nut Tree complex has been replaced by other retail and com- RESIDENTIAL AND mercial enterprises. A central core “plaza” still COMMERCIAL remains, along with a few of the original site elements and furnishings.8 LANDSCAPES The Nut Tree landscape included play Robert Deering executed a number of resi- areas for children, a small-scale train ride, a dential site designs exemplifying the modern carousel, an outdoor fireplace for social gath- landscape design style of the mid-century erings, and an airport. An interior highlight, the “Bird Cages,” featured aviaries with plant- period. The master site plan for the Loren ings separated by glass walls from the diners Dahl house, designed in the late 1950s/early inside the restaurant space. The bird cages 1960s by architects Carter Sparks and Donald brought landscape elements into the interior Thaden in Arden Oaks east of Sacramento, spaces of the pavilion. followed many of the guidelines in Planning the Garden. The plan featured separation of public and private spaces, using off-street parking leading to an entry walkway and CALIFORNIA directing the visitor through an opening in a freestanding wall into an intimate courtyard. STATE PARK Here, the path constructed of both concrete PLANNING AND and raised wooden decking hop-scotched in DESIGN 90-degree angles to the front door. The asym- metrical path was at some points flanked by Following these innovative designs for private pools of moving water and at other points clients, Deering moved into larger-scale site constructed over the water. Private spaces and planning work when he began his twenty- were found in numerous places throughout year career with the California Department the property, as were areas dedicated to active of Parks and Recreation (Parks). Driven by Clockwise from top: recreation (swimming pool, tennis court, the post-war population boom in California, Outdoor seating space picnic areas). The design included space for the state’s parks and beaches were expand- at the Nut Tree; Glass an orchard, vegetable garden, and service wall connects indoor and ing at a rapid pace. Beginning in the 1930’s, outdoor seating areas at areas for family parking. The Dahl house was the state had embarked on a concerted effort the Nut Tree; A bird cage demolished in 1994.7 to acquire land holdings along the southern aviary at the Nut Tree. Partnering with Dreyfuss & Blackford coast of California, and coastal acquisitions Architects, Deering moved beyond residen- were ramped up from the 1950’s to 1970’s. tial garden design and site planning in his Governor Edmund ‘Pat’ Brown’s administra- award-winning design for the Mansion Inn in tion (1959-1967) provided significant funding Sacramento (1958-62) as well as his design for for state parks as well as recreation facilities for the Nut Tree, a road stop on the main highway state water projects and reservoirs. from San Francisco to Sacramento in Vacav- The regional Parks offices where Deering ille. The Nut Tree project is significant in that worked produced projects as varied as historic it was where Deering first applied his tree- Angel Island State Park, located in the San shading concept to a large parking lot. Francisco Bay, which preserved Civil War-era As was becoming more commonplace, the sites and the Immigration Station, the gate- design of the entire Nut Tree complex grew way for many of California’s early Chinese into a collaboration of multiple designers, immigrants, and South Carlsbad State Beach, made possible by owners who were keenly a recreational park which won the 1966 Gov- interested in the arts and design. Besides Deer- ernor’s Design Award Certificate of Excellence ing and the architects Dreyfuss & Blackford, in the Landscape Category.9 this team included graphic designer Don R. Deering’s tasks included property acqui- Birrell, who remained associated with the sition, planning and design, often requiring Nut Tree for 40 years and played a major role multi-jurisdictional collaboration involving in tying together the graphic elements of the recreation facilities, bike paths, trails, historic project, including wayfinding and restaurant sites and natural areas. Beginning as Asso- design. Planning for the Nut Tree’s major ciate Landscape Architect at the Monterey expansion began in the early 1950’s, with Regional Office of Planning and Development, construction beginning in 1953, producing Deering learned early the value of bringing a good example of mid-century modernism together stakeholders and representatives of in a public commercial plaza. The Nut Tree private and public entities to engage in the began as a produce stand along the highway, park planning effort. This was exemplified in developing into a roadside attraction that the Central Coast expansion of Big Sur State mixed California outdoor living concepts with Park in 1960. Monterey County Planning

