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Gregory Ain's Mar Vista Tract Homes and the Enactment of the Public

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Gregory Ain's Mar Vista Tract Homes and the Enactment of the Public 316 Neither Form nor Place: The Case for Space Gregory Ain’s Mar Vista Tract Homes and the Enactment of the Public Sphere GUSTAVO LECLERC University of North Carolina at Charlotte The architectural and landscape design and neighborhood socially minded architects, Gregory Ain was highly commit- layout of the Mid-Twentieth Century Mar Vista tract homes ted to architectural experimentation and to creating low cost by Gregory Ain and Garrett Eckbo coalesce with contempo- good design for the middle and working-class populations. His rary preservation efforts today to create a complex dynamic architectural design concerns did not focus on creating view- between groups of residents, the neighborhood as a whole, ing opportunities of architectural forms and scenes, but on and the city of Los Angeles. As one of the first post war hous- creating theatrical zones of interactivity in which the architec- ing developments to receive the designation of Historic tural spaces would provide a context and stage for publicity.3 Preservation Overlay Zone (HPOZ) 1, this neighborhood His collaborations with renowned landscape architect Garrett presents a unique set of challenges for the application of Eckbo in the Mar Vista tract homes proved to be instrumental preservation principles, bringing to light questions regarding in manifesting his philosophy. Eckbo was invested in the con- the appropriateness of enforced aesthetic principles within cept of creating gardens as common spaces for people, and modernist tract neighborhoods. Utilizing Jurgen Habermas’ felt that through their practical use and aesthetics, garden theoretical framework of the public sphere, this paper will landscapes could have a positive effect on social engage- analyze primary and secondary data sources to consider the ment.4 Their work together in these track homes is a clear quality and nature of public life in this neighborhood, with example of the experimental nature of creative practitioners particular attention to the influences of the architectural in California during the twentieth century. and landscape designs and the current HPOZ governance process on the enactment of a public sphere. OUTDOOR SPACES – PUBLIC AND PRIVATE Eckbo’s landscape design incorporates conjoined lawns INTRODUCTION sprawling over adjacent front yards, evenly spaced repetitive Good quality design in housing can be a positive force for shrubbery extending in curved lines across property demar- raising residential quality of life. Conversely, design can also cations, and smooth fenceless transitions between yards and be complicit in enforcing dominant politics of space use the street. These attributes give the neighborhood a distinct and constricting neighborhood representations. 2 This case feel of expansive public space (“public” here refers to the study considers how the Mar Vista tract homes’ design and quality of being communally accessible to the local residents). neighborhood layout can be understood within a minimal- This public quality has over time facilitated neighborhood ist framework which facilitates the creation of an engaged interaction and a sense among many residents of expanded public space yet also as a space that resists translation from ownership and responsibility towards the neighborhood as a the original forms of the mid-twentieth century. The dynamic whole. The accessible public space of the front lawns provides between these factors have given rise to a heightened sense neighbors with a neutral forum for gathering and exchanging of neighborliness and communication among many of its ideas. These designs could also be considered precursors to residents, and a profound sense of exclusion by others. In minimalist aesthetic sensibilities, because their dominant fea- addition, the ‘neighborhood spatial effects’, including the ture is repetitive “non-artist made” forms, without a central repetition of similar housing structures, blurring between convergence or symbolism. Like the architecture of the neigh- public and private spaces, and the opportunities for extensive borhood itself, the landscaping avoids rational composition, viewing across property lines, are related to the intensity of and instead evokes the minimalist continuity of ‘placing one residents’ various ideological positions. thing after another’.5 MAR VISTA TRACT HOUSING At its most active, neighborhood interaction in the Mar Vista The Gregory Ain tract housing development, completed in public space of the landscaped front yards and geomet- 1948 was a high design experiment for the working class, and ric city streets and sidewalks, is reminiscent of the ancient part of the larger Post WW II housing boom (Fig. 