26 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 27 Commissioners, Parks staff (including Deer- Parks had four design and planning satellite Projects included new land acquisitions along in such faraway places as India, Egypt, and ing), State Parks Commissioners and private offices in the 1960’s, located in Carmichael the Central Coast and, in the Southern Cali- FULL CIRCLE: Australia. Deering died at home December 1, landowners together crafted a plan to expand (Central Valley and Sierra Region projects); fornia region, the Ventura County Coastal 2010, during his afternoon nap, after a walk Big Sur by 5,000 acres. Culminating this effort Sacramento (construction documents and Recreation Plan. A project Deering found most A RETURN TO with a caregiver, which included identifying was a helicopter tour and lunch for the deci- special projects); Monterey (Northern Cali- challenging, but also most personally satisfy- TEACHING the plants along their route. Deering was 90 sion-makers at Nathaniel Owings’ (Skidmore, fornia, Monterey County and north); and ing, was successfully negotiating the re-routing years old. Owings and Merrill) recently completed cliff- Goleta (Southern California, San Luis Obispo of California Highway 1 around, instead of After retiring from State Parks in 1980, Deer- side “Wild Bird” residence at Big Sur.10 Deering to Mexico, including the desert region). These through, Fort Ross State Historic Park, an early ing traveled to Saudi Arabia, where he taught The author would like to extend her gratitude also was a key participant in the multi-disci- satellite design offices were closed and consoli- Russian outpost in northern California. Under landscape architecture for five years at King and thanks to Robert Deering’s daughter, Roberta plinary team for the design for the Monterey dated to Sacramento in 1968-1969 under the Deering’s direction, the Parks’ Trails Planning, Faisal University in Dammam and served as Deering, for her assistance with this article. Robert State Historic Monument and Custom House Reagan administration.12 Acquisition and Development Unit prepared landscape architect for the university’s $1 Deering’s widow, Alice Deering, provided much of Plaza. Along with landscape architect Law- Doheny State Beach is a good example of the first state-wide, integrated hiking, biking, million Passive Solar Cooling Project, and the primary source material and the photographic rence Halprin and architect Nathaniel Owings, the state beach design and mix of uses that and equestrian trail system plans and poli- chaired the university’s landscape devel- images for this article. opment committee for the Dammam and the plan was a first attempt at integrating Deering and his Goleta team incorporated cies, where he “...crafted a plan and a policy Melissa Mourkas is a licensed landscape Hoffuf campuses. While there, he explored Parks-owned properties with private, city and into the coastal parks they designed. Intended which serves as a blueprint for work still in architect and architectural historian. She has progress.”13 and photographed Saudi Arabia, resulting in spent much of her career studying the built envi- urban renewal efforts.11 The design combined for day use by the growing Southern Califor- fourteen of his photographs of indigenous ronment in all its forms. historic preservation of significant properties, nia population, the park design featured a Saudi architecture being selected for an exhi- historic spatial relationships, and plazas with central concession area with seating, picnic bition at King Faisal University Museum. The recreational amenities, such as a pedestrian- areas for families or small groups, and, of Saudi government chose three of these for an based “Path of History.” course, beach access. exhibit on Saudi Arabia in Sweden. Deering In the mid-1960s, Deering was appointed The picnic and concession areas at Doheny continued working and lecturing, at times Senior Landscape Architect and Regional State Beach are largely intact. In the inter- Supervisor at the Goleta regional office, near vening years, the original shade trees in the Santa Barbara. The Goleta regional office did concession area have been changed out to 3. Ibid. 1953. (A scan of Robert Deering’s x-dahl--1958-x/ accessed May 2018. 10. Earl Hofeldt, “Expansion of Big Endnotes 1953 book, Planning the Garden, Sur Park Voted,” Monterey Peninsula much of the planning and design work for palms and the seats of the picnic tables have 4. Robert Deering, G.J. Everson can be accessed here: https:// 8. Melissa Mourkas, “Nut Tree,” Herald, November 18, 1960. coastal parks from San Luis Obispo County been updated. Otherwise, the park retains a 1. Donald Fox. “Robert Deering and L.W. Neubauer. “Environmen- ia600705.us.archive.org/6/items/ Historic American Landscape to San Diego County, coordinating acquisi- good deal of integrity from the era in which Fellows Nomination Entry Form,” tal Influence on Orientation and planninggarden10deer/planning- Survey (HALS) Short Form. July 11. Fox, “Nomination.” ASLA Sierra Chapter, American House Design to Improve Living garden10deer.pdf) 17, 2015. tions and planning with the headquarters it was built. Society of Landscape Architects, Comfort.” Journal of Home Econom- 12. Dale Sutliff. Email correspon- 1995. ics. March 1956. 6. E. Gregory McPherson, Energy- 9. Roberta Deering,. “Robert dence between Dale Sutliff and Left to right: Doheny State Beach office in Sacramento. Parks headquarters After Parks’ regional planning offices Conserving Site Design. Washington Deering”. Pioneers in Landscape Melissa Mourkas, October 2015. concession area 1970; Doheny generally managed the construction and bid- were consolidated in Sacramento, Deering 2. Roberta Deering, “Robert Deer- 5. Robert B. Deering, Planning the D.C. American Society of Land- Architecture. The Cultural Land- State Beach (Dana Point); Designs ing 1920-2010,” Draft Essay for Garden, Manual 10. University of scape Architects, 1984), 148. scape Foundation. https://tclf. 13. Fox, “Nomination.” for site furnishings at Doheny ding. According to Landscape Architect Dale was appointed Project Manager for the Parks’ Pioneers in Landscape Architecture. California College of Agriculture. org/pioneer/robert-deering/biog- Date unknown. Agricultural Experiment Station 7. Carter Sparks Online Archive. raphy-robert-deering. Accessed State Beach Sutliff, who also worked in the Goleta office, Planning, Acquisition and Development Unit. and Extension Service. October http://cartersparks.org/ongoing/ April 2015.

28 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 29 ucked discretely into one corner of the second floor of Wurster Hall, the 1960s BY PHOEBE CUTLER concrete edifice that is the home of Resources for the Uncovering architecture, city planning, and land- scape architecture at UC Berkeley, the at the Environmental Design Environmental Design Archives (EDA) Tis the principal resource for research in landscape history in the Bay Area. During Eden’s twenty-two-year span, the EDA’s resources have con- Archive, UC Berkeley tributed to articles on Oakland’s founding park designer (and deported “spy”) Oskar Prager; 20s and 30s San Francisco practitioner Emerson Knight, and two outstanding members of the generation that followed him, Thomas Church and Garrett Eckbo. Currently, CGLHS Board member and author Libby Simon is doing research at the EDA on Eckbo’s Wonderland Park development in Los Angeles for an upcoming article for Eden.

Left to right: After apprenticing with more than one of the landscape luminaries of the Bay Area, Casey Kawamoto (1919–2010) opened his own successful practice that included the plans for Humboldt State and Robert Louis Stevenson School in Pebble Beach. His hundreds of residences included, as shown here, the Mill Valley residence for the philanthropist Bernard Osher; Eichler Highlands No.3: Garden Plan (Douglas and Maggie Baylis Collection); Sacramento City Plaza Park, (Robert N. Royston Collection). All images from the Environmental Design Archives, College of Environmental Design, University of California, Berkeley.

30 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 31 Tour and Talk Showcases Two Important Pasadena Gardens

INTRODUCTION singer. Despite her privileged background, The Mrs. Harry Gray Garden Christy O’Hara, CGLHS President Dobyns took an early interest in the plight of Steven Keylon women, especially impoverished immigrants in Chicago. Her marriage in 1909 to Fletcher Tour & Talk events are special opportunities After six months touring Europe in 1924, Dobyns, a prominent attorney, was a sensa- that offer access to historic gardens with landscape architect Katherine Bashford tion, for her husband-to-be had courted her attendant expert lectures. In addition to edu- returned full of inspiration. Writing about her while at the same time opposing her father, cation, Tours & Talks allow lively interchange impressions in California Southland, Bash- defense attorney Merritt Starr, in a highly- Left to right: In the midst of San Francisco’s Chinatown the core of Eckbo, Royston and Williams’ 1952 St. Mary’s Square still guards its biomorphic among attendees. Saturday, May 19th, was a ford described some of what she saw: “The forms that emanate from the central bronze statue of Sun Yat Sen. Collection of Robert N. Royston; the cover of the Landscape Department’s 1947 publicized court case. At the conclusion special Tour & Talk as CGLHS members and gardens of Italy are characterized by a strong newsletter The Landscape Axis honored the retirement after 34 years of John Gregg, the department’s chair and founder. Collection of John Gregg. of the trial, won by Mr. Dobyns, the couple their guests were able to visit two important underlying design which, while it unites the announced their engagement. private