1). It is rep- Greek polis, described by Jurgen Habermas as a sphere for resentative of a then nascent utopian modernist movement. free citizens to participate in the debates of the day, and in Ain, as a participant in this movement, posited that architec- which inclusion was premised upon ownership and control ture could transform society for the better, and that good over private (domestic) property.6 This resemblance has quality design in mass housing could dramatically influence become more evident since the preservation effort began, the quality of neighborhood life. As part of a generation of and one can witness residents frequently gathering on front The Ethical Imperative 317 Fig. 1. Gegory Ain, Marvista Track Homes, 1948 INTERIOR SPACES – PUBLIC AND PRIVATE lawns to discuss renewed interests in their homes’ historical The architecture of the homes themselves contributes to this significance and their views on the neighborhood’s evolution. sense of expanded public space by creating extensive oppor- This coalescence of human interaction, with its discourse tunities for viewing from within the homes to the collective centered on the aesthetics of its environment reflects the “middle ground” (e.g., the yards, sidewalks, parkways, and future minimalist concern with creating increased perceptual the street itself) which runs the length of the block between sensitivity in the participants of its environment. While Eckbo opposing homes (Fig. 2). and Ain were not minimalist artists per se, their work in retro- spect could be seen as fitting in with a minimalist framework. Although Gregory Ain never explicitly referenced his design practice as socialist architecture, his ideas related to the role Michael Fried, in his article, Art and Objecthood, denounces and value of architectural design, as well as his preoccupa- minimalist art for its theatrical dependency.7 Namely, that its tion with architectural projects designed for “the common value or meaning becomes activated only through proximity man,” indicates a profound commitment to an ideological and perception of a viewer. By including the environmental progressive design approach. These ideals were rooted in space of the neighborhood as a contextual aspect of their the optimistic conviction that technological advances in the architecture and landscape, Ain and Eckbo redefined the new industrialized society could translate into architecture. “frame” in which an audience can understand and participate Because Gregory Ain’s design philosophy prioritized function in their work. Instead of each home and yard being evalu- as a means to style instead of the other way around,8 his ated and experienced individually, they are instead parts of views of aesthetics were generally contrary to those of many a larger space to be experienced collectively. In the 1970’s, of his designer peers. artists further explored this reframing process, by trying to escape institutional aesthetic containers. Artists such as Architects must rediscover and restore the forgotten Richard Long and Robert Smithson created artwork in rela- quality of meaning to our nation’s architecture…that tion to specific sites such as galleries, hillsides or suburbs. architecture is a social art, and that its aesthetic power While predating this artistic movement, Ain and Eckbo’s land- must be derived from a social ethos”.9 scape and architectural design based on notions of seriality and connectivity challenged similar notions as represented –Gregory Ain by property lines. This creation of architectural space in part explains residents’ desire today to preserve the tract as one These social ideas demonstrate a developmental stage in a entity. long-term engagement between formal artistic and architec- tural ideas, and social and political concerns. The minimalists, a decade later, were optimistic and somewhat utopian in 318 Neither Form nor Place: The Case for Space Fig 2. Front Exterior In Habermas’ definition of the public sphere, he discusses its connection to the notion of human subjectivity as a pre- their belief in the productive power of creative practice. requisite for access. The capacity for (rational) subjectivity Using similar strategies as Ain and Eckbo, they were invested was determined in Ancient Greece (at the inception of the in stimulating viewers’ perceptual experience through their public sphere) to be present in those who had control over artwork, with the intension of increasing viewer’s capacity a domestic sphere, including one’s spouse, children, ser- to look and think deeply. Susan Sontag wrote in ‘Against vants, and slaves. 11 Women were not allowed control over Interpretation’, “Ours is a culture based on excess…the result the domestic sphere and as such, not considered as having is a steady loss of sharpness on our sensory experience. Our the same human capacity as men for
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