gardens in Pasadena, the Winifred garden as a whole, also breaks up the area Following her marriage Dobyns became Impressed, at the occasion of the dedica- importance to the long fight, waged in large who exerted considerable influence on the Starr Dobyns Estate and the Mrs. Harry Gray into separate parts. The main axis leads a prominent activist working in the cause of tion of UC Santa Barbara in 1955, by UC part in the pages of Eden, that resulted in the post-war direction of landscape architecture Estate. These gardens were a rare view into up or down, as the case may be, to other women’s suffrage in Chicago. She served on Berkeley President Gordon Sproul, Beatrix partial preservation of the Val Verde estate, with his work on promotional material for two 1920s and ’30s landscapes only previ- levels, and cross axes open up charming the boards and as head of several organiza- Farrand bequeathed her papers and her an outstanding example of that landscape the redwood and fertilizer industries. Early ously seen in historic photographs. CGLHS tions in the suffrage movement. smaller gardens or lovely vistas. The garden would like to thank Matthew Berkley of collection to the University of California architect’s work. on the Archives made a considered decision The Dobyns’ moved to Pasadena in 1925, is seldom seen as a whole.” 1 Berkley, Lander & Lamprecht, realtors for at Berkeley. It is not too much of an exag- The list of individual holdings in land- to collect the next generation of landscape where they settled in the Linda Vista neigh- For one of her first large-scale com- making these unique gardens available to geration to say that one early biography scape architecture numbers forty-two. designers who worked for Church or Halprin borhood, building their house in 1932 in the missions upon her return from Europe, our members. of Beatrix Farrand that mined those docu- Thirty-seven of this sum represents practitio- including Casey Kawamoto, Jack Stafford, Chula Vista tract, a small tract designed by the garden for Mrs. Harry Gray was done ments contributed to the revival of the formal ners. The five exceptions are two residences, Walt Guthrie, and Richard Vignolo. Ralph Cornell featuring large lots overlooking in collaboration with architect Reginald D. European garden in this country.2 As British a competition, an organization (the California The recipient of limited support from UC The Winifred Dobyns Garden the Arroyo Seco. Architect Joseph Kucera Johnson. To complement the stately Ital- ian Revival-style house, and inspired by garden historians are all too conscious, the Association of Landscape Architects), and Berkeley, EDA is forced to charge a research Ann Scheid designed the California Mediterranean- style house with generously-sized rooms, what she experienced in Italy, Bashford well-connected, New York Society land- a horticulturist (Maunsell Van Rensellaer of fee, which is, however, subject to negotia- made the large rear garden more intimate scape pioneer’s papers include the plans and the Santa Barbara Botanic Garden). Many of tion. As is the case with many libraries and The recent discovery of the house and garden a charming entry courtyard and a loggia of Winifred Dobyns (1886-1963), author of the facing the garden. Located on the Arroyo’s by creating an enclosure of high stucco drawings of the celebrated English artist Ger- the collections from practitioners held by the archives, the bulk of the EDA’s holdings is 1931 classic California Gardens, has brought west rim, house and garden look out over walls with arched openings. These opened trude Jekyll (1843-1932). Jekyll’s carefully EDA are ripe for attention by researchers. off-site, in this instance in the neighboring to light not only a beautiful, nearly intact relic the Arroyo and enjoy a spectacular view of onto smaller garden rooms -one a cut- crafted gardens, with their applied theory Happily, CGLHS member and former fac- city of Richmond. Requested material located of Pasadena’s past, but also awakened inter- the San Gabriel mountains. The main garden ting garden, the other a kitchen garden of color harmonies and the softening effect ulty curator of the collection Marc Treib has off-site is brought to Wurster Hall for review. est in Dobyns herself. Myron Hunt noted in “room” is a simple rectangular grass panel, and service yard. These arched openings of “cottage”-style flower borders, have an mined both the Garrett Eckbo and Thomas The Online Archive of California (http:// his introduction to the book that “the profes- bordered by decomposed granite paths and mirrored the arches of the house itself, cre- international following. Her books, Wood Church archives to produce Garrett Eckbo: www.oac.cdlib.org) lists many of the EDA’s sion of landscape architecture is fortunately flower beds. A second “room” to the south ating a satisfying rhythm. From the rear of and Garden (1899), Gardens for Small Coun- Modern Landscapes for Living; Thomas Church, holdings, including full finding aids. The web attracting an increasing number of highly- is at a lower grade and contains a central the house, the main axis crossed a broad try Houses and more, joined with frequent Landscape Architect: Designing a Modern site http://archives.ced.berkeley.edu/ offers trained, much-travelled and experienced fountain/pool and a pergola supported by panel of turf, bordered by broad beds of flowering annuals, and terminated at a articles in the journal Country Life, were California Landscape (2004) and numerous individual biographies and often a detailed women.” Dobyns certainly must have con- classical columns. A walled kitchen garden/ trellis-covered outdoor room, graced with widely consumed in this country, as well as related articles. For the 2006 study “Modern description of the associated material. curred, for her book features many gardens drying yard and a walled driveway garage designed by women. She organized the book entrance complete the ensemble. The garden a large oil jar serving as the basin for a wall abroad. Co-written with Lawrence Weaver, Public Gardens: Robert Royston and the Sub- After nearly twenty years directing the to illustrate the various elements popular in once extended further south, where a 1950s fountain. At the end of a cross axis was Country Houses was republished three times urban Park,” member JC Miller, allied with collection, Waverly Lowell will be succeeded California garden design: water features, house now stands. another fountain, this one featuring artist between 1912 and 1920. (Thomas Church historian Reuben Rainey, made full use of the in July by her chief assistant Chris Marino. axes and vistas, paths and paving, court- While living in Pasadena, Dobyns Maud Daggett’s whimsical sculpture of the acquired his shop-worn copy at the very collection. Currently, again with the help of yards, entrances, loggias, trees in groves remained active in women’s issues, espe- “Goose Girl.” outset of his career.) Most recently historian the EDA’s resources, Miller is completing a and in allees, pergolas, outdoor rooms, walls cially the newly-formed League of Women Bashford and architect Johnson would Kristine Miller used the collection to pro- study of Royston’s home in the San Francisco and hedges, gates, stairways and sculpture. Voters—she was an officer of the Los Ange- continue to collaborate through the 1920s duce the monograph Almost Home: The Public suburb of Mill Valley and made use of the Nearly all of these appear in her own garden. les League. Later she became interested in and 30s, including the landscape of his own Landscapes of Gertrude Jekyll. Archives for his articles in the current issue of Hunt notes that many women are designing gardens, and organized a series of talks in home in San Marino. Having studied the Also a geographic anomaly, although not Eden. Opportunity beckons for research on Endnotes their own gardens, and this may have been Pasadena by garden experts such as Lock- Gray garden when researching Bashford for the case with Dobyns. Although somewhat wood de Forest, Charles Gibbs Adams and my article in the Fall 2013 issue of Eden, I such an obvious one, Santa Barbara’s Lock- the founder of UCB’s landscape architecture 1. Beatrix Farrand to Robert Sproul, 30 September 1955 altered and reduced in size, the garden Myron Hunt. was astonished to see all these landscape wood de Forest’s plans were, until recently program, John Gregg (1880-1969), influen- (Folder 301 Arch, Bancroft Library at UC Berkeley). betrays a skillful and artistic designer. Long-time CGLHS member Virginia Gard- features intact, considering the garden is swapped for two northern California col- tial as a teacher, but also as a frequent advisor 2. The publication by Dianne Balmori, Diane Kostial McGuire, and Eleanor McPeck, Beatrix Farrand’s American Landscapes: Winifred Starr Dobyns grew up in the ner had Dobyns’ book California Gardens approaching a hundred years old. Programs lections, a valued holding of the EDA. The on early state-wide projects. Another interest- Her Gardens and Campuses (Sagaponick, New York: Sagapress, Chicago suburb of Winnetka, attended col- reprinted several years ago, and we were like CGLHS’s Tours and Talks offer rare presence of the de Forest papers in North- ing subject is the work of the talented Bay Inc., 1985 initiated the revival and Jane Brown’s Beatrix: The Gardening Life of Beatrix Jones Farrand, 1872-1959 (New York: lege in the east and then spent two years fortunate to have her present with copies of opportunities to see special gardens such ern California did not detract from their Area modernist Douglas Baylis (1918–1971), Penguin Books, 1995) helped to sustain it. in Paris studying music and training as a the book available for purchase. as these, so seldom open to the public.

32 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 33 CGLHS ANNUAL REPORT 2017 JOURNAL OF THE CALIFORNIA GARDEN & LANDSCAPE HISTORY SOCIETY FOUNDER WILLIAM GRANT

HONORARY LIFE MEMBERS VIRGINIA A. GARDNER DEAR CGLHS MEMBERS, MARLEA GRAHAM WILLIAM GRANT After numerous years on the board, on January 1st I became the new BARBARA MARINACCI president of CGLHS. As a professor of landscape architecture at Cal Poly, San Luis Obispo, education is my passion. Our activities focus NEW MEMBERS in large part on promoting wider knowledge of California’s historic CATHLEEN AUSTIN LOREN HARRIS-HELLER SUSAN MICHAUD SUSAN SCHENK gardens and landscapes and our successes this past year speak to BARRY BALK MILLICENT HARVEY CHIZU MORIHARA KAREN SMITS this core mission. Thanks to your support, the California Garden & COLLEEN BALOUGH JOAN HOCKADAY KAZUKO & KENNETH NAKABA KEIJI UESUGI CAROL BORNSTEIN CARLINDI HOLLING KATE NOWELL SHARON VAN ENOO Landscape History Society had another robust year of accomplish- LAUREN WEISS BRICKER LAURA C. KASS JENNIFER OLIVARES JIM WEST ments in 2017. These include: ROSLYN BURGE LINDA KEYLON PETER OTTE BONNIE WILLIAMS NORD ERIKSSON KRISTIE KOENIG CHRISTOPHER POLLOCK KAREN C. WILSON JAMES FIELDING ALLAN LAMB JOSEPHINE RAMIREZ YVONNE WILSON EDUCATION THROUGH EVENTS LINDA D. FRIEDMAN JOANNE LIPSIG LIZ REYNA LAURA WILSON MARIANNE FUREDI JOHN MARTIN DEBORA RICHEY HENRY WIRZ The annual conference held in Palm Springs quickly sold out. MICHAELEEN GALLAGHER RICHARD MAYER JULIE RUSSELL MARK WISNIEWSKI Focused on the landscapes of the Spanish-Colonial Revival and mid- DANIEL GREGORY KATHLEEN MCKEE LEON SCALES 20th century modernist homes and resorts that made this desert destination known around the world, “Palm Springs: Playground of the Stars” included tours of both public and private gardens, with BENEFACTOR ($2,500) its cocktail reception and dinner at the Historic Palm Springs Tennis JAMES IRVINE FOUNDATION Club designed by Paul R. Williams and A. Quincy Jones. Thank you to Steven Keylon as the conference convener for his excellent work. SUSTAINING MEMBERS AND DONORS ($100-$1000) In addition to the conference, during 2017 CGLHS members had the ELIZABETH AMES KELLY COMRAS THEA GURNS GARY LYONS GARY STRIKER opportunity to attend five educational lectures discussing the work TROY BANKORD NANCY CONNER APRIL HALBERSTADT CAROLE MCELWEE JUDITH TANKARD of Ernest Batchelder, Kate Sessions, Ruth Shellhorn, Ralph Cornell KAREN BARTHOLOMEW PATRICIA CULLINAN BRENT HARRIS J. C. MILLER KAREN TARTER JANET BARTON VICTORIA DILLON ALLYSON HAYWARD MARGARET MORI JUDITH TAYLOR and Francis Dean. SYLVIA BENDER ANN DWELLEY WENDEL ELIZABETH MOTIKA BRIAN TICHENOR CAROLYN BENNETT ELIZABETH FLACK JOAN HOCKADAY DONIVEE NASH RICHARD TIEDE JOHN BLOCKER NORMA FREY CAROLYN HORNE CHRISTINE O’HARA MARC TREIB EDUCATION THROUGH PUBLICATION CY CARLBERG BETSY FRYBERGER JUDY HORTON L. PRUSSIA NOEL VERNON This past year Eden had a substantial redesign with more color imag- JOHN CARPENTER DOROTHY AND JOHN KATHRYN HOWE MICHAEL REANDEAU JACQUOLINE WILLIAMS ery and bolder graphics to help showcase the essays. We would like to NANCY CAROL CARTER GARDNER SABURO ISHIHARA ANN SCHEID ALEXIS WOODS SUSAN CHAMBERLIN LISA GIMMY STEVEN KEYLON KATHLEEN SLATER CHERYL ZIEGLER thank guest editor Steven Keylon and the Eden Editorial Board as well ANN CHRISTOPH LIZ GOODFELLOW DAVID LAWS CATHERINE STOUT as Bill Smith and Dave Shulman from DesignSimple who graciously BETSY CLEBSCH MARLEA GRAHAM CYNTHIA LIVERMORE DAVID STREATFIELD worked pro bono on Eden’s update. We would also like to thank the Palm Springs Historical Society which waived its substantial scan- NON-PROFIT AND LIBRARY MEMBERS ning and reproduction fees for the two Palm Springs issues of Eden. BALBOA PARK CONSERVANCY LENHARDT LIBRARY, CHICAGO GARDEN SOCIETY UC RIVERSIDE SCIENCE LIBRARY DESCANSO GARDENS BOTANIC GARDEN SUNNYLANDS CENTER & UC BERKELEY ENVIRONMENTAL CELEBRATION OF HISTORIC LAND- ELIZABETH F. GAMBLE GARDEN PGA DESIGN INC. GARDENS DESIGN LIBRARY SCAPES THROUGH OUR WEBSITE FILOLI RANCHO LOS ALAMITOS THE CULTURAL LANDSCAPE UNIVERSITY OF WASHINGTON. HUNTINGTON BOTANIC RUTH BANCROFT GARDEN FOUNDATION ELISABETH C. MILLER LIBRARY Last year a major accomplishment was updating our website and GARDEN LIBRARY SAN FRANCISCO BOTANICAL THE GARDEN CONSERVANCY converting much of our membership management to a new a soft- ware platform called Wild Apricot. Thank you to our board members David Laws, Brandy Kuhl and Judy Horton who spent a significant EDEN 2017 CONTRIBUTORS amount of time in this endeavor. If you have not yet had a chance, please visit www.cglhs.org, especially the Events page, where we LAUREN WEISS BRICKER MARLEA GRAHAM VONN MARIE MAY STEVEN PRICE continue to provide announcements of educational lectures, historic RENEE BROWN JUDY HORTON LIBBY MOTIKA ANN SCHEID PHOEBE CUTLER STEVEN KEYLON MICHAEL O’BRIEN KEIJI UESUGI garden tours, and of course our annual conference. BETSY FRYBERGER KOICHI KOBAYASHI KEITH PARK STEVE VAUGHT We are grateful for the many volunteers who run this organization, from the writers, speakers and those who host events to those who serve on our Board of Directors and Editorial Board. Thank you, too, SPEAKER AND CONFERENCE CONTRIBUTORS AND VOLUNTEERS to our members who continue to support CGLHS above the basic Top three photos: scenes from the Palm Springs Conference; RENEE BROWN STEVEN KEYLON LIBBY SIMON LAURA WEISS BRICKER membership level which allows us to continue our collective mission. Bottom left: the cover of the newly redesigned Fall 2017 Eden; NANCY CAROL CARTER PAM MEYER BRIAN TICHENOR DR. ROBERT W. WINTER, PHD Bottom right: Dr. Robert Winter holds court in the living room LISA GIMMY ANUJA NAVARRE JENNIFER TROTOUX of Ernest Batchelder’s house. JUDY HORTON ANN SCHEID KEIJI UESUGI —Christine O’Hara, President, CGLHS GARY JOHNS SHERYL SCOTT LAURA VERLAQUE

34 Eden: Journal of the California Garden & Landscape History Society Summer 2018 • Vol. 21, No. 3 35 California Garden & Landscape History Society www.cglhs.org CGLHS P.O. Box 220237, Newhall, CA 91322-0237

Address Correction and Forwarding Requested

Front Cover: Wilson garden view of patio from living room. Royston partially enclosed the patio to make it a comfortable and useful space. Collection of the author.

Back cover: Wilson garden model. Typically, Eckbo Royston and Williams made models only for larger commercial or public commissions, but the complex design of the Wilson garden was best explained by a three-dimensional model. Collection of the author.